Owner’s Manual
Thank you, and congratulations on your choice of the Roland Fantom-X6/X7/X8.
201b
Before using this unit, carefully read the sections entitled: “IMPORTANT SAFETY
INSTRUCTIONS” (p. 2), “USING THE UNIT SAFELY” (p. 3–4), and “IMPORTANT NOTES”
(p. 4–5). These sections provide important information concerning the proper operation
of the unit. Additionally, in order to feel assured that you have gained a good grasp of
every feature provided by your new unit, Handbook and Owner’s manual should be read
in its entirety. The manual should be saved and kept on hand as a convenient reference.
This Owner’s Manual applies to the Fantom-X6, the Fantom-X7 and the Fantom-X8. The
manual uses the term “Fantom-X” to indicate all these three models.
Listening to the Demo Songs
Press [PLAY] to start demo song playback.
To stop the performance, press [STOP].
Rewind
Stop
Play
* The operation described here will play back one demo song.
In addition to this song, the Fantom-X contains other demo songs that let you experience
the amazing sounds of the Fantom-X. To listen to these demo songs, refer to p. 23.
202
Copyright © 2004 ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without the
written permission of ROLAND CORPORATION.
USING THE UNIT SAFELY
The
symbol alerts the user to important instructions
Used for instructions intended to alert
the user to the risk of death or severe
injury should the unit be used
improperly.
or warnings.The specific meaning of the symbol is
determined by the design contained within the
triangle. In the case of the symbol at left, it is used for
general cautions, warnings, or alerts to danger.
Used for instructions intended to alert
the user to the risk of injury or material
damage should the unit be used
improperly.
The
symbol alerts the user to items that must never
be carried out (are forbidden). The specific thing that
must not be done is indicated by the design contained
within the circle. In the case of the symbol at left, it
means that the unit must never be disassembled.
* Material damage refers to damage or
other adverse effects caused with
respect to the home and all its
furnishings, as well to domestic
animals or pets.
The ● symbol alerts the user to things that must be
carried out. The specific thing that must be done is
indicated by the design contained within the circle. In
the case of the symbol at left, it means that the power-
cord plug must be unplugged from the outlet.
001
010
•
Before using this unit, make sure to read the instructions below,
and the Owner’s Manual.
•
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.
..........................................................................................................
002b
•
Connect mains plug of this model to a mains socket outlet with a
protective earthing connection.
..........................................................................................................
•
..........................................................................................................
Do not open or perform any internal modifications on the unit.
(The only exception would be where this manual provides
specific instructions which should be followed in order to put in
place user-installable options; see p. 240, p. 242, p. 244, p. 246.)
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.
..........................................................................................................
003
•
Do not attempt to repair the unit, or replace parts within it (except
when this manual provides specific instructions directing you to
do so). Refer all servicing to your retailer, the nearest Roland
Service Center, or an authorized Roland distributor, as listed on
the “Information” page.
..........................................................................................................
012a:
•
Immediately turn the power off, remove the power cord 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:
..........................................................................................................
004
• The power-supply cord, or the plug has been damaged; or
• If smoke or unusual odor occurs
• Objects have fallen into, or liquid has been spilled onto the
unit; or
• The unit has been exposed to rain (or otherwise has become
wet); or
• The unit does not appear to operate normally or exhibits a
marked change in performance.
•
Never use or store the unit in places that are:
• Subject to temperature extremes (e.g., direct sunlight in an
enclosed vehicle, near a heating duct, on top of heat-gener-
ating equipment); or are
• Damp (e.g., baths, washrooms, on wet floors); or are
• Humid; or are
• Exposed to rain; or are
• Dusty; or are
• Subject to high levels of vibration.
..........................................................................................................
013
..........................................................................................................
•
In households with small children, an adult should provide
supervision until the child is capable of following all the rules
essential for the safe operation of the unit.
005
•
This unit should be used only with a rack or stand that is recom-
mended by Roland.
..........................................................................................................
..........................................................................................................
014
006
•
Protect the unit from strong impact.
(Do not drop it!)
•
When using the unit with a rack or stand recommended by
Roland, the rack or stand must be carefully placed so it is level
and sure to remain stable. If not using a rack or stand, you still
need to make sure that any location you choose for placing the
unit provides a level surface that will properly support the unit,
and keep it from wobbling.
..........................................................................................................
015
•
Do not force the unit’s power-supply cord to share an outlet with
an unreasonable number of other devices. Be especially careful
when using extension cords—the total power used by all devices
you have connected to the extension cord’s outlet must never
exceed the power rating (watts/amperes) for the extension cord.
Excessive loads can cause the insulation on the cord to heat up
and eventually melt through.
..........................................................................................................
008a
•
The unit should be connected to a power supply only of the type
described in the operating instructions, or as marked on the unit.
..........................................................................................................
..........................................................................................................
008e
016
•
Use only the attached power-supply cord. Also, the supplied
power cord must not be used with any other device.
•
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.
..........................................................................................................
009
..........................................................................................................
•
Do not excessively twist or bend the power cord, nor place heavy
objects on it. Doing so can damage the cord, producing severed
elements and short circuits. Damaged cords are fire and shock
hazards!
..........................................................................................................
3
022a
104
•
Always turn the unit off and unplug the power cord before
attempting installation of the circuit board (SRX series; p. 240, p.
242, DIMM; p. 244, p. 246).
•
Try to prevent cords and cables from becoming entangled. Also,
all cords and cables should be placed so they are out of the reach
of children.
..........................................................................................................
..........................................................................................................
106
023
•
Never climb on top of, nor place heavy objects on the unit.
•
DO NOT play a CD-ROM disc on a conventional audio CD
player. The resulting sound may be of a level that could cause
permanent hearing loss. Damage to speakers or other system
components may result.
107b
..........................................................................................................
•
Never handle the power cord or its plugs with wet hands when
plugging into, or unplugging from, an outlet or this unit.
026
•
Do not put anything that contains water (e.g., flower vases) on this
unit. Also, avoid the use of insecticides, perfumes, alcohol, nail polish,
spray cans, etc., near the unit. Swiftly wipe away any liquid that spills
on the unit using a dry, soft cloth.
..........................................................................................................
108a
•
Before moving the unit, disconnect the power plug from the
outlet, and pull out all cords from external devices.
..........................................................................................................
109a
•
Before cleaning the unit, turn off the power and unplug the power
cord from the outlet (p. 22).
101a
..........................................................................................................
•
The unit should be located so that its location or position does not
interfere with its proper ventilation.
110a
•
Whenever you suspect the possibility of lightning in your area,
pull the plug on the power cord out of the outlet.
..........................................................................................................
101c
..........................................................................................................
•
This unit for use only with Roland stand KS-12 (Fantom-X6/
Fantom-X7) / KS-17 (Fantom-X8). Use with other stands (or carts)
is capable of resulting in instability causing possible injury.
115a
•
Install only the specified circuit board(s) (SRX Series, DIMM).
Remove only the specified screws (p. 240, p. 242, p. 244, p. 246, p.
248).
..........................................................................................................
102b
•
Always grasp only the plug on the power-supply cord when
plugging into, or unplugging from, an outlet or this unit.
..........................................................................................................
118
•
Should you remove the screws that fasten the bottom panel (the
front panel of the Fantom-X8) or the PC card protector, be sure to
place them out of children’s reach, so there is no chance of them
being swallowed accidentally.
..........................................................................................................
103a:
•
At regular intervals, you should unplug the power plug and clean
it by using a dry cloth to wipe all dust and other accumulations
away from its prongs. Also, disconnect the power plug from the
power outlet whenever the unit is to remain unused for an
extended period of time. Any accumulation of dust between the
power plug and the power outlet can result in poor insulation and
lead to fire.
..........................................................................................................
IMPORTANT NOTES
291b
In addition to the items listed under “IMPORTANT SAFETY INSTRUCTIONS” and “USING THE UNIT SAFELY” on pages 2–4, please read
and observe the following:
Power Supply
Placement
351
301
•
Do not connect this unit to same electrical outlet that is being used by an
electrical appliance that is controlled by an inverter (such as a refrigerator,
washing machine, microwave oven, or air conditioner), or that contains a
motor. Depending on the way in which the electrical appliance is used,
power supply noise may cause this unit to malfunction or may produce
audible noise. If it is not practical to use a separate electrical outlet, connect
a power supply noise filter between this unit and the electrical outlet.
•
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
interference.
•
352aThis device may interfere with radio and television reception. Do not use
this device in the vicinity of such receivers.
•
352bNoise may be produced if wireless communications devices, such as cell
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.
phones, are operated in the vicinity of this unit. Such noise could occur
when receiving or initiating a call, or while conversing. Should you
experience such problems, you should relocate such wireless devices so
they are at a greater distance from this unit, or switch them off.
308
•
Although the LCD and LEDs are switched off when the POWER switch is
switched off, this does not mean that the unit has been completely discon-
nected from the source of power. If you need to turn off the power
completely, first turn off the POWER switch, then unplug the power cord
from the power outlet. For this reason, the outlet into which you choose to
connect the power cord's plug should be one that is within easy reach and
readily accessible.
•
354aDo 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 temper-
ature extremes. Excessive heat can deform or discolor the unit.
•
355bWhen moved from one location to another where the temperature and/or
humidity is very different, water droplets (condensation) may form inside
the unit. Damage or malfunction may result if you attempt to use the unit
in this condition. Therefore, before using the unit, you must allow it to
stand for several hours, until the condensation has completely evaporated.
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.
4
IMPORTANT NOTES
Maintenance
Before Using Cards
•
401aFor everyday cleaning wipe the unit with a soft, dry cloth or one that has
Using Memory Cards
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.
704
•
Carefully insert the memory Card all the way in—until it is firmly in place.
705
•
402
Never touch the terminals of the memory card. Also, avoid getting the
terminals dirty.
•
Never use benzine, thinners, alcohol or solvents of any kind, to avoid the
possibility of discoloration and/or deformation.
707
•
This unit’s memory card slot accepts CompactFlash, Smartmedia (3.3V).
708
•
Repairs and Data
CompactFlash, Smartmedia (3.3V) are constructed using precision compo-
nents; handle the cards carefully, paying particular note to the following.
• To prevent damage to the cards from static electricity, be sure to
discharge any static electricity from your own body before handling the
cards.
452
•
Please be aware that all data contained in the unit’s memory may be lost
when the unit is sent for repairs. Important data should always be backed
up on a memory card, or written down on paper (when possible). During
repairs, due care is taken to avoid the loss of data. However, in certain
cases (such as when circuitry related to memory itself is out of order), we
regret that it may not be possible to restore the data, and Roland assumes
no liability concerning such loss of data.
• Do not touch or allow metal to come into contact with the contact
portion of the cards.
• Do not bend, drop, or subject cards to strong shock or vibration.
• Do not keep cards in direct sunlight, in closed vehicles, or other such
locations (storage temperature: -25 to 85° C).
• Do not allow cards to become wet.
• Do not disassemble or modify the cards.
Additional Precautions
551
•
Please be aware that the contents of memory can be irretrievably lost as a
result of a malfunction, or the improper operation of the unit. To protect
yourself against the risk of loosing important data, we recommend that
you periodically save a backup copy of important data you have stored in
the unit’s memory on a memory card, or other device.
Handling CD-ROMs
801
•
Avoid touching or scratching the shiny underside (encoded surface) of the
disc. Damaged or dirty CD-ROM discs may not be read properly. Keep
your discs clean using a commercially available CD cleaner.
552
•
Unfortunately, it may be impossible to restore the contents of data that was
stored on a memory card, unit’s memory, or other device once it has been
lost. Roland Corporation assumes no liability concerning such loss of data.
Copyright
553
851
•
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.
•
Unauthorized recording, distribution, sale, lending, public performance,
broadcasting, or the like, in whole or in part, of a work (musical compo-
sition, video, broadcast, public performance, or the like) whose copyright is
held by a third party is prohibited by law.
554
•
Never strike or apply strong pressure to the display.
•
852aWhen exchanging audio signals through a digital connection with an
555
•
A small amount of noise may be heard from the display during normal
operation.
external instrument, this unit can perform recording without being subject
to the restrictions of the Serial Copy Management System (SCMS). This is
because the unit is intended solely for musical production, and is designed
not to be subject to restrictions as long as it is used to record works (such as
your own compositions) that do not infringe on the copyrights of others.
(SCMS is a feature that prohibits second-generation and later copying
through a digital connection. It is built into MD recorders and other
consumer digital-audio equipment as a copyright-protection feature.)
556
•
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.
557
•
A small amount of heat will radiate from the unit during normal operation.
•
558aTo avoid disturbing your neighbors, try to keep the unit’s volume at
853
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).
•
Do not use this unit for purposes that could infringe on a copyright held by
a third party. We assume no responsibility whatsoever with regard to any
infringements of third-party copyrights arising through your use of this
unit.
•
559aWhen 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 equiv-
alent packaging materials.
561
237
•
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.
204
*
Microsoft and Windows are registered trademarks of Microsoft Corpo-
ration.
562
*
206j Windows® is known officially as: “Microsoft® Windows® operating
•
Use a cable from Roland to make the connection. If using some other make
of connection cable, please note the following precautions.
• Some connection cables contain resistors. Do not use cables that incor-
porate resistors for connecting to this unit. The use of such cables can
cause the sound level to be extremely low, or impossible to hear. For
information on cable specifications, contact the manufacturer of the
cable.
system.”
207
*
Apple and Macintosh are registered trademark of Apple Computer, Inc.
MacOS is a trademark of Apple Computer, Inc.
Pentium is a registered trademark of Intel Corporation.
209
*
213
*
•
566bThe sensitivity of the D Beam controller will change depending on the
220
*
amount of light in the vicinity of the unit. If it does not function as you
expect, adjust the sensitivity as appropriate for the brightness of your
location. Increase this value will raise the sensitivity (p. 226).
All product names mentioned in this document are trademarks or regis-
tered trademarks of their respective owners.
230
*
SmartMedia is a trademark of Toshiba Corp.
231
*
OMS is a registered trademark of Opcode Systems, Inc.
234
*
CompactFlash and
are trademarks of SanDisk Corporation and
licensed by CompactFlash association.
235
*
Roland Corporation is an authorized licensee of the CompactFlash™ and
CF logo (
) trademarks.
5
IMPORTANT NOTES........................................................................................4
Rear Panel.................................................................................................................................................. 18
Placing the Fantom-X8 on a Stand (For Fantom-X8 user) ................................................................. 20
Turning On the Power............................................................................................................................. 21
Adjusting the Display Contrast (LCD Contrast).................................................................................. 22
Listening to the Demo Songs.......................................................................23
Pitch Bend/Modulation Lever.................................................................................................... 24
Control Pedal................................................................................................................................. 25
Non-Rewritable Memory............................................................................................................. 29
How Effects Units Work in Different Modes............................................................................ 30
About the Sequencer................................................................................................................................ 30
Where Samples are Stored........................................................................................................... 32
Moving the Cursor........................................................................................................................ 34
Modifying a Value ........................................................................................................................ 35
Assigning a Name......................................................................................................................... 36
Registering and recalling frequently used screen pages (Bookmark) .............................................. 37
Registering a page......................................................................................................................... 37
Recalling a page............................................................................................................................. 37
Viewing an explanation of each button (Help).................................................................................... 37
Viewing the number of voices used by the sound generator (Voice Monitor) ............................... 37
6
About the Patch Play Screen................................................................................................................... 38
Displaying Patch Play Screen...................................................................................................... 38
Removing a registration............................................................................................................... 43
Selecting Favorite Patches (Favorite Patch).......................................................................................... 44
Registering a Favorite Patch........................................................................................................ 44
Creating Smooth Pitch Changes (Portamento) .................................................................................... 47
Selecting a Rhythm Set................................................................................................................. 52
Selecting from the Patch List Screen........................................................................................... 54
Adjusting the Keyboard Touch (Key Touch)............................................................................ 54
Playing electric piano sounds................................................................................................................. 55
Saving a Sound (Patch)............................................................................................................................ 55
Auditioning the Save-Destination Patch (Compare) ............................................................... 60
Functions of Patch Parameters ............................................................................................................... 60
Settings Common to the Entire Patch (General)....................................................................... 60
Modifying Waveforms (Wave) ................................................................................................... 62
Changing How a Tone Is Sounded (TMT) ................................................................................ 63
Modifying Pitch (Pitch/Pitch Env)............................................................................................. 67
Modifying the Brightness of a Sound with a Filter (TVF/TVF Env)..................................... 69
Adjusting the Volume (TVA/TVA Env) ................................................................................... 71
7
Contents
Modulating Sounds (LFO)........................................................................................................... 74
Apply Portamento or Legato to the Sound (Solo/Porta)........................................................ 77
Creating a Rhythm Set..................................................................................83
Making Settings Common to the Entire Rhythm Set (General) ............................................. 87
Output Settings (Output)............................................................................................................. 95
Playing in Performance Mode ......................................................................97
Playing Different Sounds in Different Areas of the Keyboard (Split)................................. 102
Selecting a Part to Play Individually (Solo)............................................................................. 105
Silencing the Playback of a Specific Part (Mute) .................................................................... 105
Using pads to mute Parts........................................................................................................... 105
Viewing the Part Settings as a List (Performance Part View).......................................................... 106
Performing with the Arpeggio/Rhythm function............................................................................. 106
Performing with the Realtime Controllers and D Beam Controller ............................................... 106
Viewing MIDI messages for each Part (Part Information)............................................................... 106
Viewing the number of voices used by the sound generator (Voice Monitor) ............................. 106
Adjusting the Master Level................................................................................................................... 106
8
Creating a Performance..............................................................................107
Viewing the Part Settings as a List (Performance Part View).......................................................... 107
Adjusting the Parameters of Each Part .................................................................................... 107
Making Settings for the D Beam Controller............................................................................ 122
Playing Arpeggios.......................................................................................128
About Arpeggio...................................................................................................................................... 128
Playing Arpeggios.................................................................................................................................. 128
Turning Arpeggio On and Off .................................................................................................. 128
Determining the Tempo for Arpeggio Performances............................................................ 128
Playing Arpeggios Along with the Sequencer................................................................................... 129
Selecting Styles for Arpeggio Performances (Arpeggio Style)............................................. 129
(Arp Motif)................................................................................................................................... 130
Selecting the Part that Will Play Arpeggios in Performance Mode (Arp Part).................. 130
Using the Chord Memory Function (Chord Memory)...............................133
About the Chord Memory Function.................................................................................................... 133
Performing with the Chord Memory Function.................................................................................. 133
Turning Chord Memory Function On and Off....................................................................... 133
Selecting Chord Forms ............................................................................................................... 133
Sounding a chord in the order of its notes (Rolled Chord)................................................... 134
Creating Your Own Chord Forms ....................................................................................................... 134
Saving the Chord Forms You Have Created...................................................................................... 134
9
Contents
Playing Rhythm...................................................................................................................................... 135
Select the Rhythm Group........................................................................................................... 136
Changing the Accent Strength (Rhythm Accent)................................................................... 137
Using the Realtime Control Knobs to Control the Rhythm.................................................. 137
Saving the Rhythm Group You Have Created (Write)..................................................................... 140
Input Effect Setup Settings.................................................................................................................... 142
Dividing a Sample During Sampling....................................................................................... 144
Setting the Start/End Points of the Sample........................................................................................ 149
Using the knobs to edit the points............................................................................................ 149
From Patch Mode........................................................................................................................ 151
From Patch Mode........................................................................................................................ 152
Unloading a Sample (Unload).............................................................................................................. 155
Removing Unwanted Portions of a Sample (Truncate).................................................................... 155
Boosting or Limiting the High-frequency Range of the Sample (Emphasis) ................................ 155
Maximizing the Volume of a Sample (Normalize)............................................................................ 156
Amp.......................................................................................................................................................... 156
Stretching or Shrinking a Sample (Time Stretch)............................................................................... 156
Dividing a Sample into Notes (Chop) ................................................................................................. 157
Joining Two or More Samples (Combine) .......................................................................................... 158
Saving a Sample...................................................................................................................................... 159
10
Using the Hold Function to Sustain a Sound..................................................................................... 160
Making Settings for the Pads (Pad Setting) ........................................................................................ 161
Exchanging the Sound of Two Pads (Pad Exchange)............................................................ 162
Using the Pads to Play Rhythms.......................................................................................................... 163
Playing a Song Immediately (Quick Play).......................................................................................... 164
Fast-Forward and Rewind During Playback .......................................................................... 165
Muting the Playback of a Specific Instrument........................................................................ 165
Recording Songs.........................................................................................168
Specify the Time Signature........................................................................................................ 169
Correct the Timing of Your Playing as You Record (Recording Quantize) ....................... 172
Loading the Song You Want to Edit.................................................................................................... 177
Assigning Markers (Locate Positions) to a Song .................................................................... 179
Specifying the Area of a Song that will Repeat (Loop Points).............................................. 179
Editing Sequencer Data Over the Specified Range (Track Edit) ..................................................... 180
Basic Operation for Track Editing ............................................................................................ 180
Aligning a Song’s Timing (Quantize) ...................................................................................... 181
Erasing Unwanted Performance Data (Erase) ........................................................................ 183
Deleting Unwanted Measures (Delete).................................................................................... 184
Copying Phrases (Copy) ............................................................................................................ 184
11
Contents
Changing the MIDI Channel (Change Channel).................................................................... 186
Shifting Performance Data Forward and Back (Shift Clock)................................................ 189
Thinning Out the Sequencer Data (Data Thin)....................................................................... 190
Swapping Two Phrase Tracks or Patterns (Exchange).......................................................... 191
Deleting Blank Measures (Truncate)........................................................................................ 191
Viewing Sequencer Data (View)............................................................................................... 194
Inserting Sequencer Data (Create)............................................................................................ 194
Saving a Song (Save Song)......................................................................................................... 199
Saving Samples (Save All Samples).......................................................................................... 200
Loading Samples (Load All Samples)...................................................................................... 202
Settings for the RPS Function.................................................................................................... 203
Making Effect Settings........................................................................................................................... 206
Signal Flow Diagram and Parameters ..................................................................................... 207
Applying Effects in Performance Mode.............................................................................................. 210
Specifying How the Sound Will Be Output (Routing) .......................................................... 210
Signal Flow Diagram and Parameters ..................................................................................... 210
Making Multi-Effects Settings (MFX1–3)............................................................................................ 213
Making Multi-Effects Settings (MFX Control) ................................................................................... 213
Specifying the multi-effect structure (MFX Structure)...................................................................... 215
Making Chorus Settings (Chorus) ....................................................................................................... 215
12
Exchanging MIDI Messages with Your Computer (MIDI Mode)................................................... 222
File-Related Functions (File Utility)............................................................223
Metronome................................................................................................................................... 228
MIDI.............................................................................................................................................. 230
USB................................................................................................................................................ 231
Scale Tune..................................................................................................................................... 232
Preview......................................................................................................................................... 232
System Ctrl................................................................................................................................... 233
Background.................................................................................................................................. 233
Sampling....................................................................................................................................... 233
System Information................................................................................................................................ 234
About V-LINK ...............................................................................................238
What is V-LINK? .................................................................................................................................... 238
Connection Examples ............................................................................................................................ 238
Turning the V-LINK ON/OFF ............................................................................................................. 238
V-LINK Settings...................................................................................................................................... 238
V-LINK Parameters .................................................................................................................... 239
Resetting the Image..................................................................................................................... 239
13
Contents
Cautions When Installing an Wave Expansion Board...................................................................... 240
Expanding the Memory...............................................................................244
Ajouter de la mémoire.................................................................................246
Retrait du module de mémoire................................................................................................. 247
Problems Concerning the Entire Fantom-X ............................................................................ 249
Issues Related to MIDI and External Devices......................................................................... 253
Issues Related to Sampling........................................................................................................ 254
Issues Related to a Memory Card............................................................................................. 254
Patch Parameter...................................................................................................................................... 255
Rhythm Set Parameter........................................................................................................................... 259
Sample Parameters................................................................................................................................. 265
Chorus Parameters................................................................................................................................. 293
Reverb Parameters ................................................................................................................................. 294
About MIDI....................................................................................................297
About MIDI Connectors............................................................................................................. 297
MIDI Channels and Multi-timbral Sound Generators........................................................... 297
MIDI Implementation ...................................................................................298
Specifications ..............................................................................................333
Index .............................................................................................................335
14
Main Features
Cutting-edge sound engine that
unifies audio and MIDI
The Fantom-X inherits the same sound engine that was acclaimed on
the Fantom-S, unifying synthesizer and sampler into a single sound
generator. Sampled waveforms and waveforms imported from a PC
or other external source can also be used as synthesizer waveforms.
In addition to the internal sounds and sampled waveforms, you can
install up to four SRX-series wave expansion boards for instant
access to an even broader range of sounds.
Piano mode and Live Setting function
Piano mode lets you use the Fantom-X as a dedicated piano simply
by pressing one button. The Live Setting function provides recall of
live performance setups, guaranteeing smooth transitions between
songs in your set.
A full complement of interfaces
USB connector for connection to your computer
USB-MIDI support allows data to be exchanged with your computer,
and also makes it easy to connect with PC tools.
Top-class 128-voice polyphony
An ample 128 voices of polyphony guarantees stress-free music
For connection to audio devices, both analog and digital input and
output are provided as standard. When sampling, you can select
either analog or digital as the source.
production or live performance.
There’s also a PC card slot for backing up your data. This allows you
a broad choice of media including SmartMedia and Compact Flash,
and since media capacities up to 1 GB are supported (when using
Compact Flash), you have great flexibility in data transfer.
Highest quality 88-note
multisampled piano waveforms
The Fantom-X features an 88-note multisampled piano painstakingly
recorded by professional engineers. Every note has been sampled in
stereo with four velocity-switched layers, meaning that a lavish 704
samples are used to create this piano sound. It boasts not only tonal
quality but also a high level of presence, making it closer than ever to
the “real thing.”
Built-in 16-track sequencer
A high-resolution 16-track sequencer is built in. With functions like
Loop recording that lets you record each part non-stop, it’s designed
not to interfere with your creative imagination. After you’ve input
your data, you can take advantage of the large LCD to edit track data
graphically.
The 128 MB of internal waveform memory is double that of the
Fantom-S series. It adds a wide range of sounds created with an
emphasis on quality, including strings, nylon string guitar, drums,
and bass, as well as piano.
Dynamic pad bank
*
88-note multisampling is used only for the piano waveform.
The Fantom-X features a dynamic pad bank that is sensitive to
velocity and aftertouch. They can be used as trigger pads to play
favorite sounds like hits or bass sounds, to recall RPS sequence
phrases, or assigned to play skip back-sampled phrases. In another
idea, rhythm sounds that were “chopped” from a loop phrase can be
assigned to the pads and played for realtime input into the
sequencer.
Large, color LCD—first ever on a
synthesizer!
A large, color LCD is used for excellent visibility and user-
friendliness.
With a fresh new appearance, it opens a new era in user interfaces.
Mastering functionality
Full-fledged sampler
78 different multi-effects, chorus, and reverb are provided. Since the
mastering effects that are indispensable as the final step of the music
production process are also provided, you can create songs with a
level of quality that approaches a commercially released CD.
In addition to sampling and resampling functionality, waveform
editing is also provided, delivering functionality that rivals
dedicated samplers. There’s also an Auto Sync function that can
automatically match the length of a measure to the current tempo.
32 MB of sampling memory is provided as standard, and you can
install expansion DIMM modules to expand this to as much as 544
MB.
V-LINK functionality
V-LINK lets you synchronize music and images to create completely
new forms of expression. Realtime controllers such as the D Beam
controller and the dynamic pads can be used to control images while
you perform music.
Skip Back Sampling
The Skip Back Sampling function that was so popular on the
Fantom-S series is also featured on the Fantom-X.
Fantom-X Editor/Librarian included
The included editor and librarian software lets you edit and manage
This function continually records whatever you play on the Fantom-
X. Then, when you happen to come up with an inspired riff, simply
press a single button to capture it.
Fantom-X sounds from your computer.
15
Panel Descriptions
Front Panel
fig.01-001
1
4
9
2
12
10
11
14
7
8
5
6
3
15
13
[
], [
]ASSIGNABLE switch
1
D BEAM
You can assign a variety of parameters and functions to these two
buttons. Use them to switch the parameters and functions to modify
the sound in realtime. -> (p. 122)
D BEAM
Switches D Beam function on/off. You can apply a variety of effects
to sounds simply by moving your hand. -> (p. 121)
[ASSIGNABLE]
Switches RPS on/off. -> (p. 203
)
You can assign a variety of parameters and functions to D Beam to
modify the sound in realtime. -> (p. 122)
*
Hold down [SHIFT] and press (or rotate) one of the above switches (or
knob) to access the corresponding setting screen.
[PAD TRIGGER]
Instead of striking the pads themselves, you can also use the D Beam
controller to control the sounding of the pads. -> (p. 122)
[-OCT], [+OCT]
Transposes the pitch of the keyboard in 1 octave units (-3- +3 octaves).
[SOLO SYNTH]
Play the Fantom-X as a monophonic synthesizer. -> (p. 123)
5
ARPEGGIO / RHYTHM
[CHORD MEMORY]
Switches the CHORD MEMORY on/off. -> (p. 133
*
Hold down [SHIFT] and press one of the corresponding buttons to
access the D BEAM setting screen.
)
[RHYTHM]
Switches the RHYTHM on/off. -> (p. 135)
2
EXT SOURCE
[MIX IN]
[ARPEGGIO]
Switches the ARPEGGIO on/off. -> (p. 128
Switches the external input on/off. -> (p. 141)
)
*
Hold down [SHIFT] and press one of the corresponding buttons to access
CHORD MEMORY, RHYTHM or ARPEGGIO settings screen.
*
Hold down [SHIFT] and press this button to access the external
source setting screen.
LEVEL knob
Controls the volume of the external input.
[ARP HOLD]
Switches the Arpeggio Hold function on/off.
PEAK indicator
This will light when the volume of the external input is too high.
BEAT (Beat Indicator)
This blinks in sync with the tempo and beat.
6
3
SEQUENCER
VOLUME / V-LINK
Perform sequencer operations such as playback and record.
VOLUME
Adjusts the overall volume that is output from the rear panel
[RESET]
OUTPUT A (MIX) jacks and PHONES jack. -> (p. 21)
Moves the song position to the top. If you press this during playback,
you will return to the beginning of the song and stop. -> (p. 165)
[V-LINK]
Switches the V-LINK function on/off. -> (p. 238)
[BWD]
Moves the song position to the first beat of the previous measure. ->
(p. 165)
*
Hold down [SHIFT] and press [V-LINK] to access the V-LINK setting
screen.
[FWD]
4
REALTIME CONTROL
Moves the song position to the first beat of the next measure. -> (p.
165)
[
]REALTIME CONTROL knob
Depending on the parameter or function that is assigned, you can use
the knobs to modify the sound in realtime. -> (p. 47)
[Play]
Controls sequencer play.
16
Panel Descriptions
[STOP]
Controls sequencer stop.
[CURSOR]
Moves the cursor location up/down/left/right.
While stopped, you can hold down [SHIFT] and Press [PLAY] to
perform MIDI Update. -> (p. 165)
[SHIFT] (JUMP)
This button is used in conjunction with other buttons to execute
various functions.
[REC]
The display changes to the Recording Standby window. -> (p. 170)
[ENTER]
If you press this during recording, the Rehearsal function will be
activated. -> (p. 173)
Use this button to execute an operation.
[EXIT]
Return to the previous screen, or close the currently open window.
7
DISPLAY
In some screens, this causes the currently executing function to be
aborted.
Display
This displays information regarding the operation you are
performing
12
DYNAMIC PAD / SAMPLING
8
[SAMPLE EDIT]
Edit a sample. -> (p. 148)
[MENU]
Opens the MENU. The contents of the menu will depend on the
[SAMPLE LIST]
View the sample list. -> (p. 146)
current mode.
Function buttons ([F1]–[F8])
[SAMPLING]
View the Sampling Menu screen. -> (p. 142)
During editing, these buttons execute a variety of functions, and
their function will differ depending on the screen.
[TEMPO]
Sample the performance for a specified duration prior to the moment
Sets the tempo (BPM). -> (p. 128, p. 135, p. 166)
you pressed the button. -> (p. 145)
[PAD SETTING]
9
Make pad settings. -> (p. 160)
LCD CONTRAST knob
Adjusts the display contrast. -> (p. 22)
[CLIP BOARD]
You can register frequently used screens and use the pads to recall
[WRITE]
Save edited settings into Temporary Area or a memory card. -> (p.
them (the Bookmark function). -> (p. 37)
[SAVE/LOAD]
[PATCH EDIT]
Make patch-related settings.
Saves/loads data in the Temporary Area (p. 29) or sample memory
(p. 32) to/from user memory or a memory card.
[SONG EDIT]
Make settings for song data and song edit. -> (p. 164)
[PAD 1–16]
Use as a keyboard to play sound.
[EFFECTS]
[ROLL]
Make effect-related settings. Here you can also make mastering
Turn “roll” playback on/off. -> (p. 160)
settings. -> (p. 206)
[HOLD]
Turn “hold” (sustaining the sound after you release the pad) on/off.
10
[MIXER]
->(p. 160)
View the Performance mode’s Mixer screen. -> (p. 103)
13
[LAYER/SPLIT]
View the Performance mode’s Layer screen. -> (p. 100)
Pitch Bend/Modulation Lever
This allows you to control pitch bend or apply vibrato.
[PATCH/RHYTHM]
Enter Patch/Rhythm mode. -> (p. 38)
14
Here you can install a wave expansion board (SRX series; sold
On the Fantom-X6/X7, this is located on the bottom panel. -> (p.
240, p. 242)
11
VALUE Dial
This is used to modify values. If you hold down [SHIFT] as you turn
the VALUE dial, the value will change in greater increments.
[DEC], [INC]
15
This is used to modify values. If you keep on holding down one
[PIANO MODE]
Switches to a special mode optimal for playing piano sounds. If you
button while pressing the other, the value change accelerates. If you
press one of these buttons while holding down [SHIFT], the value
will change in bigger increments.
press this button while holding down [SHIFT], the Live Setting Play
screen will appear. -> (p. 54)
17
Panel Descriptions
Rear Panel
fig.01-002
fig.01-003
fig.01-007, 008
POWER ON Switch
Press to turn the power on/off. -> (p. 21, p. 22)
OUTPUT A (MIX) Jacks (L (MONO), R)
These jacks output the audio signal to the connected mixer/amplifier
system in stereo. For mono output, use the L jack. -> (p. 19)
AC Inlet
Connect the included power cord to this inlet. -> (p. 21)
OUTPUT B Jacks (L, R)
These jacks output the audio signal to the connected mixer/amplifier
fig.01-004
system in stereo.
INDIVIDUAL 1–4 Jacks
CTL (CONTROL) PEDAL Jack
These jacks output audio signals in mono to an amp or mixer.
You can connect optional expression pedals (EV-5, etc.) to these
OUTPUT jacks or monaural INDIVIDUAL jacks is made with the
Output Assign setting (p. 207).
jacks. By assigning a desired function to a pedal, you can use it to
select or modify sound or perform various other control. You can
sound. -> (p. 25)
925
Accept input of audio signals in stereo (L/R) from external devices.
*
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.
If you want to use mono input, connect to the L jack.
When recording from a mic, connect it to the L jack, and set Input
Select (p. 141) to “MICROPHONE.”
HOLD PEDAL Jack
An optional pedal switch (DP series etc.) can be connected to this
PHONES Jack
This is the jack for connecting headphones (sold separately). -> (p.
jack for use as a hold pedal. -> (p. 24)
19)
fig.01-003a
This can also be set so it supports the use of half-pedaling
techniques. So, after connecting an optional expression pedal (DP-8,
etc.), you can employ pedal work to achieve even finer control in
performances in which piano tones are used.
fig.01-005
PC CARD Slot
A memory card can be inserted here. -> (p. 244, p. 246)
931
*
Carefully insert the memory card all the way in-until it is firmly in
place.
MIDI Connectors (IN, OUT, THRU)
These connectors can be connected to other MIDI devices to receive
USB Connector
This connector lets you use a USB cable to connect your computer to
and transmit MIDI messages.
fig.01-006
the Fantom-X. -> (p. 218)
DIGITAL IN/OUT Connectors (S/P DIF COAXIAL)
These are coaxial-type S/P DIF format digital in/out connectors.
These connectors input and output a digital audio signal (stereo).
The output signal is identical to the signal that is output from the
OUTPUT A (MIX) jacks.
*
S/P DIF is a digital interface format used for consumer digital audio devices.
18
Getting Ready
Connecting an Amp and Speaker System
Since the Fantom-X contains no amplifier or speakers, you’ll need to connect it to audio
equipment such as a keyboard amplifier, monitor speaker system or home stereo, or use
headphones to hear its sound.
921
To prevent malfunction and/
1. Before hooking anything up, make sure that the power on all of your gear is turned
or damage to speakers or other
devices, always turn down the
volume, and turn off the
OFF.
2. Connect one end of the supplied power cable to the Fantom-X, and the other end to a
power outlet.
power on all devices before
making any connections.
3. Connect the Fantom-X to your amp/speaker system as shown in the diagram.
fig.02-002.e
In order to fully experience the
Fantom-X’s sound, we
recommend using a stereo
amp/speaker system. If you’re
using a mono system,
to Power outlet
Stereo headphones
however, make your
connections to the Fantom-X’s
OUTPUT A (MIX) jack L
(MONO).
need to provide them.
Monitor speakers
(powered)
Mixer etc.
For details on how to install a
Wave Expansion Board (sold
separately), refer to “Installing
the Wave Expansion Board”
(p. 240).
Power amp
The OUTPUT A [MIX] jacks
support balanced output. Use
a correctly wired cable so that
the HOT, COLD, and GND as
printed on the rear panel of the
Fantom-X are correct for the
mixer or other input device
you’re using.
19
Getting Ready
Placing the Fantom-X8 on a Stand (For Fantom-X8 user)
If you want to place the Fantom-X8 on a stand, use the Roland KS-17. Place the instrument on the stand as follows.
fig.02-001.e
Place it so the center of the stand comes
between the "a" and "n" of the word "Fantom."
Place so that it is immediately above
Rubber feet of the Fantom-X8
Stand screws
Center
20
Getting Ready
Turning On the Power
941
Once the connections have been completed (p. 19), turn on power to your various devices in
the order specified. By turning on devices in the wrong order, you risk causing malfunction
and/or damage to speakers and other devices.
To ensure proper operation of
the pitch bend lever, make
sure not to touch the lever
when turning the Fantom-X’s
power on.
fig.bender.e
1. Before turning on the Fantom’s power, consider these two questions:
• Are all peripheral devices connected correctly?
• Have the volume controls of the Fantom-X and all connected audio devices been
turned to their lowest settings?
2. Turn on the POWER ON switch located on the rear panel of the Fantom-X.
fig.02-003
Do not touch!
Be careful not to set your
listening volume too high to
avoid damage to your amp/
speaker system or your
942
* 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.
hearing.
3. Turn on the power for any connected amplifiers or speakers.
4. Play the Fantom-X’s keyboard, gradually increasing the setting of its volume control,
and then carefully raise the volume of your connected amplifiers or speakers to the
desired listening level.
fig.02-004
21
Getting Ready
Adjusting the Display Contrast (LCD Contrast)
The characters in the display may be difficult to view immediately after turning on the Fantom-
X’s power or after extended use. Your viewing angle or the current lighting conditions can also
affect the appearance of the display. In such situations, you can turn the CONTRAST knob
(located on the rear panel) to adjust the contrast of the display.
fig.02-005
Turning Off the Power
1. Before you turn off the power, consider these two questions:
• Have the volume controls for the Fantom-X and all connected audio devices been
turned to their lowest settings?
If you need to turn off the
power completely, first turn
off the POWER switch, then
unplug the power cord from
the power outlet. Refer to
“Power Supply” (p. 4).
• Have you saved your Fantom-X sounds or other data you’ve created?
2. Turn off the power for all connected audio devices.
3. Turn off the POWER ON switch of the Fantom-X.
22
Listening to the Demo Songs
The Fantom-X contains a demonstration (“demo”) song that you can listen to using the
Fantom-X’s Demo Play feature. The demo will introduce you to the Fantom-X’s exceptional
sounds and effects.
Listening to the demo song loaded when you start up the
Fantom-X
With the factory settings, you can play a song simply by powering up the Fantom-X and
pressing the [PLAY] button.
You can use the Song Edit
Song name: Still Solace Copyright©Roland Corporation
screen to view the musical data
This song is an acoustic piano and acoustic guitar performance. Either sound is ideal for both
of this song.
soloing and accompaniment.
981a
fig.02-005a
All rights reserved.
Unauthorized use of this
material for purposes other
than private, personal
enjoyment is a violation of
applicable laws.
Listening to the other demo songs
If you want to hear the other songs, use the following procedure to play them.
For the names and copyright information of these songs, refer to the Fantom-X's display.
1. Press [MENU].
The pull-down menu appears.
fig.02-006
2. Press
to select a “Demo Play,” and then press [ENTER].
fig.02-007
3, 4
2, 5
3. Press [F1 (SONG1)]-[F7 (SONG7)] to start demo song playback.
Otherwise, playback will stop automatically when the song ends.
If you press [F8 (All Songs)], the songs will playback successively, beginning from the first.
When you perform demo
4. Press [F8 (Exit)] to return to the Demo Menu screen.
playback, any patch or
performance you may have
been editing will be lost.
5. Press [EXIT] to return to the previous screen.
982
* When you play back using the procedure of steps 1–5, the playback data will not be
transmitted from the MIDI OUT connector.
23
Various Performance Features
Velocity/Aftertouch
For details on the setting, refer
to p. 226.
The force with which you play the keyboard, or the “velocity” with which you play, can affect
the volume or timbre of a sound. Aftertouch—downward pressure you apply to a key after
playing a note—can also affect the sound.
fig.02-008
There are two types of
aftertouch: Polyphonic
Aftertouch, which applies
aftertouch to individual notes,
and Channel Aftertouch,
which applies aftertouch to an
entire MIDI channel (p. 193).
The Fantom-X can output the
MIDI data for Polyphonic
Aftertouch using the pads, and
Channel Aftertouch using the
keyboard.
Pitch Bend/Modulation Lever
While playing the keyboard, move the lever to the left to lower the pitch of the currently
selected patch, or to the right to raise its pitch. This is known as pitch bend. You can also apply
vibrato by gently pushing the lever away from you. This is known as modulation.
If you push the lever away from you and at the same time move it to the right or left, you can
You can set the amount of
pitch change for each patch (p.
67).
apply both effects at once.
fig.02-009.e
Pitch Bend
Modulation
Octave Shift (Oct)
You can shift the pitch of the keyboard in one-octave units over a range of +/-3 octaves by
adjusting the value of the Octave Shift parameter.
Use KEY EFFECT [-OCT] or [+OCT] at the left of the screen to make the desired setting.
To return to the original setting, press both buttons simultaneously.
Hold Pedal
If an optional pedal switch (DP series) is connected to the rear panel PEDAL HOLD jack, you
can press the pedal switch to cause notes to sustain or “hold” even after their keys have been
released.
For details on the setting, refer
to p. 226.
fig.02-010
24
Various Performance Features
Control Pedal
The way in which the sound
changes will depend on the
settings. For details on settings
for parameters controlled by
the pedal, refer to “Making
Control Pedal Settings”
If an optional expression pedal or pedal switch (EV-5, DP-2.) is connected to the rear panel
PEDAL CONTROL jack, you can use the pedal to control the volume or various function.
fig.02-011
(“Making Control Pedal
Settings” (p. 126)).
Roland
Use only the specified
expression pedal or pedal
switch (EV-5, DP-2; sold
separately). By connecting any
Transpose (Trans)
For details, refer to
You can transpose the pitch of the keyboard in semitone steps, over a range of G–F# (-5– +6
“Transposing the Keyboard in
Octave Units (Octave Shift)”
(“Transposing the Keyboard
in Octave Units (Octave
Shift)” (p. 45)).
semitones) by adjusting the Transpose parameter’s value.
Press [CURSOR] to move the cursor to “Trans” in the upper part of the screen, and turn the
VALUE dial or press [INC] or [DEC] to change its setting.
fig.02-012
25
Overview of the Fantom-X
Classification of Fantom-X Sound
How the Fantom-X Is Organized
Basic Structure
Types
When using the Fantom-X, you will notice that a variety of different
categories come into play when working with sounds. What follows
is a simple explanation of each sound category.
Broadly speaking, the Fantom-X consists of a controller section, a
sound generator section, and a sequencer section. These sections are
internally connected via MIDI.
fig.04-001.e
Tones
Audio Input
Sampling
On the Fantom-X, the tones are the smallest unit of sound. However,
it is not possible to play a tone by itself. The patch is the unit of
sound which can be played, and the tones are the basic building
Sampler
Section
blocks which make up the patch.
fig.04-002.e
Sound
Generator
Section
Playback
Sequencer
Section
Resampling
Tone
LFO 1
LFO 2
Recording
Play
Controller Section (controllers
such as keyboard, pad, pitch bend lever, etc.)
WG
TVF
TVA
Controller Section
Pitch
Envelope
TVF
Envelope
TVA
Envelope
This section consists of the keyboard, pad, pitch bend/modulation
lever, panel knobs and buttons, and D Beam controller. It also
includes any pedals that may be connected to the rear panel. The
performance information generated when you do things such as
press/release a key or pad, or depress the hold pedal is converted
into MIDI messages and sent to the sound generator section,
sequencer section, and/or an external MIDI device.
control signal
audio signal
Tones consist of the following five components.
WG (Wave Generator)
Specifies the PCM waveform (wave) that is the basis of the sound,
and determines how the pitch of the sound will change.
The Fantom-X has 1,480 different waveforms. All patches built into
the Fantom-X consist of combinations of tones which are created
based on these waveforms.
Sound Generator Section
The sound generator section produces the sound. It receives MIDI
messages from the keyboard controller section and sequencer section
and/or from an external MIDI device, generates musical sound
according to the MIDI messages that were received, and outputs the
sound from the output jacks or headphone jack.
There are four wave generators for each rhythm tone
(percussion instrument sounds).
Sequencer Section
TVF (Time Variant Filter)
This section records operations of the keyboard controller section as
MIDI messages, and transmits the recorded MIDI messages to the
sound generator section. MIDI messages recorded on the sequencer
can also be transmitted from the MIDI OUT connector to allow the
Fantom-X to also control external MIDI devices.
Specifies how the frequency components of the sound will change.
TVA (Time Variant Amplifier)
Specifies the volume changes and the sound’s position in a stereo
soundfield.
Envelope
The Sampler section
You use Envelope to initiate changes to occur to a sound over time.
There are separate envelopes for Pitch, TVF (filter), and TVA
(volume). For example if you wish to modify the way in which the
sound attacks or decays over time, you would adjust the TVA
envelope.
A sampler is a device that captures sounds from a CD player or mic
connected to the audio input or the digital input (or sounds from a
wave file) as “samples.”
Samples you record can be used in the same way as the waveforms
that are built into the internal sound generator. (p. 141)
The Fantom-X can load WAV or AIFF format wave files as samples
via a USB connection. Loaded sample can be used in patches or
rhythm sets.
26
Overview of the Fantom-X
Each percussion instrument consists of the following four elements.
(For details, refer to the explanations for “Tones.”)
LFO (Low Frequency Oscillator)
Use the LFO to create cyclic changes (modulation) in a sound. The
Fantom-X has two LFOs. You can use the LFO to apply an effect to
either the WG (pitch), the TVF (filter), or the TVA (volume). When an
LFO is applied to the WG pitch, a vibrato effect is produced. When an
LFO is applied to the TVF cutoff frequency, a wah effect is produced.
When an LFO is applied to the TVA volume, a tremolo effect is
produced.
WG (Wave Generator): 1–4
TVF (Time Variant Filter)
TVA (Time Variant Amplifier)
Envelope
LFO is not included in the rhythm tones (percussion instrument sounds).
Performances
A performance has a patch or rhythm set assigned to each of the 16
parts, and can simultaneously handle 16 sounds.
The Fantom-X has two screens: a Layer screen and a Mixer screen (p.
100, p. 103).
Patches
Patches are the basic sound configurations that you play during a
performance. Each patch can be configured by combining up to four
tones. How the four tones are combined is determined by the
Structure Type parameter (p. 63).
fig.04-003.e
Use the Layer screen if you want to play two or more patches
together (Layer) or play different patches in separate areas of the
keyboard (Split).
Patch
Use the Mixer screen if you want to “mix” by individually adjusting
the pan and level settings for each of the sixteen parts.
Because the Fantom sound generator can control multiple sounds
Tone 4
Tone 3
Tone 2
(instruments) it is called a Multi-timbral sound generator.
fig.04-005.e
Tone 1
Performance
LFO 1
LFO 2
Layer
Mixer
Part 16
WG
TVF
TVA
Pitch
TVF
TVA
Envelope
Envelope
Envelope
Part 1
Patch/
Rhythm Set
Rhythm Sets
Rhythm sets are groups of a number of different percussion
instrument sounds. Since percussion instruments generally do not
play melodies, there is no need for a percussion instrument sound to
be able to play a scale on the keyboard. It is, however, more
important that as many percussion instruments as possible be
available to you at the same time. Therefore, each key (note number)
Part
On the Fantom-X, a “part” is something to which you assign a patch
or rhythm set. Patch mode has two parts, the Pad part and the
Keyboard part, and you can assign a patch or rhythm set to each of
these parts. In Performance mode, each performance has sixteen
parts, and you can assign a patch or rhythm set to each part.
of a rhythm set will produce a different percussion instrument.
fig.04-004.e
Rhythm Set
Note Number 98 (D7)
Note Number 97 (C#7)
Note Number 36 (C2)
Note Number 35 (B1)
Rhythm Tone (Percussion instrument sound)
WG
TVF
TVA
Pitch
Envelope
TVF
Envelope
TVA
Envelope
27
Overview of the Fantom-X
About Simultaneous Polyphony
About Memory
The Fantom-X can play a maximum of 128 sounds simultaneously.
The following paragraphs discuss what this means, and what will
happen when more than 128 simultaneous voices are requested from
the Fantom-X.
Patch and performance settings are stored in what is referred to as
memory. There are three kind of memory: temporary, rewritable,
and non-rewritable.
fig.04-006.e
Fantom-X
Preset A (PR-H)
Preset A (PR-G)
Calculating the Number of Voices
Being Used
The Fantom-X is able to play up to 128 notes simultaneously. The
polyphony, or the number of voices (sounds) does not refer only to
the number of patches actually being played, but changes according
to the number of tones used in the patches, and the number of waves
used in the tones. The following method is used to calculate the
number of sounds used for one patch being played.
System
Preset A (PR-F)
Preset A (PR-E)
Preset A (PR-D)
User (USER)
Preset A (PR-C)
Preset A (PR-B)
Patch
256
Preset A (PR-A)
Patch
128
GM (GM2)
Rhythm Set
32
Patch
256
Rhythm Set
(Number of patches being played) x (Number of tones used by
patches being played) x (Number of waves used in the tones)
For example, a patch that combines four tones, each of which use two
waves, will use eight notes of polyphony at once. Also, when playing
in Performance mode, the number of sounds for each part is counted
32
Performance
64
* 1
Performance
64
Rhythm Set
9
* 1
Select
Select
* 2
Select
Write
Temporary Area
How a Patch Sounds
When the Fantom-X is requested to play more than 128 voices
simultaneously, currently sounding notes will be turned off to make
room for newly requested notes. The note with the lowest priority
will be turned off first. The order of priority is determined by the
Patch Priority setting (p. 61).
Select
Select
Write
EXP D Slot
EXP C Slot
EXP B Slot
Patch
256
Patch Priority can be set either to “LAST” or “LOUDEST.” When
“LAST” is selected, a newly requested note that exceeds the 128 voice
turned off. When “LOUDEST” is selected, the quietest of the currently
sounding notes will be turned off. Usually, “LAST” is selected.
EXP A Slot
Rhythm Set
32
Patch
Performance
64
Rhythm Set
Memory Card
Wave Expansion Board
Note Priority in Performance Mode
Since Performance mode is usually used to play an ensemble consisting
of several patches, it is important to decide which parts take priority.
Priority is specified by the Voice Reserve settings (p. 111). When a note
within a patch needs to be turned off to make room for a new note, the
Patch Priority setting of the patch will apply (p. 61).
* 1 Only in PR-A (PRST)
* 2 The selected Patches/Rhythm Sets cannot be changed.
Voice Reserve
The Fantom-X has a Voice Reserve function that lets you reserve a
minimum number of notes that will always be available for each
part. For example if Voice Reserve is set to “10” for part 16, part 16
will always have 10 notes of sound-producing capacity available to it
even if a total of more than 128 notes (total for all parts) are being
requested. When you make Voice Reserve settings, you need to take
into account the number of notes you want to play on each part as
well as the number of tones used by the selected patch (p. 111).
It is not possible to make Voice Reserve settings that would
cause the total of all parts to be greater than 64 voices.
28
Overview of the Fantom-X
Temporary Memory
Temporary Area
About the Onboard Effects
Effect Types
The Fantom-X has built-in effect units, and you can independently
This is the area that holds the data for the patch or performance that
you’ve selected using the panel buttons.
edit each unit’s settings.
When you play the keyboard or play back a sequence, sound is
produced based on data in the temporary area. When you edit a
patch or performance, you do not directly modify the data in
memory; rather, you call up the data into the temporary area, and
edit it there.
Multi-Effects
The multi-effects are multi-purpose effects that completely change
the sound type by changing the sound itself. Contained are 78
different effects types; select and use the type that suits your aims. In
addition to effects types composed of simple effects such as
Distortion, Flanger, and other such effects, you can also set up a
wide variety of other effects, even connecting effects in series or in
parallel. Furthermore, while chorus and reverb can be found among
the multi-effects types, the following chorus and reverb are handled
with a different system. In Performance mode, three types of multi-
effect can be used simultaneously; these are referred to as MFX1,
MFX2, and MFX3. In Patch mode, the Keyboard part can use MFX1
and the Pad part can use MFX2.
Settings in the temporary area are temporary, and will be lost when
the power is turned off or when you select another patch/
performance. To keep the settings you have modified, you must
write them into rewritable memory.
Rewritable Memory
System Memory
System memory stores system parameter settings that determine
how the Fantom-X functions.
Chorus
User Memory
User memory is the internal memory area that holds patches,
Chorus adds depth and spaciousness to the sound. You can select
whether to use this as a chorus effect or a delay effect.
performances, samples, and performance data.
Reverb
Memory Card
You can use a memory card to store patches, performances, samples,
Reverb adds the reverberation characteristics of halls or
auditoriums. Five different types are offered, so you can select and
use the type that suits your purpose.
and performance data just as you can in User memory.
Non-Rewritable Memory
Preset Memory
Data in Preset memory cannot be rewritten. However, you can call
up settings from preset memory into the temporary area, modify
them and then store the modified data in rewritable memory (except
GM2).
Mastering Effect
This is a stereo compressor (limiter) that is applied to the final
output of the Fantom-X. It has independent high, mid, and low
ranges. Independently for the high-frequency, mid-frequency, and
low-frequency regions, this compresses any sounds that exceed the
specified level, making the volume more consistent.
Wave Expansion Boards
(SRX Series; sold separately)
The Fantom-X can be equipped with up to four Wave Expansion
Boards (SRX series; sold separately). Wave Expansion Boards
contain Wave data, as well as patches and rhythm sets that use this
Wave data, which can be called directly into the temporary area and
played.
29
Overview of the Fantom-X
How Effects Units Work in
Different Modes
About the Sequencer
A sequencer records keyboard performance and controller
movements as MIDI messages (sequencer data). As the data plays
back, the recorded MIDI messages are sent to a sound generator
which will produce the required sounds. The sequencer actually
plays instruments instead of the musician, and since it can record a
musical performance, it is a tape recorder as well.
In Patch Mode
Multi-effects can be used individually by each patch and rhythm set.
Chorus and reverb are each shared by patches and rhythm sets; the
same effect applies to each tone. Adjusting the signal level to be sent
to each effects unit (Send Level) provides control over the effect
But in reality a sequencer doesn’t record sound, but actually the
steps that cause the sound generator to produce sound, so it offers
several advantages. Sound quality is always excellent, the equivalent
of first-generation tape, no matter how many times the data plays
back; tempo changes have no effect on pitch; detailed editing is
possible, etc.
intensity that’s applied to each tone.
fig.04-007
Keyboard part
Patch
TONE
Multi-Effects
What Is a Song?
For the Fantom-X, musical performance data for one song or
composition is referred to as a song. A song combines sequencer
data recorded on Phrase tracks 1–16, a Tempo track, a Beat track and
Pad part
a Pattern, as discussed below.
fig.04-009.e
Rhythm Set
A0
RHYTHM
C8
Multi-Effects
Chorus
TONE
Pattern
Song
+
Pattern
+
Reverb
1
Phrase track 16
Pattern
2
Phrase track 2
Phrase track 1
*
To each part you can assign either a Patch or a Rhythm Set.
In the Performance Mode
The multi-effects, chorus and reverb effects can be set individually for
each performance. The intensity of each effect will be set for each part.
When you apply effects in Performance mode, the effect settings of
the patch or rhythm set assigned to each part will be ignored, and the
effect settings of the performance will be used. Thus, the effects for
the same patch or rhythm set may differ when played in Patch mode
and in Performance mode. However, depending on the settings, you
can have effect settings for a patch or rhythm set assigned to a part
applied to the entire performance. In addition, when using the multi-
effects settings of a performance, you can use three different multi-
Pattern
100
Tempo track
Beat track
What Is a Track?
Each section of a song which stores musical performance data is
effects simultaneously, depending on the effect type.
fig.04-008.e
called a track.
Performance/Multitimbre
Phrase Tracks 1–16
Part 1
Patch
Phrase tracks record the musical performance. Each Phrase track
records musical performance data for 16 MIDI channels. Totally, up
to 16 tracks x 16 MIDI channels of data can be recorded. It’s helpful if
you’ve made decision prior to recording such as recording melody
on Phrase track 1, bass on Phrase track 2, drums on Phrase track 10,
and accompaniment on the remaining Phrase tracks.
Part16
TONE
Multi-Effects
Chorus
Reverb
30
Overview of the Fantom-X
Tempo Track
Positions for Storing a Song
The Tempo track records tempo changes of a song over time. It can
be used for tempo changes during a song. If a song has the same
tempo from beginning to end, the Tempo track can be ignored.
When a song is first recorded on the Fantom-X, a tempo setting at
the time of recording will be stored at the beginning of the Tempo
track. Therefore when song playback starts from the beginning, the
song will always play back at this initial tempo.
Temporary Area
The sequencer has an area called Temporary Area that can
temporarily store one song. So we call this temporary song.
To play back a song saved to a disk with the Fantom-X, it doesn’t
have to be loaded into Temporary Area. Only when you’re going to
record a song or edit a song saved to disk, do you have to load it into
Temporary Area. Since only one song can be worked on during
recording or editing, all the Temporary Area has to do is store one
song (about 120,000 notes).
Thus playback tempo is determined by the Tempo track setting. If
you modify the tempo during playback, the overall tempo of the
song will be controlled by the setting you make.
The song in Temporary Area is volatile and will be lost when the
power is turned off. To keep a song, you must save it to user
memory or memory card.
Beat Track
The Beat track records the time signature of each measure of a song.
Set the Beat track when recording a new song, or when you want to
change time signature during a song.
Memory Card/User Memory
When keeping a recorded or edited song in Temporary Area, save it
be saved to a card and user memory.
Pattern
Patterns are a place to store performance data separately from
phrase tracks. You can create up to one hundred patterns; as with a
phrase track, each pattern can contain up to sixteen MIDI channels of
data.
If you want to keep the song in Temporary Area that you recorded
or edited, you must save it as a song file onto a memory card or into
user memory. Either method lets you save up to 256 songs.
A card and user memory can contain two file types. The three-letter
symbol shown in parentheses ( ) is a file name extension that
distinguishes the different file types.
Patterns can be assigned to phrase tracks. This means that if your
song uses repeating phrases such as drum or bass riffs, you can
record each phrase as a pattern, and then use the Step Recording
window to assign the patterns at the appropriate locations (p. 176).
In this case, the phrase track only contains “pattern call numbers”
which specify which pattern is to be played. This is convenient, and
also lets you conserve memory.
Song File (.SVQ)
This file is a song created on the Fantom-X. It is called an MRC Pro song.
The RPS function (p. 203) for immediate playback also applies to
Patterns. Patterns are therefore convenient for live performance, if
you’ve recorded necessary sequencer data as Patterns and take them
to the gig.
Standard MIDI File (.MID)
Standard MIDI File is a standard file format that allows sequencer
data to be exchanged between most musical applications. Fantom-X
files can be saved as Standard MIDI Files. This also allows you to
play back commercially available music data (GM scores) that is
Patterns also make fine scratch-pads for musical ideas.
compatible with the GM/GM2 system.
fig.04-010.e
Songs and the Sound Generator
Mode
Temporary Memory
User Memory
The Fantom-X’s sequencer can be used at any time, regardless of the
mode of the sound generator (Patch/Performance).
Song file
In Performance mode you can use up to sixteen sounds, with each
part playing a different sound. This means that Performance mode is
ideal for recording or playing an ensemble that uses multiple
instruments, such as drums, bass, and piano.
Internal Memory
Standard MIDI file
In Patch mode you can play using the sounds that are assigned to the
Keyboard part and the Pad part.
Fantom-X
Memory Card
Song file
Standard MIDI file
31
Overview of the Fantom-X
Where Samples are Stored
About the Sampling Section
The Sampling section samples (records) external sounds from an
audio device or mic as digital data. Sampled sounds can be played as
a patch or rhythm set. You can also import WAV/AIFF format files
and use them in the same way.
Samples that you record or import are stored in sample memory.
This sample memory is temporary, and its data will be lost when
you turn off the power. If you want to keep these samples, you must
save them to user memory or a memory card.
*
You cannot save data to the preset memory.
fig.04-013.e
Samples
A sample contains the waveform data sampled by the Fantom-X. In
addition to the actual waveform data itself, a sample also contains
parameters such as start point, loop start, and loop end. The Fantom-
Sample Memory
Sampler Section
Preset Memory
User Memory
X can hold 9,000 samples.
fig.04-011.e
Load
Write
Write
Preset Bank
User Bank
Card Bank
Sample
Write
Load
Write
Sample List
0001 User Sample
0002
Write
Sampling
Added
automatically
Drum
Wave
(Sample)
2000
Fantom-X
Sampling
Load/Write
Multisamples
Two or more samples assigned to the keyboard are collectively
called a multisample. A multisample is divided into 128 “splits.”
Each split contains the number of a sample in the sample list—it
does not contain the actual sample data itself.
Memory Card
The Fantom-X has 128 internal samples (preset samples), and in
addition can store up to 128 user samples in a separately sold
memory card.
fig.04-012.e
Multisample
Multisample
No.128
A multisample is
divided into 128
Multisample No.001
sample
No.128
sample
No.127
sample sample sample
No.001 No.002 No.003
Number in the sample list
32
Overview of the Fantom-X
To select the Layer screen
Basic Operation of the Fantom-X
1. Press [LAYER/SPLIT].
fig.04-015_50
Switching the Sound Generator Mode
The Fantom-X has two sound generating modes: Patch mode,
Performance mode. You can select the sound generating mode (state)
that is most appropriate for how you are playing the Fantom-X.
Use the following procedure to switch between these modes.
Patch mode
In this mode you can use the keyboard and pads to play individual
sounds (patches/rhythm sets).
The keyboard and pads each have their own sound generator and
part, and are connected on a single MIDI channel.
To select the Mixer screen
To select Patch mode
1. Press [MIXER].
fig.04-016_50
1. Press [PATCH/RHYTHM].
fig.04-014_50
Performance Mode
This mode allows you to combine multiple sounds (patches or
rhythm sets).
LAYER/SPLIT display
Use this screen when you want to play two or more sounds
(patches/rhythm sets) together.
You can play patches together (Layer) or divide the keyboard into
two regions and play different patches in each region (Split).
MIXER display
Use this screen when you want to mix the sounds by adjusting the
level and pan for each of the 16 parts.
The Layer screen and Mixer screen provide different views of
the same performance. For example, you’ll want to use the
Layer/Split screen when you’re setting up a keyboard split, or
use the Mixer screen when you’re adjusting the effect settings or
volume balance of the patches for each part.
33
Overview of the Fantom-X
About the Function Buttons
Moving the Cursor
The eight [F1]–[F8] buttons (function buttons) located below the
display execute various functions, and their operation will differ
depending on the screen. Functions will be listed in the bottom of the
A single screen or window displays multiple parameters or items for
selection. To edit the setting of a parameter, move the cursor to the
value of that parameter. To select an item, move the cursor to that
item. When selected with the cursor, a parameter value or other
screen.
fig.04-017
selection is highlighted.
fig.04-019.e
Cursor
Move the cursor with the
,
,
and
(cursor buttons).
fig.04-020
Window
:
:
moves the cursor up.
moves the cursor down.
The somewhat smaller screens that appear temporarily on top
of the normal screens are called windows. Various types of
windows appears according to the situation. Some display lists,
others allow you to make settings, and still others ask you to
:
:
moves the cursor to the left.
moves the cursor to the right.
confirm an operation.
fig.04-018.e
If you hold down one cursor button while you also press the
more rapidly in the direction of the first-pressed cursor button.
When the cursor is displayed, pressing [ENTER] will sometimes
display a list of the available choices for that parameter. This is
convenient when you want to see what your choices are. When
the list is displayed, you can also use the pads to input your
choice. (p. 35)
Window
Press [EXIT] to close the window. Some windows will close
automatically when an operation is performed.
34
Overview of the Fantom-X
Using the pads
Modifying a Value
To modify the value, use the VALUE dial or the [INC]/[DEC]
In some cases when the cursor is located at an input location, you
can press [ENTER] to see a list of parameter values. For some of
these lists, the screen will show an icon like the following, which
means you can use the pads to input or specify the value.
buttons.
fig.04-021
When inputting a numerical value
fig.04-021a
In each screen of the Fantom-X, you can use the cursor to move
the area displayed as highlighted, and modify its value.
Each parameter has its own range of possible values, so you
cannot set any value smaller than the minimum value or greater
than the maximum value.
PAD 1–9: Input numerals 1–9
PAD 10: Input the numeral 0
BS: Cancels the numeral you input
DEL: Cancels the lowest place of the number you input. If you’ve
input “15,” pressing DEL will change the value to “1.”
VALUE Dial
Rotating the VALUE dial clockwise increases the value,
counterclockwise decreases the value. Holding down [SHIFT] as you
move the VALUE dial increases value increments so you can make
large value changes faster.
When inputting directly
fig.04-021a
When the cursor is located at a parameter value, press [ENTER]
to display a window where you can set the value. Use
to select a value, and then press [ENTER] to finalize the setting.
[INC] and [DEC]
Pressing [INC] increases the value, and [DEC] decreases it. Keep the
button pressed for continuous adjustment. For faster value increases,
keep [INC] pressed down and press [DEC]. For decreasing value
faster, keep [DEC] pressed down and press [INC].
Pressing a pad will directly input the corresponding value. From the
top, the items in the list correspond to pads 1–16.
If you press [INC] or [DEC] while holding down [SHIFT], the value
increments will get bigger.
35
Overview of the Fantom-X
Using the Pads to Specify Characters
Assigning a Name
You can use the pads to specify characters.
On the Fantom-X, you can assign names to each patch, rhythm set,
performance, Song, Sample, and Pattern. The procedure is the same
for any type of data.
By pressing a pad one or more times, you can successively select
the letters, numerals, and symbols that appear on the pad. For
example, if you repeatedly press pad 1, you will cycle through
the available choices like this: 1 -> A -> B -> C -> 1 -> A...
1. Press [CURSOR] to move the cursor to the location where
you wish to input a character.
fig.04-022a
•
•
You can switch between uppercase and lowercase letters for the
character to be entered by pressing CAPS LOCK.
Press SPACE to replace the character at the cursor location with
a space.
•
•
•
Press INS to insert a space at the cursor location.
Press DEL to delete the character at the cursor location.
Press BS to delete the character to the left of the cursor location.
fig.04-022
2. Turn the VALUE dial, or press [INC]/[DEC] to specify the
character.
•
[F1 (Change Type)]: Selects the type of character. Each time you
press this, you will alternately select the first
character of a character set: uppercase (A),
lowercase (a), or numerals and symbols (0).
•
•
[F2 (Delete)]:
Deletes the character at the cursor location,
and moves the subsequent characters one
space forward.
[F3 (Insert)]:
Inserts a space at the cursor location.
•
•
or
,
:
:
Move the cursor.
Switch between uppercase and lowercase
letters.
*
If you decide to discard your input, press [F7 (Cancel)].
Available characters/symbols are:
space, A–Z, a–z, 0–9, ! “ # $ % & ‘ ( ) * + , - . / : ; < = > ? @ [ \ ] ^
_ ` { | }
From a naming screen you can press [MENU] and select
“Undo” to return the name to what it was before you changed
it. From [MENU] you can select “To Upper” or press
change the character at the cursor to uppercase. From [MENU]
you can select “To Lower” or press to change the character
to
at the cursor to lowercase. From [MENU] you can select “Delete
All” to clear all the characters you were inputting.
Song file names may not contain lowercase characters or certain
symbols (“ * + , . / : ; < = > ? [ \ ] |).
36
Overview of the Fantom-X
Registering and recalling
frequently used screen
pages (Bookmark)
This function lets you register frequently used screen pages, and use
the pads to access them. For example, if you find yourself frequently
moving between the Patch Edit page and the Effect page, this function
will help you switch between these two pages more efficiently.
Viewing an explanation of
each button (Help)
Here's how you can make the Fantom-X's screen display a brief
explanation of each button or what the button does when pressed
while holding down the [SHIFT] key.
1. Press [MENU].
2. Use the VALUE dial or [INC][DEC] to select “Help.”
Registering a page
1. Access the page that you want to register.
3. Press [ENTER].
The “Help” screen will appear.
2. Hold down [CLIP BOARD] and press the pad to which you
want to register this page.
Viewing the number of
voices used by the sound
generator (Voice Monitor)
For example, if you register the page at pad number 3, the
display will indicate “Bookmarked to #3.”
*
These settings are remembered even when you turn off the power.
Here's how you can see a graphic indication of the number of voices
used by the sound generator.
Recalling a page
1. Press [CLIP BOARD].
1. In the Patch mode or Performance mode screen, hold down
[SHIFT] and press [F4 (Voice Monitor)].
The Bookmark screen will appear.
2. Press [F8 (Exit)] to return to the previous screen.
Pads for which a page has been registered will blink.
fig.04-023
2. Press one of the blink pads; the Bookmarked to that pad
will appear.
*
To clear a registered page, hold down [CLIPBOARD] in step 1 and
press the pad whose registration you want to clear.
37
Playing in Patch Mode
In Patch mode, the keyboard and the pads are each used to play a
single sound (patch/rhythm set).
4. Press [F6] to switch the Patch Play screen.
This screen simultaneously displays the settings of the
Keyboard part and the Pad part.
fig.05-003_50
The keyboard controller section and the pad controller section each
have their own sound generator part, and each are connected by
their own MIDI channel. This means you can play separate sounds
on the keyboard and the pads.
About the Patch Play Screen
Displaying Patch Play Screen
To access the Patch Play screen, use the following procedure.
Press [F3 (Part Level)] to adjust the volume of the keyboard part
and pad part.
1. Press [PATCH/RHYTHM].
You will enter Patch mode, and the Patch Play screen appears.
Pressing [F8 (Part Level)] will open a window where you can
adjust the volume of the keyboard part and pad part.
Press [F6] (keyboard part) or [F7] (pad part) to select the part,
and turn the VALUE dial or use [INC][DEC] to adjust the
volume.
The Fantom-X has two parts; a Keyboard part and a Pad part.
2. Press [F7 (Part Kbd)] to select the Keyboard part.
fig.05-001.e
Patch number
Patch name
Patch Category
Patch type
Patch group
Press [F8 (Close)] to close the window.
fig.05-004_50
3. Press [F8 (Part Pad)] to select the Pad part.
fig.05-002.e
Patch type
Patch Category
Patch group
Patch number / Patch name
38
Playing in Patch Mode
Functions in the Patch Play screen
fig.05-005.e
Selecting a Patch
The Fantom-X has eight patch groups, including the User group and
Preset groups A–H and GM, with each group storing 128 patches
(256 in GM, USER). What’s more, you can further expand your
options by installing up to four optional Wave Expansion Boards
(SRX series; sold separately), enabling you to select from a huge
assortment of available patches.
8
7
9
USER
This is the group inside the Fantom-X which can be rewritten.
patches you yourself create can be stored in this group. The Fantom-
X includes 256 preset patches.
1
2
3
7
4
5
8
PR-A–H (Preset A–H)
6
This is the group inside the Fantom-X which cannot be rewritten.
However you may modify the settings of the currently selected
patch, and then store the modified patch in User memory. Groups
A–H already contain 128 prepared patches each, for a total of 1024
patches.
10
8
11
9
12
13
15
11
14
CARD (Memory Card)
16
17
18
19
20
21
22
This group lets you use patches stored on a memory card inserted in
the rear panel card slot. Since the data in this group can be rewritten,
you can use this group to store patches that you create.
1
Indicates the current sound generating mode.
2
3
Indicates the volume of the Keyboard part and Pad part.
GM (GM2)
Indicates multi-effects (MFX1, 2), chorus (CHO), reverb (REV),
and masterring (MASTER) on and off.
This is an internal group of patches compatible with General MIDI 2,
a system of MIDI function specifications designed to transcend
differences between makers and types of devices; these patches
cannot be overwritten. Furthermore, settings of currently selected
patches from this group cannot be changed. The Fantom-X includes
256 preset patches.
Indicates the name of the currently selected song,
the measure location
4
5
Indicates the time signature, and the tempo.
Indicates the Loop Play on/off (LOOP).
6
7
Sets the Transpose (Trans). And indicates the Octave Shift (Oct).
Patch/rhythm set select switch
Determines whether you will be selecting patches or rhythm sets.
XP-A–D (Wave Expansion Boards installed in
EXP-A–D Slots)
Indicates/selects the patch category.
Selects whether the patch category will be locked.
8
9
Indicates/selects the group, number,
and name of the selected patch.
These are groups used when using patches from Wave Expansion
Boards installed in the EXP A–D slots, and cannot be rewritten.
However you may modify the settings of the currently selected
patch, and then store the modified patch in User memory and
Memory card. The number of onboard patches depends on the
specific Wave Expansion Boards installed.
10
11
Indicates the tone On/Off status.
Indicates whether the controller settings will apply
to the keyboard or the pads.
12
13
14
Indicates the state of the pad settings.
Indicates the rhythm tone.
Indicates the functions that are assigned to each
realtime controller knob (●) and assignable switch (■).
XP-A–D patches can be selected only if a Wave Expansion
Board SRX series (SRX series; sold separately) is installed in the
corresponding slot.
This indicates the function that is assigned to the D Beam controller,
and the response status of the D Beam controller.
15
16
17
Displays the Patch List screen.
Displays the Favorite screen.
18 Adjusts the volume of the keyboard part and pad part.
19
20
21
22
Displays the Control Setting screen.
Displays the Tone SW/Select screen.
Switches the Patch Play screen.
Switches the keyboard part and pad part.
39
Playing in Patch Mode
1. Press [PATCH/RHYTHM] to access the Patch Play screen.
fig.05-001.e
Selecting Patches by Category
(Patch Finder)
Patch number
Patch name
Patch Category
Patch type
Patch group
The Fantom-X provides a “Patch Search function” (Patch Finder)
which allows you to specify a type (category) of patch so that you
can quickly find the desired patch. There are a total of 38 categories.
1. Press [PATCH/RHYTHM] to access the Patch Play screen.
fig.05-001.e
Patch number
Patch name
Patch Category
Patch type
Patch group
2. Press [F7 (Part Kbd)] or [F8 (Part Pad)] to move the cursor
to the pad part or the keyboard part.
fig.05-006.e
Patch type
Patch group
Patch number
2. Make sure that the patch type is set to “PATCH.”
If this is set to “Rhythm,” use [CURSOR] to move the cursor to
the switch, and turn the VALUE dial or press [DEC] to select
“Patch.”
3. Use [CURSOR] to move the cursor to the “Patch Category,”
and turn the VALUE dial, or press [INC]/[DEC] to select the
desired category.
3. If you selected a patch group, turn the VALUE dial or use
[INC][DEC] to choose the patch group.
4. Press
to move the cursor to “Lock,” and turn the VALUE
USER:
User
dial or press [INC] to add a check mark (✔).
PR-A–H: Preset A–H
CARD:
GM:
Memory Card
GM (GM2)
5. Use [CURSOR] to move the cursor to the patch group or
patch number, and turn the VALUE dial or use [INC]/[DEC]
to select the patch.
XP-A–D: Wave Expansion Boards installed in EXP-A–D Slots
When the cursor is located at the Patch group, you can select the
group. When the cursor is located at the Patch number, you can
specify the number.
*
Make sure that the patch type select switch is set to “Patch.” If this is
set to “Rhythm,” use [CURSOR] to move the cursor to the switch,
and turn the VALUE dial or press [DEC] to select “Patch.”
4. Press [CURSOR] to move the cursor to the patch group.
5. Turn the VALUE dial, or press [INC]/[DEC] to select a patch
group.
6. If you selected a patch for the pad part, play the pads to
hear the sound. If you selected a patch for the keyboard
part, play the keyboard to hear the sound.
40
Playing in Patch Mode
The following categories can be selected.
Selecting Patches from the List
Category
- - -
PNO
EP
Contents
No assign
Acoustic Piano
Electric Piano
Other Keyboards (Clav,
Harpsichord etc.)
Bell, Bell Pad
Mallet
Electric and Church Organ
Accordion
Harmonica, Blues Harp
Acoustic Guitar
Electric Guitar
Distortion Guitar
Acoustic & Electric Bass
Synth Bass
No Assign
AC.Piano
EL.Piano
You can display a list of patches and select a patch from that list.
1. Press [PATCH/RHYTHM] to access the Patch Play screen.
2. Press [F1 (Patch List)].
KEY
Keyboards
The Patch List screen will appear.
fig.05-008_50
BEL
MLT
ORG
ACD
HRM
AGT
EGT
DGT
BS
Bell
Mallet
Organ
Accordion
Harmonica
AC.Guitar
EL.Guitar
DIST.Guitar
Bass
Synth Bass
Strings
Orchestra
Hit&Stab
Wind
SBS
STR
ORC
HIT
WND
FLT
BRS
SBR
SAX
HLD
SLD
TEK
PLS
Strings
Orchestra Ensemble
Orchestra Hit, Hit
Winds (Oboe, Clarinet etc.)
Flute, Piccolo
Acoustic Brass
Synth Brass
Press [F4 (Patch Categ)] to see a list sorted by category, or press
[F5 (Patch)] or [F6 (Rhythm)] to see the patch group list.
Flute
AC.Brass
Synth Brass
Sax
3. Use [F1]/[F2] to select a category or group.
Sax
4. Turn the VALUE dial or use [DEC]/[INC] or
/
to
Hard Lead
Soft Lead
Techno Synth
Pulsating
Synth FX
Other Synth
Bright Pad
Soft Pad
Vox
Plucked
Ethnic
Fretted
Percussion
Sound FX
Beat&Groove
Drums
Hard Synth Lead
Soft Synth Lead
Techno Synth
Pulsating Synth
Synth FX (Noise etc.)
Poly Synth
Bright Pad Synth
Soft Pad Synth
Vox, Choir
Plucked (Harp etc.)
Other Ethnic
Fretted Inst (Mandolin etc.)
Percussion
Sound FX
Beat and Groove
Drum Set
Other patches which use
Split and Layer
select a patch.
fig.05-009_50
FX
SYN
BPD
SPD
VOX
PLK
ETH
FRT
PRC
SFX
BTS
DRM
CMB
You can press [F7 (Preview)] to audition the patch using an
appropriate phrase that is preset for each category (Phrase
Preview).
Combination
5. Press [F8 (Select)] to confirm your patch selection.
41
Playing in Patch Mode
Auditioning Patches
(Phrase Preview)
Creating a list of frequently
used Patches and
The Fantom-X allows you to preview patches by hearing a phrase
appropriate for each type of patch.
Performances (Live Setting)
You can create a list of frequently used sounds, and recall them
instantly. Since you can register Patches, Rhythm Sets, or
Performances, any type of sound you need can be recalled instantly
regardless of the mode.
1. Press [PATCH/RHYTHM] to access the Patch Play screen.
2. Press [F1 (Patch List)] to access the Patch List screen.
fig.05-009_50
Each list (bank) can store a total of sixteen patches, rhythm sets, and
performances. You can create twenty of these banks.
For example, you might use bank 1 to list up to sixteen sounds that
you use in the first song of your live set.
Recalling sounds
1. Press [MENU] to open the Menu window.
2. Either turn the VALUE dial or press
or
to select
3. Press and hold [F7 (Preview)].
The Live Setting Play screen appears.
fig.05-001b_50
The patch selected in the Patch List screen will be sounded.
4. Release your finger from [F7 (Preview)], and the phrase will
stop playing.
If you wish to change how the phrase is played by Phrase
Preview, you can edit the Preview Mode parameter (p. 232).
You can also hold down [SHIFT] and press [PIANO MODE] to
access the Live Setting Play screen.
3. Press
or
to select the bank that you want to recall.
4. Press [F1 (1)]–[F8 (8)] to select the step number that you
want to recall.
To select 9–16, hold down [SHIFT] and press [F1 (9)]–[F8 (16)].
The selected sound will be recalled.
Alternatively, in step 4 of this procedure, you can use [INC]/
[DEC] to step through the sounds by moving to the next (or
previous) step number.
In step 4 of this procedure, you can also use
or
to select
the step number. In this case, the sound will not change until
you press [ENTER].
42
Playing in Patch Mode
Registering a sound
Changing the step at which a
sound is registered
1. Access the screen of the patch, rhythm set, or performance
that you want to register.
Here’s how to change the step at which a sound is registered.
2. Press [MENU] to open the Menu window.
1. In the Live Setting Edit screen, use
or
to move the
cursor to the step at which the sound you want to move is
registered.
3. Either turn the VALUE dial or press
or
to select
“Live Setting Edit,” and then press [ENTER].
The Live Setting Edit screen appears.
fig.05-001c_50
2. Hold down [SHIFT] and use
or
to move the sound.
Importing a Text File (Import Text)
Here’s how you can import a text file you created on your computer,
and display it in the Fantom-X’s Live Setting screen.
1. Access the Live Setting Edit screen, and press
or
([F1 (⇑)] or [F2 (⇓)]) to select the Bank whose text you want
to view.
2. Press [F6 (Import Text)].
fig.23-002_50
You can also hold down [SHIFT] and press [ENTER] to access
the Live Setting Edit screen.
4. Use
or
([F1 (⇑)] or [F2 (⇓)]) to select the bank in
which you want to register the sound.
5. Use
or
to select the number (step) in which to
register the sound.
You can register the sound in any of the sixteen steps. Register
the sounds in an order that’s appropriate for your song or live
performance.
6. Press [F8 (Regist)] to register the sound.
For example, if you register the sound in Bank 1, step number
02, the display will indicate “Regist to 1-02.”
3. Press [F1 (User)] or [F2 (Card)] to select the area (user
memory or card) from which you want to import the text file.
4. Press
or
to select the file you want to import.
5. Press [F8 (Import Text)].
Removing a registration
The file you want to import will be displayed.
*
To cancel, press [F7 (Cancel)].
1. In the Live Setting Edit screen, use
or
to move the
cursor to the step that you want to remove.
6. Press [F8 (Exec)].
The file will be imported.
2. Press [F7 (Remove)].
For example, if you remove the registration for Bank 1, step
number 02, the display will indicate “Remove 1-02,” and that
step becomes empty.
*
To cancel, press [F7 (Cancel)].
You can scroll the screen by turning the VALUE dial.
Removing all sound registrations
from a bank
1. In the Live Setting Edit screen, use [F1 (⇑)] or [F2 (⇓)] to
move the cursor to the bank for which you want to clear the
registrations.
2. Hold down [SHIFT] and press [F7 (Bank Remove)].
If you clear the entire contents of Bank 1, the display will
indicate “Remove Bank 1,” and that bank is made empty.
43
Playing in Patch Mode
2. Press [F2 (Favorite)].
fig.05-007_50
Selecting Favorite Patches
(Favorite Patch)
In the patch mode, You can bring together your favorite and most
frequently used patches in one place by registering them in the
favorite patch. By using this function, you can rapidly select favorite
patches from Preset/User/Card area or a Wave Expansion Board.
1. Press [PATCH/RHYTHM] to access the Patch Play screen.
2. Press [F2 (Favorite)].
The Favorite Patch window appears.
fig.05-007_50
3. Turn the VALUE dial or press [INC]/[DEC] to select the Bank.
4. Hold down [SHIFT] and press [F1]–[F8] to execute the
registration.
The patch will be registered to the button you pressed.
5. When you have finished registering, press [EXIT].
Using the Favorite List Screen to
Register
1. Press [PATCH/RHYTHM] to access the Patch Play screen to
select the patch that you wish to register (p. 39).
3. Press
or
to choose the patch.
2. Press [F1 (Patch List)].
4. To change the bank, turn the VALUE dial or use [INC][DEC].
3. Press [F3 (Favorite)].
The Favorite List screen appears.
fig.05-010_50
5. After you have changed the bank, press [F1]–[F8] to select
a patch.
6. Press [EXIT] to close the Favorite Patch window
Registering a Favorite Patch
patches in one place by registering them in the favorite patch. By
using this function you can rapidly select favorite patches from
Preset/User/card area or a Wave Expansion Board. You can register
a total of 64 sounds (8 sounds x 8 banks) as favorite patchs.
4. Press [F1 (⇑)] or [F2 (⇓)] to select the Bank.
For details on selecting a favorite patch, refer to “Registering a
5. Press
or
to select a favorite number.
Favorite Patch” (p. 44).
6. Press [F6 (Regist)] to execute the registration.
The patch will be registered to the button you pressed.
Using [F1]–[F8] to Register
1. Press [PATCH/RHYTHM] to access the Patch Play screen to
7. When you have finished registering favorite patchs, press
select the patch that you wish to register (p. 39).
[EXIT] to close the Favorite List screen.
By pressing [F7 (Preview)] you can audition the sound of the
registered patch (Phrase Preview).
Canceling a patch registration
By pressing [F5 (Remove)] you can cancel the patch registration that
is selected in the Favorite List screen.
44
Playing in Patch Mode
Canceling a patch registration
By pressing [F4 (Remove)] you can cancel the patch registration that
Registering Favorite Rhythm Sets
rhythm sets in one place by registering them in the favorite patch. By
using this function you can rapidly select favorite rhythm sets from
Preset/User/Card area or a Wave Expansion Board. You can
register a total of 64 sounds (8 sounds x 8 banks) as favorite patchs.
Transposing the Keyboard
in Octave Units (Octave
The Octave Shift function transposes the pitch of the keyboard in 1
For details on selecting a favorite patch, refer to “Selecting
octave units (-3– +3 octaves).
Favorite Patches (Favorite Patch)” (p. 44).
For playing a bass part more easily using your right hand, transpose
the keyboard down by 1 or 2 octaves.
Using [F1]–[F8] to Register
*
Octave Shift applies only to the keyboard part.
1. Press [PATCH/RHYTHM] to access the Patch Play screen,
1. Press [PATCH/RHYTHM] to access the Patch Play screen.
and select the rhythm set that you wish to register (p. 52).
2. Press KEYSHIFT [-OCT] or [+OCT] to set the amount of
transposition (-3–+3).
2. Press [F2 (Favorite)].
3. Turn the VALUE dial or press [INC]/[DEC] to select the
The button will light if this is set.
Bank.
*
Each time you press [+OCT], the amount of transposition will change
in the order of +1, +2, and +3. Each time you press [-OCT], the
amount of transposition will change in the order of -1, -2, and -3. If
be zero.
4. Hold down [SHIFT] and press [F1]–[F8] to execute the
registration.
The rhythm set will be registered to the button you pressed.
5. When you have finished registering, press [EXIT].
fig.05-012
Using the Favorite List Screen to
Register
1. Press [PATCH/RHYTHM] to access the Patch Play screen,
and select the rhythm set that you wish to register (p. 52).
2. Press [F1 (Patch List)].
3. Press [F3 (Favorite)].
The Favorite List screen appears.
fig.05-011_50
There is a single Octave Shift setting (Setup parameter) for the
entire Fantom-X. The changed setting will be remembered even
if you switch patches or performances.
4. Press [F1 (⇑)] or [F2 (⇓)] to select the Bank.
5. Press
or
to select favorite number.
6. Press [F6 (Regist)] to execute the registration.
By pressing [F7 (Preview)] you can audition the sound of the
registered rhythm set (Phrase Preview).
7. When you have finished registering favorite patchs, press
[EXIT] to close the Favorite List screen.
45
Playing in Patch Mode
3. Press [F5 (Tone Sw/Sel)].
fig.05-014_50
Transposing the Keyboard
in Semitone Steps
(Transpose)
Transpose changes keyboard pitch in units of semitones.
This function is useful when you play transposed instruments such
as trumpet or clarinet following a printed score.
*
Transpose applies only to the keyboard part.
1. Press [PATCH/RHYTHM] to access the Patch Play screen.
4. Press [F1 (Tone Sw)]/[F4 (Tone Sw)] to turn each tone on/
off. The setting will switch on/off each time you press the
button.
2. Press [F7 (Part Kbd)] to move the cursor to the keyboard
part.
3. Press [F6] to switch the Patch Play screen.
5. Press [EXIT] to close the window.
4. Use [CURSOR] to move the cursor to “Trans.”
fig.05-013
If you want just one or two tones to sound in a patch, turn the
others off and store that setting on a patch. This cuts
nonessential use of the Fantom-X’s simultaneous voices.
Playing Single Notes
(Monophonic)
When using a patch for a naturally monophonic instrument such as
sax or flute, it is effective to play in mono.
1. Press [PATCH/RHYTHM] to access the Patch Play screen.
5. Either turn the VALUE dial or use [INC]/[DEC] to adjust the
Transpose setting (G–F#: -5–+6 semitones).
2. Press [F7 (Part Kbd)] to move the cursor to the keyboard
part.
There is a single Transpose setting (Setup parameter) for the
entire Fantom-X. The changed setting will be remembered even
if you switch patches or performances.
3. Press [PATCH EDIT] to access the Patch Edit screen.
4. Press [F1 (⇑)] or [F2 (⇓)] to select the “Solo/Porta” tab.
A screen like the one shown below appears.
fig.05-015_50
If you assign “Transpose Up” “Transpose Down” as a function
to be controlled by the realtime assignable switches ([
]), you can easily change the Transpose by pressing these
buttons (p. 125).
]/
[
Selecting the Tones That Will
Sound (Tone On/Off)
Since a patch is a combination of up to four tones, you can switch
unwanted (tones out of the four) off and get just the sound of a
specific tone.
5. Press
or
to move the cursor to “MONO (Solo)/
Poly.”
1. Press [PATCH/RHYTHM] to access the Patch Play screen.
6. Turn the VALUE dial or press [DEC] to select “MONO.”
Now you can play in mono mode.
2. Press [F7 (Part Kbd)] or [F8 (Part Pad)] to move the cursor
to the pad part or the keyboard part.
If you assign “Mono/Poly” as a function to be controlled by the
assignable switch ([
]/[
]), you can easily switch
between mono/poly by pressing a button (p. 125).
46
Playing in Patch Mode
Creating Smooth Pitch
Changes (Portamento)
Portamento is an effect which smoothly changes the pitch from the
first-played key to the next-played key. By applying portamento
when Mono mode is selected (see the preceding item), you can
simulate performance effects such as slurring on a violin.
Selecting the Parameter
Controlled by the Realtime
Controllers or D Beam
Controller (Control Setting)
The Fantom-X lets you assign the parameters that will be affected
when you operate the realtime control knobs, assignable switches, D
Beam, pitch bend, or modulation lever. This lets you modify the
sound in a variety of ways by operating the controllers.
1. Press [PATCH/RHYTHM] to access the Patch Play screen.
2. Press [F7 (Part Kbd)] to move the cursor to the keyboard
part.
Specifying the Part that Will be
Affected by the Controller
3. Press [PATCH EDIT] to access the Patch Edit screen.
4. Press [F1 (⇑)] or [F2 (⇓)] to select the “Solo/Porta” tab.
A screen like the one shown below appears.
fig.05-015_50
You can specify whether operating the controller will affect the
sound assigned to the keyboard part or the sound assigned to the
pad part.
1. Press [PATCH/RHYTHM] to access the Patch Play screen.
2. Press [F4 (Ctrl Setting)].
3. Press [F7 (Ctrl Part)].
fig.05-016_50
When you press [F7 (Zoom Edit)], the Solo Synth Zoom Edit
screen will appear, which displays the above parameters in
graphical fashion, simulating an analog synthesizer. To exit
from this screen, press [F8 (Exit)] or [EXIT].
5. Press
Switch.”
or
to move the cursor to “Portamento
4. Use [CURSOR] to select the parameter.
You’re ready to play portamento.
5. Either turn the VALUE dial or use [INC][DEC] to turn the
7. When you want to change the portamento setting, edit the
following parameters in the screen of step 6.
Portamento Mode, Portamento Type, Portamento Start,
Portamento Time
setting.
6. If you want to keep the settings, press [F8 (System Write)].
7. When you have finished making settings, press [EXIT] to
return to the Patch Play screen.
See p. 77 for each parameter’s functions.
When Patch mode is selected, controller settings cannot be
saved for each individual patch. Controller settings are saved as
system settings.
8. Press [EXIT] to return to the Patch Play screen and play.
If you assign “Portamento” as a function to be controlled by the
Bender and Modulation Part Select
assignable switches ([
]/[
]), you can use a button to
Selects the part that will be controlled by pitch bend messages or
modulation messages.
easily turn portamento on/off (p. 125).
Value:
KBD, PAD
Beam Part Select
Selects the part that will be controlled by the D Beam.
Value: KBD, PAD
47
Playing in Patch Mode
Knob Part Select
D Beam (Pad Trigger)
Instead of striking the pads themselves, you can also use the D Beam
Selects the part that will be controlled by the realtime control knobs.
Value:
KBD, PAD
controller to control the sounding of the pads.
Assigning a Parameter to a
Controller
PAD trigger settings are saved independently for each
performance as part of the performance settings. This lets you
create performances that make effective use of controller
Here’s how to specify the parameter that will be affected when you
operate a controller.
settings.
fig.05-018_50
1. Press [PATCH/RHYTHM] to access the Patch Play screen.
2. Press [F4 (Ctrl Setting)].
fig.05-017_50
For details on these settings, refer to “Assigning a Parameter
to a Controller” (p. 48).
Pad Number
3. Press [F1 (⇑)] or [F2 (⇓)] to select the parameter.
Specifies the pad number affected by the D Beam.
When the cursor is located at this parameter, you can also make this
setting by striking the desired pad.
4. Use [CURSOR] to move the cursor to the parameter.
5. Either turn the VALUE dial or use [INC][DEC] to set the
value.
Value:
0–16
6. If you want to keep the settings, press [F8 (System Write)].
Pad Velocity
Specifies the strength of the pad sound played by the D Beam
controller.
When Patch mode is selected, controller settings cannot be
saved for each individual patch. Controller settings are saved as
system settings.
Value:
1–127
Pad Control Mode
7. When you have finished making settings, press [EXIT] to
This specifies how the D Beam will behave when it is obstructed. If
this is set to MOMENTARY, the parameter will be on only while the
D Beam is obstructed, and will turn off when you stop obstructing it.
If this is set to LATCH, the parameter will alternately be switched
on/off each time you obstruct the D Beam.
return to the Patch Play screen.
You can jump directly to various setting screens by holding
down the [SHIFT] and operating the following buttons or
knobs.
Value:
MOMENTARY, LATCH
•
•
Button at the right of the realtime control knobs
Assignable switch
48
Playing in Patch Mode
OSC Sync Switch
D Beam (Solo Synth)
Turning this switch on produces a complex sound with many
harmonics. This is effective when the OSC1 pitch is higher than the
OSC2 pitch.
You can use the D Beam controller to perform in a way similar to on
a mono synth.
fig.05-019_50
Value: OFF, ON
Filter Type
Selects the type of filter.
OFF:
LPF:
No filter is used.
Low Pass Filter. This reduces the volume of all
frequencies above the cutoff frequency (Cutoff Freq)
in order to round off, or un-brighten the sound.
This is the most common filter used in synthesizers.
Band Pass Filter. This leaves only the frequencies in
the region of the cutoff frequency (Cutoff
Frequency), and cuts the rest. This can be useful
when creating distinctive sounds.
BPF:
HPF:
PKG:
When you press [F6 (Panel View)], the Panel View screen will
screen, you can press [F2 (Image View)] to open the Image View
screen, where you can see a graphical indication of the D Beam
output value. Press [EXIT] to return to the Control Setting
screen.
High Pass Filter. This cuts the frequencies in the
region below the cutoff frequency (Cutoff
Frequency). This is suitable for creating percussive
sounds emphasizing their higher tones.
Peaking Filter. This emphasizes the frequencies in
the region of the cutoff frequency (Cutoff
Frequency). You can use this to create wah-wah
effects by employing an LFO to change the cutoff
frequency cyclically.
For details on these settings, refer to “Assigning a Parameter
to a Controller” (p. 48).
OSC 1/2 Waveform
Cutoff
Select the waveform. SAW is a sawtooth wave, and SQR is a square
Selects the frequency at which the filter begins to have an effect on
the waveform’s frequency components.
Value: 0–127
wave.
Value: SAW, SQR
OSC 1/2 Pulse Width
Resonance
Specifies the pulse width of the waveform. By cyclically modifying
the pulse width you can create subtle changes in the tone.
Emphasizes the portion of the sound in the region of the cutoff
frequency, adding character to the sound. Excessively high settings
can produce oscillation, causing the sound to distort.
Value: 0–127
*
The Pulse Width is activated when “SQR” is selected with OSC1/2
waveform.
Value: 0–127
Level
OSC 1/2 Coarse Tune
Sets the volume.
Adjusts the pitch of the tone’s sound up or down in semitone steps
Value: 0–127
(+/-4 octaves).
Chorus Send Level
Value: -48–+48
Sets the level of the signal sent to chorus.
OSC 1/2 Fine Tune
Value: 0–127
Adjusts the pitch of the tone’s sound up or down in 1-cent steps (+/-
Reverb Send Level
50 cents).
Value: -50–+50
Sets the level of the signal sent to reverb.
Value: 0–127
OSC2 Level
LFO Rate
Adjust the OSC2 level.
Value: 0–127
Adjusts the modulation rate, or speed, of the LFO.
Value: 0–127
49
Playing in Patch Mode
LFO Osc 1 Pitch Depth
D Beam (Assignable)
By assigning a variety of functions to the D Beam controller you can
Specifies the depth to which the LFO will modulate the OSC1 pitch.
Value: -63–+63
apply different effects to the sound in real time.
fig.05-020_50
LFO Osc 2 Pitch Depth
Specifies the depth to which the LFO will modulate the OSC2 pitch.
Value: -63–+63
LFO Osc 1 Pulse Width Depth
Specifies the depth to which the LFO will modulate the pulse width
of the OSC1 waveform.
*
The Pulse Width is activated when “SQR” is selected with OSC1/2
waveform.
Value: -63–+63
LFO Osc 2 Pulse Width Depth
For details on these settings, refer to “Assigning a Parameter
Specifies the depth to which the LFO will modulate the pulse width
of the OSC2 waveform.
to a Controller” (p. 48).
Type
*
The Pulse Width is activated when “SQR” is selected with OSC1/2
waveform.
Specifies the function controlled by the D Beam controller.
Value
Value: -63–+63
CC01–31, 33–95:
Controller numbers 1–31, 33–95
Range (Solo synth range)
Specifies the range in which the pitch of the solo synth will vary.
For more information about Control Change messages, please
Value: 2 OCTAVES, 4 OCTAVES, 8 OCTAVES
refer to “MIDI Implementation” (p. 298).
Bend Up:
Raises the pitch in semitone steps (up to 4
octaves higher).
Bend Down:
Lowers the pitch in semitone steps (up to 4
octaves lower).
Start/stop:
Starts/Stops the sequencer.
Tap tempo (a tempo specified by the interval
at which you move your hand over the D
Beam controller).
TAP Tempo:
Arp Grid:
Arpeggio Grid
Arp Duration:
Adjusts the duration of each arpeggiated
note
Arp Motif:
Arpeggio Motif
Arp Oct Up:
The range in which the arpeggio is sounded
will rise in steps of an octave (maximum 3
octaves).
Arp Oct Down:
The range in which the arpeggio is sounded
will lower in steps of an octave (maximum 3
octaves).
Range Min (D Beam Range Lower)
Specify the lower limit of the range of the D Beam controller.
Value: 0–127
Range Max (D Beam Range Upper)
Specify the upper limit of the range of the D Beam controller.By
setting Range Max below Range Min you can invert the range of
change.
Value: 0–127
50
Playing in Patch Mode
Knob
Switch
fig.05-021_50
fig.05-022_50
For details on these settings, refer to “Assigning a Parameter
For details on these settings, refer to “Assigning a Parameter
to a Controller” (p. 48).
to a Controller” (p. 34).
Knob parameters are valid only when the REALTIME
CONTROL button is set to “ASSIGNABLE.”
Assignable switches are valid only when the keyboard part is
selected.
Assign 1–4)
Switch 1/2 (Assignable Switch 1–2)
Specify the functions that will be controlled by the [
]/[
]
Specify the functions that will be controlled by the [] knobs.
Value
buttons.
Value
CC01–31, 33–95: Controller numbers 1–31, 33–95
Transpose Down:
Lowers the key range in semitone steps (up
to 5 semitones lower).
Transpose Up:
Raises the key range in semitone steps (up to
6 semitones higher).
For more information about Control Change messages, please
refer to “MIDI Implementation” (p. 298).
Pitch Bend:
Aftertouch:
Arp Style:
Arp Grid:
Pitch Bend
*
Normally, the Transpose Down/Up functions are assigned to switches
1/2.
Aftertouch
Arpeggio Style
Arpeggio Grid
Tap Tempo:
Mono/Poly:
Tap tempo (a tempo specified by the interval
at which you press the button).
Pressed to toggle between polyphonic
(POLY) and monophonic (MONO) play of a
patch.
Arp Duration: Adjusts the duration of each arpeggiated note
Arp Motif: Arpeggio Motif
Chord Form: Chord Form
Indicator lit = Mono
Master Level: The volume of the entire Fantom-X.
Indicator unlit = Poly
*
Master Level adjusts the volume both of the OUTPUT A jacks and the
DIGITAL OUT jack. The front panel VOLUME knob only adjusts the
volume of the OUTPUT A jacks.
Portamento:
Hold:
Portamento On/Off
Hold play On/Off
MFX1–3 Sw:
Chorus Sw:
Reverb Sw:
Mastering Sw:
Loop:
Multi-effect 1–3 switch
Chorus switch
Arp Step:
Controls the playback position of the arpeggio
pattern.
Reverb switch
Digital In:
Input level from DIGITAL IN.
Mastering switch
Loop play On/Off
Rhythm Start/Stop:
Rhythm pattern playback On/Off
51
Playing in Patch Mode
1. Press [PATCH/RHYTHM] to access the Patch Play screen.
2. Press [F7 (Part Kbd)] or [F8 (Part Pad)] to select the pad
part or the keyboard part.
fig.05-023.e
Playing Percussion
Instruments
In Patch mode, you can play percussion instruments from the
keyboard and pad by selecting a rhythm set. As the rhythm tone
assigned to each key and pad varies by the rhythm set selected, you
can play a wide range of percussion instruments.
Patch Type
Rhythm set group
Rhythm set number
Selecting a Rhythm Set
The Fantom-X has four rhythm set groups, including the User group,
Preset group and GM group, with 32 rhythm sets in the User group,
40 rhythm sets in Preset group, and 9 rhythm sets in GM group.
Rhythm sets can also be saved on a memory card. What’s more, you
can further expand your options by installing up to three optional
Wave Expansion Boards (SRX series; sold separately), enabling you
to select from a large selection of rhythm sets.
*
Make sure that the Patch Type is set to “Rhythm.” If this is set to
“Patch,” use [CURSOR] to move the cursor to the switch, and turn
the VALUE dial or press [INC] to select “Rhythm.”
USER
3. Press
to move the cursor to the rhythm set group.
This is the group inside the Fantom-X which can be rewritten. The
rhythm sets you create can be stored in this group. The Fantom-X
includes 32 rhythm sets.
4. Turn the VALUE dial or press [INC]/[DEC] to select the
rhythm set group.
USER:
PRST:
CARD:
GM:
User
PRST (Preset)
Preset
This is the group inside the Fantom-X which cannot be rewritten.
However, you can modify the settings of the currently selected
rhythm set, and then save the modified settings in User memory.
The Fantom-X contains 40 preset rhythm sets.
Memory card
Preset GM (GM2)
XP-A–D: Wave Expansion Boards installed in EXP-A–D Slots
5. Press
to move the cursor to the rhythm set number.
CARD (Memory Card)
6. Turn the VALUE dial or press [INC]/[DEC] to select the
This group lets you use patches stored on a memory card inserted in
the rear panel card slot. Since the data in this group can be rewritten,
you can use this group to store patches that you create.
rhythm set number.
7. If you selected a rhythm set for the pad part, play the pads
to hear the sound. If you selected a rhythm set for the
keyboard part, play the keyboard to hear the sound.
GM (GM2)
This is an internal group of rhythm sets compatible with General
MIDI 2, a system of MIDI function specifications designed to
transcend differences between makers and types of devices; these
rhythm sets cannot be overwritten. Furthermore, settings of
currently selected rhythm sets from this group cannot be changed.
The Fantom-X includes nine preset rhythm sets.
You can select favorite rhythm sets in the same way as when
selecting patches. For details on the procedure, refer to
“Selecting Favorite Patches” (p. 28).
XP-A–D (Wave Expansion Boards installed in
EXP-A–D Slots)
These groups are for when using rhythm sets from a Wave
Expansion Board installed in slots EXP A–D, and cannot be
rewritten. However, you can modify the settings of the currently
selected rhythm set, and then save the modified settings in User
memory and Memory card. The number of onboard rhythm sets
depends on the specific Wave Expansion Boards installed.
A Rhythm Set XP-A–D cannot be accessed if the Wave
Expansion Board (SRX series: sold separately) it belongs to has
not been installed.
52
Playing in Patch Mode
Playing a Rhythm Set
1. Press [PATCH/RHYTHM] to access the Patch Play screen,
and then press [F6].
The Patch Play screen switches.
2. Press [F7 (Part Kbd)] or [F8 (Part Pad)] to select the part.
Select the rhythm set that you wish to play.
3. Press a key or a pad on the keyboard to play a percussion
instrument.
Below the rhythm set name, the screen shows the note name of
the key you pressed, and the name of the percussion instrument
(rhythm tone name) assigned to that key.
fig.05-024.e
Note name
Rhythm tone name
53
Playing in Piano Mode
The Fantom-X has a Piano mode that use the instrument as a
dedicated piano. This chapter explains the procedures used in piano
Selecting from the Patch List Screen
mode, and the functions of the parameters.
You can display a list of piano patches and select a patch from that
list.
Cautions for Piano mode
1. In the Piano Mode screen, press [F1 (List)].
•
•
If you want to edit a patch, switch to Patch mode.
If you use a Hold pedal, we recommend that you use a
Roland DP-8. If the DP-8 is used, you can control the
amount of resonance by the depth to which you press the
pedal.
fig.27-002_50
Selecting Piano Mode
1. Press [PIANO MODE].
The Piano Mode screen appears.
fig.27-001_50
2. Press
or
to select the patch.
3. Press [F1 (⇑)] or [F2 (⇓)] to select the desired category.
4. Turn the VALUE dial or press [INC]/[DEC], and then press
[F8 (Select)] to select the patch.
By pressing [F7 (Preview)] you can audition a patch using a
preselected phrase appropriate for that type (category) of patch
(Phrase Preview).
By pressing [F6 (System Write)] you can register the currently
selected patch as the one that will be first selected the next time
you press [PIANO MODE] to enter Piano mode.
Selecting a Patch
In Piano mode you can select piano-type sounds.
Playing acoustic piano sounds
1. Press
or
to move the cursor to the patch name.
When you select acoustic piano, the multi-effect setting will be
2. Turn the VALUE dial or press [INC]/[DEC] to select the
“78:SYMPATHETIC RESONANCE.”
patch.
Adjusting the Keyboard Touch
(Key Touch)
In Piano mode you cannot select patches from the GM group.
You can vary the touch of the keyboard when you play the
keys.
Selecting Patches by Category
The Fantom-X provides a “Patch Search function” (Patch Finder)
which allows you to specify a type (category) of patch so that you
can quickly find the desired patch.
1. In the Piano Mode screen press [F2 (Key Touch)].
fig.27-004_50
1. Press
or
to move the cursor to the patch category.
2. Turn VALUE dial of press [INC]/[DEC] to select the patch
category.
You can choose from two categories: “PNO” (acoustic piano)
and “EP” (electric piano).
54
Playing in Piano Mode
2. Use the VALUE dial or [DEC][INC] to specify the desired
touch.
Playing electric piano
•
Light:
This sets the keyboard to a light touch. You can achieve
fortissimo (ff) play with a less forceful touch than usual,
so the keyboard feels lighter. This setting makes it
easier for children, whose hands have less strength.
sounds
•
•
Medium: This sets the keyboard to the standard touch. You
can play with the most natural touch. This setting is
closest to the response of an acoustic piano.
Selecting electric piano effects
Heavy:
This sets the keyboard to a heavy touch. You have to
play the keyboard more forcefully than usual in
order to play fortissimo (ff), so the keyboard touch
feels heavier. This setting allows you to add more
expression when playing dynamically.
Changing the Piano Sound
(Open/Close)
1. In the Piano Mode screen, press [F3 (Open/Close)].
fig.27-003_50
You can press a button [F4]–[F8] to access multi-effects that are
frequently used on electric pianos.
Knobs 1–4 displayed in the screen correspond to REALTIME
CONTROL knobs 1–4.
[F4 (Tremolo)]:
[F5 (Chorus)]:
[F6 (Phaser)]:
[F7 (EQ)]:
Tremolo
Chorus
Phaser
Equalizer
[F8 (Speaker SIM)]:
2. Use the VALUE dial or [DEC][INC] to change the setting,
simulating the way in which the sound changes when you
open or close the lid of a grand piano.
Value: 1–6
Saving a Sound (Patch)
Changes you make to sound settings are temporary, and will be lost
if you turn off the power or select another sound. If you want to keep
the modified sound, you must save it in the internal USER group
(user memory). Refer to “Saving Patches You’ve Created (Write)”
(p. 59).
Adjusting the Depth of Resonance
(Resonance)
When you hold down the damper pedal on an acoustic piano, the
strings (notes) you play will cause the other strings to resonate
sympathetically, creating a rich and spacious resonance. You can
adjust the depth of this resonance.
1. From the Piano Mode screen, press [F4 (Resonance)].
fig.27-005_50
2. Either turn the VALUE dial or use [INC] [DEC] to set the
value.
55
Creating a Patch
With the Fantom-X, you have total control over a wide variety of
settings. Each item that can be set is known as a parameter. When
you change the values of parameters, you are doing what is referred
to as Editing. This chapter explains the procedures used in creating
patches, and the functions of the patch parameters.
2. Press [PATCH EDIT].
The Patch Edit screen appears.
fig.05-015_50
How to Make Patch Settings
Start with an existing patch and edit it to create a new patch. Since a
patch is a combination of up to any four tones, you should listen to
how the individual tones sound before you edit.
Four Tips for Editing Patches
3. The parameters are organized into several editing groups.
Press [F1 (⇑)] or [F2 (⇓)] to select the tab for the editing
group that contains the parameter you wish to edit.
●
Select a patch that is similar to the sound you wish to
create (p. 39).
It’s hard to create a new sound that’s exactly what you
want if you just select a patch and modify its parameters at
random. It makes sense to start with a patch whose sound
is related to what you have in mind.
For details on how the parameters are grouped, refer to “Patch
Parameter” (p. 255).
•
To change the part that you want to edit
Press [F7 (Part Select)].
●
Decide which tones will sound (p. 46).
When creating a patch, it is important to decide which
tones you are going to use. In the Patch Edit screen, set
Tone Switch 1–4 to specify whether each tone will sound
(on), or not (off). It is also important to turn off unused
tones to avoid wasting voices, unnecessarily reducing the
number of simultaneous notes you can play.
4. Press
or
to move the cursor to the parameter you
wish to modify.
5. Press [F8 (Tone Sw/Sel)] to select the tone that you want to edit.
The Tone Sw Select window appears.
fig.06-001_50
●
●
Check the Structure setting (p. 63).
The important Structure parameter determines how the
four tones combine. Before you select new tones, make
sure you understand how the currently selected tones are
affecting each other.
Turn Effects off (p. 206).
Since the Fantom-X effects have such a profound impact on
its sounds, turn them off to listen to the sound itself so you
can better evaluate the changes you’re making. Since you
effects are turned off, the results of your modifications will
be easier to hear. Actually, sometimes just changing effects
settings can give you the sound you want.
Press any one of the [F5 (Tone Select)]–[F8 (Tone Select)]
buttons to select the tone that you want to edit.
•
Simultaneously editing the same parameter of multiple tones
To select the tones you want to edit at the same time,
simultaneously press two or more of the [F5 (Tone Select)]-[F8
To switch a tone on/off
1. Press [PATCH/RHYTHM] to access the Patch Play screen,
and select the part (keyboard part or pad part) and patch
whose settings you want to edit (p. 39).
•
Press a [F1 (Tone Sw)]–[F4 (Tone Sw)] button to switch the
corresponding tone on/off.
You cannot edit the patches in the GM2 group.
*
You can also select the tone by pressing
or
. You can also hold
down [SHIFT] and press [F1]–[F8] to select a tone to edit or to switch
a tone on/off.
If you want to create a patch from scratch (rather than starting
from an existing patch), execute the Initialize operation(p. 57).
6. When you have made your selection, press [EXIT].
7. Turn the VALUE dial or press [INC]/[DEC] to get the value
you want.
If you’ve selected two or more tones, your editing will modify
the parameter values for all selected tones by the same amount.
56
Creating a Patch
8. Repeat steps 5-7 to set each parameter you want to edit.
4. Use [CURSOR] to move the cursor to the parameter that
you want to edit.
9. If you wish to save the changes you’ve made, press
[WRITE] to perform the Save operation (p. 59). If you do not
wish to save changes, press [EXIT] to return to the Patch
Play screen.
You can use the realtime control knob to set the value.
5. Turn the VALUE dial or use [INC][DEC] to modify the value.
6. When you have finished editing, press [EXIT].
If you return to the Patch Play screen without saving, an “*”
will be displayed at the left of the patch number, indicating that
the patch settings have been edited.
Initializing Patch Settings (Init)
“Initialize” means to return the settings of the currently selected
sound to a standard set of values.
If you turn off the power or select a different sound while the
display indicates “*,” your edited patch will be lost.
The Initialize operation will affect only the currently selected
sound; the sounds that are stored in user memory will not be
affected. If you wish to restore all of the Fantom-X’s settings to
their factory values, perform a Factory Reset (p. 235).
In stead of using [F1] or [F2] in the patch edit screen, you can
also select the edit group by holding down [SHIFT] and
pressing
or
. It is convenient to use this feature when
the Tone SW/Select window is displayed.
1. Press [PATCH/RHYTHM] to access the Patch Play screen,
and select the part (keyboard part or pad part) and patch
that you want to initialize (p. 39).
(Zoom Edit)
2. Hold down [SHIFT] and press [F1 (Init)].
used important parameters.Zoom Edit lets you edit the following
parameters.
A message will ask you for confirmation.
3. Press [F8 (Exec)].
The initialization will be carried out, and you’ll be returned to
the previous screen.
Parameter
Pitch Envelope
TVF
TVF Envelope
TVA Envelope
page
p. 68
p. 69
p. 71
p. 72
Parameter
Structure Type
LFO 1/2
page
p. 63
p. 74
p. 74
To cancel, press [F7 (Cancel)].
Step LFO
1. Press [PATCH/RHYTHM] to access the Patch Play screen,
and select the part (keyboard part or pad part) and patch
that you want to edit.
2. Press [PATCH EDIT], and then press [F3 (Zoom Edit)].
The Zoom Edit screen will appear.
fig.06-002_50
3. The parameters are organized into several edit groups.
Press [F1]–[F4] to select the tab for the parameters that you
want to edit.
•
•
•
To switch the parameter you want to edit
Press [F6].
To switch to a different part for editing
Press [F7 (Part Select)].
To select a tone for editing or switch a tone on/off
Press [F8 (Tone Sw/Sel)].
57
Creating a Patch
Copying Patch (Tone) Settings
(Copy)
Cautions When Selecting a
Waveform
This operation copies the settings of any desired patch to the
currently selected patch. You can use this feature to make the editing
process faster and easier.
The sounds of the Fantom-X are based on complex PCM waveforms,
and if you attempt to make settings that are contrary to the type of
the original waveform, the results will not be as you expect.
The internal waveforms of the Fantom-X fall into the following two
groups.
1. Press [PATCH/RHYTHM] to access the Patch Play screen,
and select the part (keyboard part or pad part) that you want
to edit and the copy-destination patch (p. 39).
One-shot:
These waveforms contain sounds that have short
decays. A one-shot waveform records the initial rise and fall of the
sound. Some of the Fantom-X’s one-shot waveforms are sounds that
are complete in themselves, such as percussive instrument sounds.
The Fantom-X also contains many other one-shot waveforms that are
elements of other sounds. These include attack components such as
piano-hammer sounds and guitar fret noises.
2. Press [PATCH EDIT].
3. Press [F5 (Tone Copy)].
The Patch Copy window appears.
fig.06-003_50
Looped:
These waveforms include sounds with long decays
as well as sustained sounds. Loop waveforms repeatedly play back
(loop) the portion of the waveform after the sound has reached a
relatively steady state. The Fantom-X’s looped waveforms also
include components of other sounds, such as piano-string resonant
vibrations and the hollow sounds of brass instruments.
4. Press [CURSOR] to move the cursor, select the “Source
The following diagram shows an example of sound (electric organ)
(copy-source)” group and number, and patch/tone.
that combines one-shot and looped waveforms.
fig.06-005.e
5. Turn the VALUE dial or use [INC][DEC] to make settings.
TVA ENV for looped Organ
waveform (sustain portion)
TVA ENV for one-shot Key
-click waveform (attack portion)
Resulting TVA ENV
change
6. Press [CURSOR] to move the cursor, select the
Level
“Destination (copy-destination)” patch/tone/number.
7. Turn the VALUE dial or use [INC][DEC] to make settings.
+
=
8. Press [F8 (Exec)].
Time
A message will ask you for confirmation.
Note off
Note off
9. Press [F8 (Exec)] to return to the Patch Edit screen.
Cautions When Using a One-shot
Waveform
To cancel, press [F7 (Cancel)].
It is not possible to use the envelope to modify a one-shot waveform
to create a decay that is longer than the original waveform, or to turn
it into a sustaining sound. If you were to program such an envelope,
you would be attempting to shape a portion of the sound that simply
doesn’t exist, and the envelope would have no effect.
The Compare Function
fig.06-004_50
For the Patch Effect Copy and
Patch Tone Copy operations,
you can use the Compare
function.
If you want to play the copy-
source patch, press [F6
(Compare)] to light it into red.
Now you can play the copy-source patch from the keyboard or
pads.
The patch auditioned using the Compare function may
sound slightly different than when it is played normally.
58
Creating a Patch
Cautions When Using a Loop
Waveform
Saving Patches You’ve
Created (Write)
With many acoustic instruments such as piano and sax, extreme
timbral changes occur during the first few moments of each note.
This initial attack is what defines much of the instrument’s character.
For such waveforms, it is best to use the complex tonal changes of
the attack portion of the waveform just as they are, and to use the
envelope only to modify the decay portion. If you attempt to use the
envelope to modify the attack portion as well, the characteristics of
the original waveform may prevent you from getting the sound that
Changes you make to sound settings are temporary, and will be lost
if you turn off the power or select another sound. If you want to keep
the modified sound, you must save it in the internal USER group
(user memory)
When you edit the patch settings, an “*” will appear in the Patch
Play screen.
you intend.
fig.06-006.e
When you perform the save procedure, the data that previously
occupied the save destination will be lost.
Level
Looped portion
Tone change stored
with the wave
1. Make sure that the patch you wish to save is selected.
2. Press [WRITE].
Time
The Write Menu screen appears.
fig.06-007_50
Envelope
for the TVF filter
Resulting
tone change
3. Press [F2 (Patch/Rhythm)].
*
Alternatively, you can use
and then press [ENTER].
or
to select “Patch/Rhythm,”
The Patch Write screen appears.
fig.06-008_50
4. Assign a name to the patch.
For details on assigning names, refer to “Assigning a Name”
(p. 36)
5. When you have finished inputting the name, press [F8
(Write)].
A screen will appear, allowing you to select the write-
destination patch.
59
Creating a Patch
6. Turn the VALUE dial or use [INC][DEC] and [F2 (⇑)][F3 (⇓)]
to select the write destination and patch number.
The write destination can be either the Fantom-X’s internal user
area (User), or a memory card (Card).
Functions of Patch
Parameters
This section explains the functions the different patch parameters
By pressing [F6 (Compare)] you can check the save-destination
patch (Compare function).
have, as well as the composition of these parameters.
7. Press [F8 (Write)].
Parameters marked with a “★” can be controlled using
specified MIDI messages (Matrix Control). Settings in the
Control screen will determine how these parameters are
controlled (p. 80).
A message will ask you for confirmation.
Never switch off the Fantom-X while data is being saved.
1
2
3
If a number is displayed for the parameter name, (
,
,
,
8. Press [F8 (Exec)] to execute the save operation.
*
To cancel the operation, press [F7 (Cancel)].
4
), you can use the realtime controller knob of the corresponding
number (the left most knob is number 1, the right most knob is
number 4) to set the value.
Auditioning the Save-Destination
Patch (Compare)
When you enter the Patch Edit screen, the indicator at the right of the
Realtime Control knobs will go out, and the Realtime Control knobs
can be used to edit the parameters of the patch or rhythm set. If you
once again press the button located at the right of the Realtime
Control knobs to make the indicator light, the knobs will control
their original functions. When you exit the Patch Edit screen, the
Before you save a patch, you can audition the patch which currently
occupies the save destination to make sure that it is one you don’t
mind overwriting. This can help prevent important patches from
being accidentally overwritten and lost.
indicator will automatically return to its previous lit state.
fig.06-010
1. Follow the procedure in “Saving Patches You’ve Created
(Write)” through step 6 to select the save destination.
2. Press [F6 (Compare)] to light it into red.
fig.06-009.e
1
2
3
4
Save-destination patch
You can use the same knobs to edit the values in the Zoom Edit
screen as well.
Settings Common to the Entire Patch
(General)
3. Play the keyboard or pad to sound the save destination
patch, then check whether you really want to overwrite it.
fig.05-015_50
The patch auditioned using the Compare function may sound
slightly different than when it is played normally.
4. If you wish to change the save destination, re-specify the
save-destination patch by using
or
.
5. Press [F8 (Write)].
A message will ask you for confirmation.
6. Press [F8 (Exec)] once again to execute the Save operation.
For details on these settings, refer to “How to Make Patch
Settings” (p. 56).
60
Creating a Patch
Patch Category
Stretch Tune Depth
Specifies the type (category) of the patch.
It also determines the phrase that will be sounded when using the
Phrase Preview function.
This setting allows you to apply “stretched tuning” to the patch.
(Stretched tuning is a system by which acoustic pianos are normally
tuned, causing the lower range to be lower and the higher range to
be higher than the mathematical tuning ratios would otherwise
dictate.) With a setting of “OFF,” the patch’s tuning will be equal
temperament. A setting of “3” will produce the greatest difference in
the pitch of the low and high ranges.
For details on the possible category names, refer to (p. 40).
1
Patch Level
Value: OFF, 1–3
Specifies the volume of the patch.
The diagram shows the pitch change relative to equal temperament
that will occur in the low and high ranges. This setting will have a
Value: 0–127
subtle effect on the way in which chords resonate.
fig.06-011.e
2
Patch Pan
Pitch difference from
equal temperament
Specifies the pan of the patch. “L64” is far left, “0” is center, and
Parameter value
“63R” is far right.
3
2
Value: L64–0–63R
Patch Priority
1
This determines how notes will be managed when the maximum
polyphony is exceeded (128 voices).
OFF
OFF
1
Value
LAST:
The last-played voices will be given priority, and
currently sounding notes will be turned off in order,
beginning with the first-played note.
2
LOUDEST:
The voices with the loudest volume will be given
priority, and currently sounding notes will be turned
off, beginning with the lowest-volume voice.
3
High note range
Low note range
Octave Shift
Adjusts the pitch of the patch’s sound up or down in units of an
4
Analog Feel (Analog Feel Depth)
octave (+/-3 octaves).
Specifies the depth of 1/f modulation that is to be applied to the
patch. (1/f modulation is a pleasant and naturally-occurring ratio of
modulation that occurs in a babbling brook or rustling wind.)
instability characteristic of an analog synthesizer.
Value: 0–127
Value: -3– +3
Patch Coarse Tune ★
Adjusts the pitch of the patch’s sound up or down in semitone steps
(+/-4 octaves).
Value: -48– +48
Cutoff Offset
3
Patch Fine Tune
Cutoff Frequency Offset alters the cutoff frequency of the overall
patch, while preserving the relative differences between the cutoff
frequency values set for each tone in the Cutoff Frequency
parameters (p. 69).
Adjusts the pitch of the patch’s sound up or down in 1-cent steps (+/
-50 cents).
Value: -50– +50
Range: -63– +63
One cent is 1/100th of a semitone.
This value is added to the cutoff frequency value of a tone, so if
the cutoff frequency value of any tone is already set to “127”
(maximum), positive “+” settings here will not produce any
change.
61
Creating a Patch
Resonance Offset
Resonance Offset alters the resonance of the overall patch, while
preserving the relative differences between the resonance values set
for each tone in the Resonance parameter (p. 69).
Range: -63– +63
Modifying Waveforms (Wave)
fig.06-012_50
*
Resonance: emphasizes the overtones in the region of the cutoff
frequency, adding character to the sound.
resonance value of any tone is already set to “127” (maximum),
positive “+” settings here will not produce any change.
Attack Time Offset
Attack Time Offset alters the attack time of the overall patch, while
preserving the relative differences between the attack time values set
for each tone in the A-Env Time 1 parameters (p. 73), F-Env Time 1
parameters (p. 71).
For details on these settings, refer to “How to Make Patch
Settings” (p. 56).
Range: -63– +63
Wave Group
*
Attack Time: The time it takes for a sound to reach maximum
Selects the group for the waveform that is to be the basis of the tone.
volume after the key is pressed and sound begun.
Value
INT:
Waveforms stored in internal
Waveform stored in a Wave Expansion Board (SRX
series) installed in EXP slots.
Sample waveforms
EXP:
attack time value of any tone is already set to “127” (maximum),
positive “+” settings here will not produce any change.
SAMP:
MSAM:
Multisample waveforms
Release Time Offset
Release Time Offset alters the release time of the overall patch, while
preserving the relative differences between the release time values
set for each tone in the A-Env Time 4 parameters (p. 73), F-Env Time
4 parameters (p. 71).
You cannot select a waveform group of a Wave Expansion
Board that is not installed.
Wave Bank
Range: -63– +63
Selects the wave bank.
Value
*
Release Time: The time from when you take your finger off the key
until the sound disappears.
When the wave group is EXP:
A–D
When the wave group is SAMP: PRST, USER, CARD
This value is added to the release time value of a tone, so if the
release time value of any tone is already set to “127”
change.
When the wave group is MSAM: USER, CARD
Wave No. L (Mono) (Wave Number L (Mono)
Wave No. R (Wave Number R)
Selects the basic waveform for a tone. Along with the Wave number,
the Wave name appears at the lower part of the display.
When in monaural mode, only the left side (L) is specified. When in
stereo, the right side (R) is also specified.
Velocity Sens Offset (Velocity Sensitivity
Offset)
Velocity Sensitivity Offset alters the Velocity Sensitivity of the
overall patch while preserving the relative differences between the
Velocity Sensitivity values set for each tone in the parameters below.
Cutoff V-Sens parameter (p. 70)
Value: —-, 1–1228 (The upper limit will depend on the wave group.)
If you want to select a left/right pair of Waves, select the left (L)
Wave number and then press [F6 (Set Stereo)]; the right (R)
(Wave) will be recalled.
Level V-Sens parameter (p. 71)
Range: -63– +63
*
Velocity: Pressure with which the key is pressed.
*
When using a multisample in stereo, you must specify the same
number for L and R.
This value is added to the velocity sensitivity value of a tone, so
if the velocity sensitivity value of any tone is already set to
“+63” (maximum), positive “+” settings here will not produce
any change.
62
Creating a Patch
1
3
Wave Gain
FXM Color
Sets the gain (amplification) of the waveform. The value changes in 6
dB (decibel) steps—an increase of 6 dB doubles the waveform’s gain.
If you intend to use the Booster to distort the waveform’s sound, set
this parameter to its maximum value (p. 65).
Specifies how FXM will perform frequency modulation. Higher
settings result in a grainier sound, while lower settings result in a
more metallic sound.
Value: 1–4
Value: -6, 0, +6, +12
4
FXM Depth ★
Wave Tempo Sync
Specifies the depth of the modulation produced by FXM.
When you wish to synchronize a Phrase Loop to the clock (tempo),
expansion board is installed, and a waveform that indicates a tempo
(BPM) is selected as the sample for a tone.
Value: 0–16
Changing How a Tone Is Sounded
(TMT)
Value: OFF, ON
You can use the force with which keys are played, or MIDI messages
to control the way each Tone is played. This is referred to as the Tone
If a waveform from a wave expansion board is selected for the
tone, turning the Wave Tempo Sync parameter “ON” will cause
pitch-related settings (p. 67) and FXM-related settings (p. 63) to
be ignored.
Mix Table (TMT).
fig.06-013_50
•
•
•
If a sample is selected for a tone, you must first set the BPM
(tempo) parameter of the sample.
If a sample is selected for a tone, Wave Tempo Sync will require
twice the normal number of voices.
When the Wave Tempo Sync parameter is set to “ON,” set the
Delay Time parameter (p. 79) to “0.” With other settings, a delay
effect will be applied, and you will be not be able to play as you
expect.
Phrase Loop
For details on these settings, refer to “How to Make Patch
Phrase loop refers to the repeated playback of a phrase that’s
been pulled out of a song (e.g., by using a sampler). One
technique involving the use of Phrase Loops is the excerpting of
a Phrase from a pre-existing song in a certain genre, for example
dance music, and then creating a new song with that Phrase
used as the basic motif. This is referred to as “Break Beats.”
Settings” (p. 56).
Structure Type 1 & 2, 3 & 4
Determines how tone 1 and 2, or tone 3 and 4 are connected.
Value: 1–10
The following 10 different Types of combination are available.
fig.06-014
TYPE 1
Realtime Time Stretch
TONE 1 (3) WG
TONE 2 (4) WG
TVF
TVF
TVA
TVA
If the wave group is “SAMP” or “MSAM,” and the Wave
Tempo Sync parameter is turned “ON,” you can vary the
playback speed of the waveform without affecting the pitch.
With this type, tones 1 and 2 (or 3 and 4) are independent. Use this
type when you want to preserve PCM sounds or create and combine
2
FXM Switch
sounds for each tone.
This sets whether FXM will be used (ON) or not (OFF).
fig.06-015
Value: OFF, ON
TYPE 2
TONE 1 (3) WG
TONE 2 (4) WG
TVA
TVF
FXM
TVF TVA
FXM (Frequency Cross Modulation) uses a specified waveform
to apply frequency modulation to the currently selected
waveform, creating complex overtones. This is useful for
creating dramatic sounds or sound effects.
This type stacks the two filters together to intensify the
characteristics of the filters. The TVA for tone 1 (or 3) controls the
volume balance between the two tones.
63
Creating a Patch
fig.06-016
fig.06-021
TYPE 3
TYPE 8
TONE 1 (3) WG
TONE 1 (3) WG
TVA
TVF
TVF TVA
B
R
TONE 2 (4) WG
TONE 2 (4) WG
TVF TVA
TVF TVA
This type mixes the sound of tone 1 (3) and tone 2 (4), applies a filter,
This type sends the filtered tone 1 (3) and tone 2 (4) through a ring
modulator, and then mixes in the sound of tone 2 (4) and applies a
and then applies a booster to distort the waveform.
fig.06-017
filter to the result.
fig.06-022
TYPE 4
TYPE 9
TONE 1 (3) WG
TONE 2 (4) WG
TVA
TVF
TONE 1 (3) WG
TONE 2 (4) WG
B
TVF TVA
TVF
R
TVF TVA
TVA
This type applies a booster to distort the waveform, and then
combines the two filters. The TVA for tone 1 (or 3) controls the
This type passes the filtered sound of each tone through a ring
modulator to create new overtones. The tone 1 (3) TVA will control
the volume balance of the two tones, adjusting the depth of ring
volume balance between the two tones and adjusts booster level.
fig.06-018
TYPE 5
modulator.
fig.06-023
TONE 1 (3) WG
TONE 2 (4) WG
TVA
TVF
TYPE 10
R
TONE 1 (3) WG
TONE 2 (4) WG
TVF TVA
TVF
TVF TVA
R
This type uses a ring modulator to create new overtones, and
TVA
combines the two filters. The tone 1 (3) TVA will control the volume
balance of the two tones, adjusting the depth of ring modulator.
fig.06-019
This type passes the filtered sound of each tone through a ring
modulator to create new overtones, and also mixes in the sound of
tone 2 (4). Since the ring-modulated sound can be mixed with tone 2
sound.
TYPE 6
TONE 1 (3) WG
TONE 2 (4) WG
TVA
TVF
R
TVF TVA
•
•
When TYPE 2–10 is selected and one tone of a pair is turned off,
the other tone will be sounded as TYPE 1 regardless of the
displayed setting.
This type uses a ring modulator to create new overtones, and in
addition mixes in the sound of tone 2 (4) and stacks the two filters.
Since the ring-modulated sound can be mixed with tone 2 (4), tone 1
If you limit the keyboard area in which a tone will sound
(Keyboard Range p. 65) or limit the range of velocities for which
it will sound (Velocity Range p. 66), the result in areas or ranges
where the tone does not sound is just as if the tone had been
turned off. This means that if TYPE 2–10 is selected and you
create a keyboard area or velocity range in which one tone of a
pair does not sound, notes played in that area or range will be
sounded by the other tone as TYPE 1 regardless of the
displayed setting.
(3) TVA can adjust the amount of the ring-modulated sound.
fig.06-020
TYPE 7
TONE 1 (3) WG
TONE 2 (4) WG
TVF TVA
R
TVF TVA
This type applies a filter to tone 1 (3) and ring-modulates it with tone
2 (4) to create new overtones.
64
Creating a Patch
Booster 1&2, 3&4 (Booster Gain)
When a Structure Type of TYPE 3 or TYPE 4 is selected, you can
adjust the depth of the booster. The booster increases the input
signal in order to distort the sound. This creates the distortion effect
frequently used with electric guitars. Higher settings will produce
more distortion.
Ring Modulator
A ring modulator multiplies the waveforms of two tones with
each other, generating many new overtones (in harmonic
partials) which were not present in either waveform. (Unless
one of the waveforms is a sine wave, evenly-spaced frequency
components will not usually be generated.)
Value: 0, +6, +12, +18
As the pitch difference between the two waveforms changes the
harmonic structure, the result will be an unpitched metallic
sound. This function is suitable for creating metallic sounds
Booster
The Booster is used to distort the incoming signal.
fig.06-024.e
such as bells.
fig.06-026
Booster level
In addition to using this to create distortion, you can use the
waveform (WG1) of one of the tones as an LFO which shifts the
other waveform (WG2) upward or downward to create
modulation similar to PWM (pulse width modulation). This
parameter works best when you use it in conjunction with the
Key Fade Lower (Keyboard Fade Width
Lower)
This determines what will happen to the tone’s level when a note
that’s lower than the tone’s specified keyboard range is played.
Higher settings produce a more gradual change in volume. If you
don’t want the tone to sound at all when a note below the keyboard
range is played, set this parameter to “0.”
Wave Gain parameter (p. 63).
fig.06-025.e
Uses WG1 as LFO
Adjusts WG1 output
WG1
TVA
Value: 0–127
Booster
Key Range Lower (Keyboard Range Lower)
1
WG2
Specifies the lowest note that the tone will sound for each tone.
Value: C-1–UPPER
WG2
Key Range Upper (Keyboard Range Upper)
2
Adds to WG1
Distorted area of the
Waveform changes
Specifies the highest note that the tone will sound for each tone.
Value: LOWER–G9
Shift in waveform by WG1
If you attempt to raise the lower key higher than the upper key,
or to lower the upper key below the lower key, the other value
will be automatically modified to the same setting.
65
Creating a Patch
Key Fade Upper
(Keyboard Fade Width Upper)
4
Velo Range Upper (Velocity Range Upper)
This sets the highest velocity at which the tone will sound. Make
This determines what will happen to the tone’s level when a note
that’s higher than the tone’s specified keyboard range is played.
Higher settings produce a more gradual change in volume. If you
don’t want the tone to sound at all when a note below the keyboard
range is played, set this parameter to “0.”
these settings when you want different tones to sound in response to
notes played at different strengths.
Value: LOWER–127
If you attempt to set the Lower velocity limit above the Upper,
or the Upper below the Lower, the other value will
automatically be adjusted to the same setting.
Value: 0–127
fig.06-027.e
Level
Pitch
When using the Matrix Control to have different tones played,
set the lowest value (Lower) and highest value (Upper) of the
value of the MIDI message used.
Fade Upper
Range Upper
Fade Lower
Range Lower
Velo Fade Upper (Velocity Fade Width Upper)
This determines what will happen to the tone’s level when the tone
is played at a velocity greater than its specified velocity range.
Higher settings produce a more gradual change in volume. If you
want notes played outside the specified key velocity range to not be
sounded at all, set this to “0.”
TMT Velocity Control
(TMT Velocity Control Switch)
TMT Velocity Control determines whether a different tone is played
(ON) or not (OFF) depending on the force with which the key is
played (velocity).
Value: 0–127
fig.06-028.e
Level
randomly, regardless of any Velocity messages.
When set to “CYCLE,” the patch’s constituent tones will sound
consecutively, regardless of any Velocity messages.
Value: OFF, ON, RANDOM, CYCLE
Velocity
Fade Upper
Range Upper
Fade Lower
Range Lower
Instead of using Velocity, you can also have tones substituted
using the Matrix Control (p. 66). However, the keyboard
velocity and the Matrix Control cannot be used simultaneously
to make different tones to sound. When using the Matrix
Control to switch tones, set the Velocity Control parameter to
“OFF.”
TMT Control Sw (TMT Control Switch)
Use the Matrix Control to enable (ON), or disable (OFF) sounding of
different tones.
Value: OFF, ON
Velo Fade Lower (Velocity Fade Width Lower)
You can also cause different tones to sound in response to notes
played at different strengths (velocity) on the keyboard (p. 66).
However, the Matrix Control and the keyboard velocity cannot
be used simultaneously to make different tones to sound. When
you want to make the different tones to sound, set the Velocity
Control parameter (p. 66) to “OFF.”
This determines what will happen to the tone’s level when the tone
is played at a velocity lower than its specified velocity range. Higher
settings produce a more gradual change in volume. If you want
notes played outside the specified key velocity range to not be
sounded at all, set this to “0.”
Value: 0–127
3
Velo Range Lower (Velocity Range Lower)
This sets the lowest velocity at which the tone will sound. Make
these settings when you want different tones to sound in response to
notes played at different strengths.
Value: 1–UPPER
66
Creating a Patch
4
Pitch Key follow
Modifying Pitch (Pitch/Pitch Env)
This specifies the amount of pitch change that will occur when you
play a key one octave higher (i.e., 12 keys upward on the keyboard).
If you want the pitch to rise one octave as on a conventional
keyboard, set this to “+100.” If you want the pitch to rise two
octaves, set this to “+200.” Conversely, set this to a negative value if
you want the pitch to fall. With a setting of “0,” all keys will produce
fig.06-029_50
Value:
-200, -190, -180, -170, -160, -150, -140, -130, -120, -110,
-100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10,
+20, +30, +40, +50, +60, +70, +80, +90, +100, +110,
+120, +130, +140, +150, +160, +170, +180, +190, +200
fig.06-030.e
Pitch
+200
+100
For details on these settings, refer to “How to Make Patch
Settings” (p. 56).
+50
0
Pitch
-50
1
Tone Coarse Tune ★
Adjusts the pitch of the tone’s sound up or down in semitone steps
-200
C6
-100
C7
Key
(+/-4 octaves).
C1
C2
C3
C4
C5
Value: -48– +48
2
Tone Fine Tune ★
Bend Range Up (Pitch Bend Range Up)
Adjusts the pitch of the tone’s sound up or down in 1-cent steps (+/-
Specifies the degree of pitch change in semitones when the Pitch
Bend lever is all the way right. For example, if this parameter is set to
“12,” the pitch will rise one octave when the pitch bend lever is
moved to the right-most position.
50 cents).
Value: -50– +50
Value: 0– +48
One cent is 1/100th of a semitone.
Bend Range Down (Pitch Bend Range Down)
3
Random Pitch Depth
Specifies the degree of pitch change in semitones when the Pitch
Bend lever is all the way left. For example if this is set to “-48” and
you move the pitch bend lever all the way to the left, the pitch will
fall 4 octaves.
This specifies the width of random pitch deviation that will occur
each time a key is pressed. If you do not want the pitch to change
randomly, set this to “0.” These values are in units of cents (1/100th
of a semitone).
Value: -48–0
Value:
0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 20, 30, 40, 50, 60, 70, 80, 90,
100, 200, 300, 400, 500, 600, 700, 800, 900, 1000, 1100,
1200
P-Env V-Sens
(Pitch Envelope Velocity Sensitivity)
Keyboard playing dynamics can be used to control the depth of the
pitch envelope. If you want the pitch envelope to have more effect
for strongly played notes, set this parameter to a positive (+) value. If
you want the pitch envelope to have less effect for strongly played
notes, set this to a negative (-) value.
Value: -63– +63
P-Env T1 V-Sens
(Pitch Envelope Time 1 Velocity Sensitivity)
This allows keyboard dynamics to affect the Time 1 of the Pitch
envelope. If you want Time 1 to be speeded up for strongly played
notes, set this parameter to a positive (+) value. If you want it to be
slowed down, set this to a negative (-) value.
Value: -63– +63
67
Creating a Patch
P-Env T4 V-Sens (Pitch Envelope Time 4
Velocity Sensitivity)
Pitch Env
Use this parameter when you want key release speed to affect the
Time 4 value of the pitch envelope. If you want Time 4 to be speeded
up for quickly released notes, set this parameter to a positive (+)
value. If you want it to be slowed down, set this to a negative (-)
value.
1
2
P-Env Depth (Pitch Envelope Depth)
4
,
,
Adjusts the effect of the Pitch Envelope. Higher settings will cause
the pitch envelope to produce greater change. Negative (-) settings
will invert the shape of the envelope.
Value: -63– +63
Value: -12– +12
P-Env Time KF (Pitch Envelope Time Key
Follow)
P-Env Time 1–4 (Pitch Envelope Time 1–4) ★
3
Use this setting if you want the pitch envelope times (Time 2–Time
4) to be affected by the keyboard location. Based on the pitch
envelope times for the C4 key, positive (+) settings will cause notes
higher than C4 to have increasingly shorter times, and negative (-)
settings will cause them to have increasingly longer times. Larger
settings will produce greater change.
Specify the pitch envelope times (Time 1–Time 4). Higher settings
will result in a longer time until the next pitch is reached. (For
example, Time 2 is the time over which the pitch changes from Level
1 to Level 2.)
Value: 0–127
Value:
-100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10,
+20, +30, +40, +50, +60, +70, +80, +90, +100
fig.06-032.e
T1
T2
T3
T4
fig.06-031.e
Time
-100
-50
Pitch
L0
Time
L1
L3
Note off
Note on
0
L2
L4
T: Time L: Level
+50
P-Env Level 0–4 (Pitch Envelope Level 0–4)
+100
Key
C7
C1
C2
C3
C4
C5
C6
Specify the pitch envelope levels (Level 0–Level 4). It determines
how much the pitch changes from the reference pitch (the value set
with Coarse Tune or Fine Tune on the Pitch screen) at each point.
Positive (+) settings will cause the pitch to be higher than the
standard pitch, and negative (-) settings will cause it to be lower.
Value: -63– +63
68
Creating a Patch
If you set “LPF2” or “LPF3,” the setting for the Resonance
parameter will be ignored (p. 69).
Modifying the Brightness of a
Sound with a Filter (TVF/TVF Env)
fig.06-033_50
1
Cutoff Frequency ★
Selects the frequency at which the filter begins to have an effect on
the waveform’s frequency components.
Value: 0–127
lower cutoff frequency settings reduce a tone’s upper harmonics for
a more rounded, warmer sound. Higher settings make it sound
brighter.
If “BPF” is selected, harmonic components will change depending
on the TVF Cutoff Frequency setting. This can be useful when
creating distinctive sounds.
With “HPF” selected, higher Cutoff Frequency settings will reduce
sound.
For details on these settings, refer to “How to Make Patch
Settings” (p. 56).
With “PKG” selected, the harmonics to be emphasized will vary
depending on Cutoff Frequency setting.
TVF
3
Filter Type
To edit the overall patch while preserving the relative
differences in the Cutoff Frequency values set for each tone, set
the Cutoff Offset parameter (p. 61).
Selects the type of filter. A filter cuts or boosts a specific frequency
region to change a sound's brightness, thickness, or other qualities.
Value
OFF:
LPF:
No filter is used.
2
Resonance ★
Low Pass Filter. This reduces the volume of all
frequencies above the cutoff frequency (Cutoff Freq)
in order to round off, or un-brighten the sound.
This is the most common filter used in synthesizers.
Band Pass Filter. This leaves only the frequencies in
the region of the cutoff frequency (Cutoff Freq), and
cuts the rest. This can be useful when creating
distinctive sounds.
frequency, adding character to the sound. Excessively high settings
can produce oscillation, causing the sound to distort.
Value: 0–127
BPF:
HPF:
PKG:
LPF2:
To edit the overall patch while preserving the relative
differences in the Resonance values set for each tone, set the
High Pass Filter. This cuts the frequencies in the
region below the cutoff frequency (Cutoff Freq). This
is suitable for creating percussive sounds
Resonance Offset parameter (p. 62).
fig.06-034.e
LPF
BPF
HPF
PKG
Level
High
emphasizing their higher tones.
Peaking Filter. This emphasizes the frequencies in
the region of the cutoff frequency (Cutoff Freq). You
can use this to create wah-wah effects by employing
an LFO to change the cutoff frequency cyclically.
Low Pass Filter 2. Although frequency components
above the Cutoff frequency (Cutoff Freq) are cut, the
sensitivity of this filter is half that of the LPF. This
makes it a comparatively warmer low pass filter.
This filter is good for use with simulated instrument
sounds such as the acoustic piano.
Frequency
Cutoff frequency
Low
LPF3:
Low Pass Filter 3. Although frequency components
above the Cutoff frequency (Cutoff Freq) are cut, the
sensitivity of this filter changes according to the
Cutoff frequency. While this filter is also good for
use with simulated acoustic instrument sounds, the
nuance it exhibits differs from that of the LPF2, even
with the same TVF Envelope settings.
69
Creating a Patch
Resonance V-Sens (Resonance Velocity
Sensitivity)
4
Cutoff Key follow
Use this parameter if you want the cutoff frequency to change
according to the key that is pressed. Relative to the cutoff frequency
at the C4 key (center C), positive (+) settings will cause the cutoff
frequency to rise for notes higher than C4, and negative (-) settings
will cause the cutoff frequency to fall for notes higher than C4.
Larger settings will produce greater change.
This allows keyboard velocity to modify the amount of Resonance. If
you want strongly played notes to have a greater Resonance effect,
set this parameter to positive (+) settings. If you want strongly
played notes to have less Resonance, use negative (-) settings.
Value: -63– +63
Value:
-200, -190, -180, -170, -160, -150, -140, -130, -120, -110,
-100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10,
+20, +30, +40, +50, +60, +70, +80, +90, +100, +110,
+120, +130, +140, +150, +160, +170, +180, +190, +200
F-Env V-Curve (TVF Envelope Velocity Curve)
Selects one of the following 7 curves that will determine how
keyboard playing dynamics will affect the TVF envelope. Set this to
“FIXED” if you don't want the TVF Envelope to be affected by the
keyboard velocity.
fig.06-035.e
Cutoff frequency
(Octave)
Value: FIXED, 1–7
fig.06-036
+200
+100
+50
0
+2
1
2
3
4
5
6
7
+1
o
F-Env V-Sens (TVF Envelope Velocity
Sensitivity)
-1
-2
-50
Specifies how keyboard playing dynamics will affect the depth of the
TVF envelope. Positive (+) settings will cause the TVF envelope to
have a greater effect for strongly played notes, and negative (-)
settings will cause the effect to be less.
-200
C6
-100
C7
C1
C2
C3
C4
C5
Key
Value: -63– +63
Cutoff V-Curve (Cutoff Frequency Velocity
Curve)
F-Env T1 V-Sens (TVF Envelope Time 1 Velocity
Sensitivity)
Selects one of the following seven curves that determine how
keyboard playing dynamics (velocity) influence the cutoff frequency.
Set this to “FIXED” if you don't want the Cutoff frequency to be
affected by the keyboard velocity.
This allows keyboard dynamics to affect the Time 1 of the TVF
envelope. If you want Time 1 to be speeded up for strongly played
notes, set this parameter to a positive (+) value. If you want it to be
slowed down, set this to a negative (-) value.
Value: FIXED, 1–7
fig.06-036
Value: -63– +63
F-Env T4 V-Sens (TVF Envelope Time 4 Velocity
Sensitivity)
1
2
3
4
5
6
7
The parameter to use when you want key release speed to control
the Time 4 value of the TVF envelope. If you want Time 4 to be
speeded up for quickly released notes, set this parameter to a
positive (+) value. If you want it to be slowed down, set this to a
negative (-) value.
Cutoff V-Sens (Cutoff Velocity Sensitivity)
Use this parameter when changing the cutoff frequency to be
applied as a result of changes in playing velocity. If you want
strongly played notes to raise the cutoff frequency, set this
Value: -63– +63
parameter to positive (+) settings. If you want strongly played notes
Value: -63– +63
To edit the overall patch while preserving the relative
differences in the Cutoff Frequency Velocity Sensitivity values
set for each tone, set the Velocity Sens Offset parameter (p. 62).
However, this setting is shared by the Level V-Sens parameter
(p. 71).
70
Creating a Patch
TVF ENV
Adjusting the Volume (TVA/TVA
Env)
F-Env Depth (TVF Envelope Depth)
Specifies the depth of the TVF envelope. Higher settings will cause
the TVF envelope to produce greater change. Negative (-) settings
will invert the shape of the envelope.
fig.06-038_50
Value: -63– +63
F-Env Time KF (TVF Envelope Time Key Follow)
Use this setting if you want the TVA envelope times (Time 2–Time 4)
to be affected by the keyboard location. Based on the TVF envelope
times for the C4 key (center C), positive (+) settings will cause notes
higher than C4 to have increasingly shorter times, and negative (-)
settings will cause them to have increasingly longer times. Larger
settings will produce greater change.
Value:
-100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10,
+20, +30, +40, +50, +60, +70, +80, +90, +100
For details on these settings, refer to “How to Make Patch
fig.06-031.e
Settings” (p. 56).
Time
-100
-50
TVA
1
Tone Level ★
0
Sets the volume of the tone. This setting is useful primarily for
adjusting the volume balance between tones.
Value: 0–127
+50
+100
Key
C7
Level V-Curve (TVA Level Velocity Curve)
C1
C2
C3
C4
C5
C6
You can select from seven curves that determine how keyboard
playing strength will affect the volume. If you do not want the
volume of the tone to be affected by the force with which you play
the key, set this to “FIXED.”
1
F-Env Time 1–4 (TVF Envelope Time 1–4) ★
,
Value: FIXED, 1–7
fig.06-036
2
4
,
Specify the TVF envelope times (Time 1–Time 4). Higher settings
will lengthen the time until the next cutoff frequency level is
reached. (For example, Time 2 is the time over which Level 1 will
change to Level 2.)
1
2
3
4
5
6
7
Value: 0–127
fig.06-037.e
Level V-Sens (TVA Level Velocity Sensitivity)
Set this when you want the volume of the tone to change depending
on the force with which you press the keys. Set this to a positive (+)
value to have the changes in tone volume increase the more
T1
T2
T3
T4
Cutoff
Frequency
Value: -63– +63
L0
L1
Note on
Time
L2
L3
L4
Note off
If you wish to make adjustments to the entire patch while
maintaining the relative values of TVA Level Velocity
Sensitivity among tones, adjust the Velocity Sens Offset
parameter (p. 62). However, this setting is shared by the Cutoff
V-Sens parameter (p. 70).
T: Time L: Level
3
F-Env Level 0–4 (TVF Envelope Level 0–4)
Specify the TVF envelope levels (Level 0–Level 4). These settings
specify how the cutoff frequency will change at each point, relative
to the standard cutoff frequency (the cutoff frequency value
specified in the TVF screen).
Value: 0–127
71
Creating a Patch
Bias
3
Pan Key Follow
Bias causes the volume to be affected by the keyboard position. This
is useful for changing volume through keyboard position (pitch)
Use this parameter if you want key position to affect panning.
Positive (+) settings will cause notes higher than C4 key (center C) to
be panned increasingly further toward the right, and negative (-)
settings will cause notes higher than C4 key (center C) to be panned
toward the left. Larger settings will produce greater change.
when playing acoustic instruments.
fig.06-039.e
LOWER
Level
UPPER
Level
+
0
–
+
0
–
Value: -100– +100
fig.06-040.e
Key
Key
Pan
C-1
G9
C-1
G9
Bias Position
Bias Position
+100
+50
0
R
o
LO&UP
Level
ALL
Level
–
0
+
0
–
+
+
0
–
0
–
+
Key
Key
-50
C-1
G9
C-1
G9
Bias Position
Bias Position
-100
L
Key
C1
C2
C3
C4
C5
C6
C7
Bias Level
Adjusts the angle of the volume change that will occur in the
selected Bias Direction. Larger settings will produce greater change.
Negative (-) values will invert the change direction.
4
Random Pan Depth
Use this parameter when you want the stereo location to change
randomly each time you press a key. Higher settings will produce a
greater amount of change.
Value:
-100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10,
+20, +30, +40, +50, +60, +70, +80, +90, +100
Bias Position
Value: 0–63
Specifies the key relative to which the volume will be modified.
Alter Pan Depth (Alternate Pan Depth)
Value: C-1–G9
This setting causes panning to be alternated between left and right
each time a key is pressed. Higher settings will produce a greater
amount of change. “L” or “R” settings will reverse the order in
which the pan will alternate between left and right. For example if
two tones are set to “L” and “R” respectively, the panning of the two
tones will alternate each time they are played.
Bias Direction
Selects the direction in which change will occur starting from the
Bias Position.
Value
LOWER:
UPPER:
LO&UP:
ALL:
The volume will be modified for the keyboard area
below the Bias Point.
Value: L63–0–63R
The volume will be modified for the keyboard area
above the Bias Point.
When any value from Type “2”–”10” is selected for the
Structure parameter in the Pan KF, Rnd Pan Depth, Alter Pan
Depth parameter settings, the output of tones 1 and 2 are joined
in tone 2, and the output of tones 3 and 4 are joined in tone 4.
For this reason, tone 1 will follow the settings of tone 2, and
tone 3 will follow the settings of tone 4 (p. 63).
The volume will be modified symmetrically toward
the left and right of the Bias Point.
The volume changes linearly with the bias point at
the center.
2
Tone Pan ★
TVA Env
Sets the pan of the tone. “L64” is far left, “0” is center, and “63R” is
far right.
A-Env T1 V-Sens (TVA Envelope Time 1
Velocity Sensitivity)
Value: L64–0–63R
This allows keyboard dynamics to affect the Time 1 of the TVA
envelope. If you want Time 1 to be speeded up for strongly played
notes, set this parameter to a positive (+) value. If you want it to be
slowed down, set this to a negative (-) value.
Value: -63– +63
72
Creating a Patch
A-Env T4 V-Sens (TVA Envelope Time 4
Velocity Sensitivity)
Output
The parameter to use when you want key release speed to control
the Time 4 value of the TVA envelope. If you want Time 4 to be
speeded up for quickly released notes, set this parameter to a
positive (+) value. If you want it to be slowed down, set this to a
negative (-) value.
Patch Out Assign
Specifies how the direct sound of each patch will be output.
Value:
MFX:
Output in stereo through multi-effects. You can also
apply chorus or reverb to the sound that passes
through multi-effects.
Value: -63– +63
A-Env Time KF (TVA Envelope Time Key
Follow)
A, B:
1–4:
Output to the OUTPUT A (MIX) jack or OUTPUT B
jack in stereo without passing through multi-effects.
Output to the INDIVIDUAL 1–4 jacks in mono
without passing through multi-effects.
Use this setting if you want the TVA envelope times (Time 2–Time 4)
to be affected by the keyboard location. Based on the TVA envelope
times for the C4 key (center C), positive (+) settings will cause notes
higher than C4 to have increasingly shorter times, and negative (-)
settings will cause them to have increasingly longer times. Larger
settings will produce greater change.
TONE:
Outputs according to the settings for each tone.
*
If you've made settings so that sounds are separately routed to the
INDIVIDUAL 1 jack and INDIVIDUAL 2 jack, but no plug is
actually inserted in the INDIVIDUAL 2 jack, the sounds routed to
INDIVIDUAL 1 and INDIVIDUAL 2 will be mixed and output from
the INDIVIDUAL 1 jack.
Value:
-100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10,
+20, +30, +40, +50, +60, +70, +80, +90, +100
fig.06-031.e
Time
*
If the Mix/Parallel parameter ([MENU]/System/General) is set to
“MIX,” all sounds are output from the OUTPUT A (MIX) jacks in
stereo (p. 230).
-100
-50
Tone Out Assign
Specifies how the direct sound of each tone will be output.
0
Value:
MFX:
Output in stereo through multi-effects. You can also
apply chorus or reverb to the sound that passes
through multi-effects.
+50
A, B:
1–4:
Output to the OUTPUT A (MIX) jack or OUTPUT B
jack in stereo without passing through multi-effects.
Output to the INDIVIDUAL 1–4 jacks in mono
+100
Key
C7
C1
C2
C3
C4
C5
C6
*
*
If the Patch Output Assign is set to anything other than “TONE,”
these settings will be ignored.
A-Env Time 1–4 (TVA Envelope Time 1–4) ★
1
2
4
,
,
When the Structure Type parameter has a setting of Type “2”–”10,”
the outputs of tones 1 and 2 will be combined with tone 2, and the
outputs of tones 3 and 4 will be combined with tone 4. For this reason,
tone 1 will follow the settings of tone 2, and tone 3 will follow the
settings of tone 4 (p. 63).
Specify the TVA envelope times (Time 1– Time 4). Higher settings
will lengthen the time until the next volume level is reached. (For
example, Time 2 is the time over which Level 1 will change to Level
2.)
Value: 0–127
*
If you've made settings so that sounds are separately routed to the
actually inserted in the INDIVIDUAL 2 jack, the sounds routed to
INDIVIDUAL 1 and INDIVIDUAL 2 will be mixed and output from
the INDIVIDUAL 1 jack.
3
A-Env Level 1–3 (TVA Envelope Level 1–3)
Specify the TVA envelope levels (Level 1–Level 3). These settings
specify how the volume will change at each point, relative to the
standard volume (the Tone Level value specified in the TVA screen).
*
*
from the OUTPUT A (MIX) jacks in stereo (p. 230).
Value: 0–127
fig.06-041.e
If you've set Tone Out Assign to “MFX,” set the MFX Output
Assign parameter (p. 208) to specify the output destination of the
sound that has passed through the multi-effects.
T1 T2
T3
T4
*
*
Sounds are output to chorus and reverb in mono at all times.
The output destination of the signal after passing through the chorus
is set with the Chorus Output Select (p. 209) and the Chorus Output
Assign (p. 209).
Level
Time
L3
L2
L1
Note on
Note off
*
The output destination of the signal after passing through the reverb is
set with the Reverb Output Assign (p. 209).
T: Time L: Level
73
Creating a Patch
Tone Out Level
LFO 1/2
Set the level of the signal that is sent to the output destination
specified by Tone Output Assign.
Value: 0–127
Waveform (LFO1/LFO2 Waveform)
Selects the waveform of the LFO.
Value
Tone Chorus Send (Send Level (Output=MFX))
1
SIN:
Sine wave
TRI:
Triangle wave
SAW-U:
SAW-D:
SQR:
Sawtooth wave
Specifies the level of the signal sent to the chorus for each tone if the
Sawtooth wave (negative polarity)
Square wave
tone is sent through MFX.
Value: 0–127
RND:
Random wave
Tone Reverb Send (Send Level (Output=MFX))
2
BND-U:
Once the attack of the waveform output by the LFO
is allowed to develop in standard fashion, the
waveform then continues without further change.
Once the decay of the waveform output by the LFO
is allowed to develop in standard fashion, the
waveform then continues without further change.
Trapezoidal wave
Specifies the level of the signal sent to the reverb for each tone if the
BND-D:
tone is sent through MFX.
Value: 0–127
TRP:
S&H:
Tone Chorus Send (Send Level (Output=non
Sample & Hold wave (one time per cycle, LFO value
is changed)
3
MFX))
Sets the level of the signal sent to chorus for each tone if the tone is
CHAOS:
VSIN:
Chaos wave
not sent through MFX.
Modified sine wave. The amplitude of a sine wave is
randomly varied once each cycle.
A waveform generated by the data specified by LFO
Step 1–16. This produces stepped change with a
fixed pattern similar to a step modulator.
Value: 0–127
STEP:
Tone Reverb Send (Send Level (Output=non
4
MFX))
Sets the level of the signal sent to reverb for each tone if the tone is
not sent through MFX.
If you set this to “BND-U” or “BND-D,” you must turn the Key
Trigger parameter to “ON.” If this is “OFF,” it will have no
effect.
Value: 0–127
1
LFO Rate (LFO1/LFO2 Rate) ★
Modulating Sounds (LFO)
Adjusts the modulation rate, or speed, of the LFO.
Value: 0–127, Note
fig.06-042_50
LFO Rate sets the beat length for the synchronized tempo is
synchronized with the tempo set in a sequencer.
(Example)
Setting
(half note)
LFO Rate
1 second (60 / 60 =1 (second))
0.5 seconds (60 / 120= 0.5 (seconds))
0.25 seconds (60 / 240= 0.25 (seconds))
(quarter note)
(eighth note)
For details on these settings, refer to “How to Make Patch
This setting will be ignored if the Waveform parameter is set to
“CHAOS.”
Settings” (p. 56).
An LFO (Low Frequency Oscillator) causes change over a cycle
in a sound. Each tone has two LFOs (LFO1/LFO2), and these
can be used to cyclically change the pitch, cutoff frequency and
volume to create modulation-type effects such as vibrato, wah
and tremolo. Both LFOs have the same parameters so only one
explanation is needed.
74
Creating a Patch
fig.06-031.e
Rate Detune (LFO1/LFO2 Rate Detune)
Time
LFO Rate Detune makes subtle changes in the LFO cycle rate (Rate
parameter) each time a key is pressed. Higher settings will cause
greater change. This parameter is invalid when Rate is set to “note.”
Value: 0–127
-100
-50
Offset (LFO1/LFO2 Offset)
0
Raises or lowers the LFO waveform relative to the central value
(pitch or cutoff frequency). Positive (+) settings will move the
waveform so that modulation will occur from the central value
upward. Negative (-) settings will move the waveform so that
modulation will occur from the central value downward.
Value: -100, -50, 0, +50, +100
+50
+100
Key
C7
C1
C2
C3
C4
C5
C6
Fade Mode (LFO1/LFO2 Fade Mode)
2
Delay Time (LFO1/LFO2 Delay Time)
Specifies how the LFO will be applied.
Delay Time (LFO Delay Time) specifies the time elapsed before the
Value:
ON <, ON >, OFF <, OFF >
LFO effect is applied (the effect continues) after the key is pressed (or
released).
Value: 0–127
After referring to “How to Apply the LFO” (p. 76), change the
After referring to “How to Apply the LFO” (p. 76), change the
3
Fade Time (LFO1/LFO2 Fade Time)
setting until the desired effect is achieved.
Specifies the time over which the LFO amplitude will reach the
maximum (minimum).
When using violin, wind, or certain other instrument sounds in
a performance, rather than having vibrato added immediately
after the sounds are played, it can be effective to add the vibrato
after the note is drawn out somewhat. If you set the Delay Time
in conjunction with the Pitch Depth parameter and Rate
parameter, the vibrato will be applied automatically following a
certain interval after the key is pressed. This effect is called
Delay Vibrato.
Value: 0–127
After referring to “How to Apply the LFO” (p. 76), change the
setting until the desired effect is achieved.
Key Trigger (LFO1/LFO2 Key Trigger)
This specifies whether the LFO cycle will be synchronized to begin
when the key is pressed (ON) or not (OFF).
Value: OFF, ON
Delay Time KF (LFO1/LFO2 Delay Time Key
Follow)
Adjusts the value for the Delay Time parameter depending on the
key position, relative to the C4 key (center C). To decrease the time
that elapses before the LFO effect is applied (the effect is continuous)
with each higher key that is pressed in the upper registers, select a
positive value; to increase the elapsed time, select a negative value.
Larger settings will produce greater change. If you do not want the
elapsed time before the LFO effect is applied (the effect is
4
Pitch Depth (LFO1/LFO2 Pitch Depth) ★
Specifies how deeply the LFO will affect pitch.
Value: -63– +63
TVF Depth (LFO1/LFO2 TVF Depth) ★
Specifies how deeply the LFO will affect the cutoff frequency.
continuous) to change according to the key pressed, set this to “0.”
Value: -63– +63
Value:
-100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10,
+20, +30, +40, +50, +60, +70, +80, +90, +100
TVA Depth (LFO1/LFO2 TVA Depth) ★
Specifies how deeply the LFO will affect the volume.
Value: -63– +63
75
Creating a Patch
Pan Depth (LFO1/LFO2 Pan Depth) ★
● Apply the LFO immediately when the key
is pressed, and then gradually begin to
decrease the effect
Specifies how deeply the LFO will affect the pan.
Value: -63– +63
fig.06-044.e
high (more)
Delay Time
Fade Time
Positive (+) and negative (-) settings for the Depth parameter
result in differing kinds of change in pitch and volume. For
example, if you set the Depth parameter to a positive (+) value
for one tone, and set another tone to the same numerical value,
but make it negative (-), the modulation phase for the two tones
will be the reverse of each other. This allows you to shift back
and forth between two different tones, or combine it with the
Pitch
Cutoff Frequency
Level
Depth
Pan
Note on
low (less)
Fade Mode: ON >
Delay Time: The time that the LFO will continue after the
keyboard is played.
Fade Time: The time over which the LFO amplitude will
reach the minimum after the Delay Time has
elapsed.
When the Structure parameter is set to any value from “2”
through “10,” the output of tones 1 and 2 will be combined into
tone 2, and the output of tones 3 and 4 will be combined into
tone 4. This applies to the Pan Depth parameter settings. For
this reason, tone 1 will follow the settings of tone 2, and tone 3
will follow the settings of tone 4 (p. 63).
● Apply the LFO gradually after the key is
released
fig.06-045.e
Delay
Time
high (more)
Fade Time
Pitch
Cutoff Frequency
Level
Step LFO
Depth
Pan
LFO Step Type (LFO Step Type)
Note
on
Note
off
low (less)
When generating an LFO waveform from the data specified in LFO
Step1–16, specify whether the level will change abruptly at each step
or will be connected linearly.
Fade Mode: OFF <
Delay Time: The time from when the keyboard is released
until the LFO begins to be applied.
Value: TYPE1 (stair-step change), TYPE2 (linear change)
Fade Time: The time over which the LFO amplitude will
reach the maximum after the Delay Time has
elapsed.
Step 1–16 (LFO Step 1–16)
Specifies the data for the Step LFO. If the LFO Pitch Depth is +63,
each +1 unit of the step data corresponds to a pitch of +50 cents.
Value: -36– +36
● Apply the LFO from when the key is
pressed until it is released, and gradually
begin to decrease the effect when the key
is released
How to Apply the LFO
fig.06-046.e
● Apply the LFO gradually after the key is
Delay
Time
high (more)
pressed
Fade Time
Pitch
Cutoff Frequency
Level
fig.06-043.e
Depth
Delay
Time
high (more)
Fade Time
Pan
Pitch
Cutoff Frequency
Level
Depth
low (less)
Note on
Note off
Fade Mode: OFF >
Pan
Note on
Delay Time: The time that the LFO will continue after the
keyboard is released.
low (less)
Fade Mode: ON <
Fade Time: The time over which the LFO amplitude will
reach the minimum after the Delay Time has
elapsed.
Delay Time: The time from when the keyboard is played
until the LFO begins to be applied.
Fade Time: The time over which the LFO amplitude will
reach the maximum after the Delay Time has
elapsed.
76
Creating a Patch
Apply Portamento or Legato to the
Sound (Solo/Porta)
Let’s say you have the Legato Switch set to “ON,” and the
Legato Retrigger set to “OFF.” When you try to sound a legato
(by pressing a higher key while a lower key is held down), the
pitch may sometimes not be able to rise all the way to the
intended pitch (stopping instead at an intermediate pitch). This
can occur because the limit of pitch rise, as determined at the
wave level, has been exceeded. Additionally, if differing upper
pitch limits are used for the waves of a Patch that uses multiple
tones, it may stop being heard in MONO. When making large
Solo/Portamento
fig.06-047_50
Portamento Switch
Specifies whether the portamento effect will be applied (ON) or not
(OFF).
Value: OFF, ON
For details on these settings, refer to “How to Make Patch
Portamento
Settings” (p. 56).
Portamento is an effect which smoothly changes the pitch from
the first-played key to the next-played key. By applying
portamento when the Mono/Poly parameter is “MONO,” you
can simulate slide performance techniques on a violin or similar
instrument.
Mono/Poly
Specifies whether the patch will play polyphonically (POLY) or
monophonically (MONO). The “MONO” setting is effective when
playing a solo instrument patch such as sax or flute.
Value
MONO: Only the last-played note will sound.
POLY: Two or more notes can be played simultaneously.
Portamento Mode
Specifies the performance conditions for which portamento will be
Legato Switch (Legato Switch)
applied.
Value
Legato Switch is valid when the Mono/Poly parameter is set to
“MONO.” This setting specifies whether the Legato Switch will be
used (ON) or not (OFF).
NORMAL:
LEGATO:
Portamento will always be applied.
Portamento will be applied only when you play
legato (i.e., when you press the next key before
releasing the previous key).
With the Legato Switch parameter “ON,” pressing a key while continuing
to press a previous key causes the note to change pitch to the pitch of the
most recently pressed key, sounding all the while. This creates a smooth
transition between notes, which is effective when you wish to simulate the
hammering-on and pulling-off techniques used by a guitarist.
Value: OFF, ON
Portamento Type
Specifies the type of portamento effect.
Value
RATE:
The time it takes will depend on the distance
between the two pitches.
Legato Retrigger (Legato Retrigger Switch)
TIME:
The time it takes will be constant, regardless of how
far apart in pitch the notes are.
The Legato Retrigger is valid when the Mono/Poly parameter is set to
“MONO” and the Legato Switch parameter is set to “ON.” The setting
determines whether sounds are replayed (ON) or not (OFF) when
performing legato. Normally you will leave this parameter “ON.” When
“OFF,” when one key is held down and another key is then pressed, only
the pitch changes, without the attack of the latter key being played. Set
this to “OFF” when performing wind and string phrases or when using
modulation with the mono synth keyboard sound.
Value: OFF, ON
77
Creating a Patch
Portamento Start
When another key is pressed during a pitch change produced by
portamento, a new pitch change will begin. This setting specifies the
pitch at which the change will begin.
Miscellaneous Settings (Misc)
fig.06-050_50
Value
PITCH:
Starts a new portamento when another key is
pressed while the pitch is changing.
fig.06-048.e
Pitch
C5
D4
C4
Tone Delay Mode
Selects the type of tone delay.
Time
Value
press D4 key
press C5 key
NORM:
The tone begins to play after the time specified in the
Delay Time parameter has elapsed.
press C4 key
fig.06-051.e
NOTE:
Portamento will begin anew from the pitch where
the current change would end.
fig.06-049.e
No Tone Delay
Pitch
C5
Delay time
D4
C4
Note on
Note off
HOLD:
Although the tone begins to play after the time
specified in the Delay Time parameter has elapsed, if
the key is released before the time specified in the
Delay Time parameter has elapsed, the tone is not
played.
Time
press D4 key
press C5 key
press C4 key
Portamento Time
fig.06-052.e
When portamento is used, this specifies the time over which the
pitch will change. Higher settings will cause the pitch change to the
next note to take more time.
Value: 0–127
No sound
played
Delay time
Note on
Note off
78
Creating a Patch
OFF-N:
Rather than being played while the key is pressed,
the tone begins to play once the period of time
specified in the Delay Time parameter has elapsed
after release of the key. This is effective in situations
such as when simulating noises from guitars and
other instruments.
Tone Delay Time
Specifies the time from when the key is pressed (or if the Delay
Mode parameter is set to “OFF-N” or “OFF-D,” the time from when
the key is released) until when the tone will sound.
Value: 0–127, Note
Tone Delay Time specifies the beat length for the synchronized
tempo when the tempo that specifies the elapsed time until the tone
is sounded (Patch Tempo) is synchronized with the tempo set in a
sequencer.
fig.06-053.e
(Example)
For a tempo of 120 (120 quarter notes occur in 1 minute (60 seconds))
Delay time
Setting
(half note)
Delay time
1 second (60 / 60 =1 (second))
Note on
Note off
OFF-D:
Rather than being played while the key is pressed,
the tone begins to play once the period of time
specified in the Delay Time parameter has elapsed
after release of the key. Here, however, changes in
the TVA Envelope begin while the key is pressed,
which in many cases means that only the sound
from the release portion of the envelope is heard.
0.5 seconds (60 / 120= 0.5 (seconds))
0.25 seconds (60 / 240= 0.25 (seconds))
(quarter note)
(eighth note)
When a loop waveform (p. 59) is selected, the sound will normally
continue as long as the key is pressed. If you want the sound to
decay naturally even if the key remains pressed, set this to “NO
SUS.”
fig.06-054.e
Delay time
Range: NO SUS, SUST
Note on
Note off
If a one-shot type Wave (p. 58) is selected, it will not sustain
even if this parameter is set to “SUST.”
If you have selected a waveform that is a decay-type sound (i.e.,
a sound that fades away naturally even if the key is not
released), selecting “OFF-N” or “OFF-D” may result in no
sound being heard.
Tone Rx Bender (Tone Receive Pitch Bend
Switch)
For each tone, specify whether MIDI Pitch Bend messages will be
received (ON), or not (OFF).
Value: OFF, ON
Tone Delay
Tone Rx Expression (Tone Receive Expression
Switch)
This produces a time delay between the moment a key is
pressed (or released), and the moment the tone actually begins
to sound. You can also make settings that shift the timing at
which each tone is sounded. This differs from the Delay in the
internal effects, in that by changing the sound qualities of the
delayed tones and changing the pitch for each tone, you can
also perform arpeggio-like passages just by pressing one key.
You can also synchronize the tone delay time to the tempo of
the sequencer.
For each tone, specify whether MIDI Expression messages will be
received (ON), or not (OFF).
Value: OFF, ON
Tone Rx Hold-1 (Tone Receive Hold Switch)
For each tone, specify whether MIDI Hold-1 messages will be
received (ON), or not (OFF).
Value: OFF, ON
If you are not going to use Tone Delay, set the Delay Mode
parameter to “NORM” and Delay Time parameter to “0.”
If “NO SUS” is selected for Env Mode parameter, this setting
will have no effect.
•
If the Structure parameters set in the range of “2”–”10,” the
output of tones 1 and 2 will be combined into tone 2, and
the output of tones 3 and 4 will be combined into tone 4.
For this reason, tone 1 will follow the settings of tone 2, and
tone 3 will follow the settings of tone 4 (p. 63).
79
Creating a Patch
Tone Rx Pan Mode
For each tone, specify how pan messages will be received.
Matrix Control Settings (Ctrl1–4)
Value
fig.06-055_50
CONT:
Whenever Pan messages are received, the stereo
position of the tone will be changed.
K-ON:
The pan of the tone will be changed only when the
next note is played. If a pan message is received
while a note is sounding, the panning will not
change until the next key is pressed.
The channels cannot be set so as not to receive Pan messages.
Tone Redamper Sw (Tone Redamper Switch)
You can specify, on an individual tone basis, whether or not the
sound will be held when a Hold 1 message is received after a key is
released, but before the sound has decayed to silence. If you want to
sustain the sound, set this “ON.” When using this function, also set
the Rx Hold-1 parameter “ON.” This function is effective for piano
sounds.
For details on these settings, refer to “How to Make Patch
Settings” (p. 56).
Matrix Control
Value: OFF, ON
Ordinarily, if you wanted to change tone parameters using an
external MIDI device, you would need to send System
Exclusive messages—MIDI messages designed exclusively for
the Fantom-X. However, System Exclusive messages tend to be
complicated, and the amount of data that needs to be
transmitted can get quite large.
For that reason, a number of the more typical of the Fantom-X’s
tone parameters have been designed so they accept the use of
Control Change (or other) MIDI messages for the purpose of
making changes in their values. This provides you with a
variety of means of changing the way patches are played. For
example, you can use the Pitch Bend lever to change the LFO
cycle rate, or use the keyboard’s touch to open and close a filter.
The function which allows you use MIDI messages to make
these changes in realtime to the tone parameters is called the
Matrix Control. Up to four Matrix Controls can be used in a
single patch.
To use the Matrix Control, specify which MIDI message (Source
parameter) will be used to control which parameter
(Destination parameter), and how greatly (Sns parameter), and
the tone to which the effect is applied (Tone parameter).
80
Creating a Patch
Matrix Control 1–4 Source
CTRL Destination 1–4 (Matrix Control
Destination 1–4)
Matrix Control.
Matrix Control Destination selects the tone parameter that is to be
controlled when using the Matrix Control. The following parameters
can be controlled. When not controlling parameters with the Matrix
Control, set this to “OFF.” Up to four parameters can be specified for
each Matrix Control, and controlled simultaneously.
Value
OFF:
Matrix control will not be used.
Controller numbers 1–31, 33–95
CC01–31, 33–95:
For more information about Control Change messages, please
In this manual, Parameters that can be controlled using the
refer to “MIDI Implementation” (p. 298).
Matrix Control are marked with a “★.”
PITCH BEND:
AFTERTOUCH:
Pitch Bend
Aftertouch
● Opening and Closing the Filter
SYS CTRL1–SYS CTRL4: MIDI messages used as common matrix
CUTOFF:
Changes the cutoff frequency.
Emphasizes the overtones in the region of
the cutoff frequency, adding character to the
sound.
controls.
RESONANCE:
VELOCITY:
Velocity (pressure you press a key with)
KEY FOLLOW:
Key follow (keyboard position with C4
as 0)
TEMPO:
The specified tempo (sequencer tempo)
● Changing the Volume, Pan, and Pitch
or the tempo of an external MIDI
sequencer.
LEVEL:
PAN:
Changes the volume level.
Changes the pan.
LFO1:
LFO 1
PITCH:
Changes the pitch.
LFO2:
LFO 2
PITCH ENV:
TVF ENV:
TVA ENV:
Pitch envelope
TVF envelope
TVA envelope
● Changing How the Effects Are Applied
OUTPUT LEVEL: Changes the volume of output levels.
CHORUS SEND: Changes the amount of chorus.
REVERB SEND: Changes the amount of reverb.
Velocity and Key follow correspond to Note messages.
● Applying LFO to Modulate Sounds
LFO1/LFO2 PCH DEPTH: Changes the vibrato depth.
LFO1/LFO2 TVF DEPTH: Changes the wah depth.
LFO1/LFO2 TVA DEPTH: Changes the tremolo depth.
LFO1/LFO2 PAN DEPTH: Changes the effect that the LFO will
have on pan.
Although there are no MIDI messages for LFO 1 through TVA
Envelope, they can be used as Matrix Control. In this case, you
can change the tone settings in realtime by playing patches.
select “SYS CTRL1”–”SYS CTRL4.” MIDI messages used as
System Control 1–4 are set with the System Ctrl 1–4 Source
parameters (p. 233).
•
LFO1/LFO2 RATE:
Changes the LFO cycle rate.
Changes the speed of the LFO
cycles.
*
The speed will not change if LFO Rate is set to “note.”
There are parameters that determine whether or not Pitch Bend,
Controller Number 11 (Expression) and Controller Number 64
the MIDI messages are received, then when any change is made
in the settings of the desired parameter, the Pitch Bend,
Expression, and Hold 1 settings also change simultaneously. If
you want to change the targeted parameters only, then set these
to “OFF.”
PIT ENV A-TIME: Changes the Env Time 1 parameter of the
pitch envelope.
PIT ENV D-TIME: Changes the Env Time 2 and Env Time 3
parameters of the pitch envelope.
PIT ENV R-TIME: Changes the Env Time 4 parameter of the
pitch envelope.
•
There are parameters that let you specify whether specific MIDI
messages will be received for each channel in a performance (p.
112). When a patch with Matrix Control settings is assigned to a
part, confirm that any MIDI messages used for the Matrix
Control will be received. If the Fantom-X is set up such that
reception of MIDI messages is disabled, then the Matrix Control
will not function.
● Changing the TVF Envelope
TVF ENV A-TIME: Changes the Env Time 1 parameter of the
TVF envelope.
TVF ENV D-TIME: Changes the Env Time 2 and Env Time 3
parameters of the TVF envelope.
TVF ENV R-TIME: Changes the Env Time 4 parameter of the
TVF envelope.
81
Creating a Patch
● Changing the TVF Envelope
CTRL Sens 1–4 (Matrix Control Sens 1–4)
TVA ENV A-TIME:Changes the Env Time 1 parameter of the
TVA envelope.
Sets the amount of the Matrix Control’s effect that is applied. If you
wish to modify the selected parameter in a positive (+) direction –
i.e., a higher value, toward the right, or faster etc. – from its current
setting, select a positive (+) value. If you wish to modify the selected
parameter in a negative (-) direction – i.e., a lower value, toward the
left, or slower etc. – from its current setting, select a negative (-)
value. For either positive or negative settings, greater absolute
values will allow greater amounts of change. Set this to “0” if you
don't want to apply the effect.
TVA ENV D-TIME:Changes the Env Time 2 and Env Time 3
parameters of the TVA envelope.
TVA ENV R-TIME:Changes the Env Time 4 parameter of the
TVA envelope.
● Splitting Tones That Are Played
TMT
Value: -63– +63
If the Matrix Control is used to split tones, set the TMT Vel
parameter to “ON” (p. 66, p. 66).
CTRL Tone 1–4 (Tone Control Switch 1–4)
Matrix Control Tone selects the tone to which the effect is applied
when using the Matrix Control.
•
•
If the Matrix Control is used to split tones, we recommend
setting the Matrix Control Sens to “+63.” Selecting a lower value
may prevent switching of the tones. Furthermore, if you want to
reverse the effect, set the value to “-63.”
Value
OFF:
ON:
The effect will not be applied.
The effect will be applied.
REVS:
The effect will be applied in reverse.
If you want to use matrix control to switch smoothly between
tones, use the Velo Fade Lower and Velo Fade Upper
parameters (p. 66). The higher the values set, the smoother the
switch is between the tones.
● Changing the Depth of Frequency
Modulation for FXM
For details regarding effect settings, refer to the pages shown
below.
FXM DEPTH
•
•
•
•
“Making Effect Settings” (p. 206)
● Controlling the amount of realtime stretch/
“Making Multi-Effects Settings (MFX1–3)” (p. 213)
“Making Chorus Settings (Chorus)” (p. 215)
“Making Reverb Settings (Reverb)” (p. 216)
shrink
TIME
This will have no effect if Realtime Time Stretch (p. 63) is not
selected. If matrix control sensitivity is set to “+” the stretch/
shrink time will become shorter, and if set to “-” the time will
become longer.
● Changing Specific Multi-Effects Parameters
MFX CTRL1–4: Change the parameter that was specified by
MFX Control 1–4 Assign parameter.
If you have not made the necessary settings for using the multi-
effect, the multi-effect will not be applied even if you attempt to
control it as a Matrix Control destination.
● If you’re not using Matrix Control
OFF:
Matrix Control will not be used.
82
Creating a Rhythm Set
With the Fantom-X, you have total control over a wide variety of
settings. Each item that can be set is known as a parameter. When
you change the values of parameters, you are doing what is referred
to as Editing. This chapter explains the procedures used in creating
rhythm sets, and the functions of the rhythm set parameters.
5. Press [F8 (Wave Sw/Sel)] to select the wave that you want
to edit.
The Wave Sw/Select window will appears.
fig.05-011_50
How to make Rhythm Set
settings
Start with an existing rhythm set and edit it to create a new rhythm
set. Rhythm sets are created from a collection of multiple rhythm
the rhythm tones for each key with rhythm set edit.
Press any one of the [F5 (Wave Select1)]–[F8 (Wave Select4)]
buttons to select the wave that you want to edit.
Simultaneously editing the same parameter of multiple
waves
The rhythm tone assigned to each key consists of up to four waves.
Rhythm tones and waves are related in the same way that patches
and tones are related.
•
1. Press [PATCH/RHYTHM] to access the Patch Play screen,
set whose settings you want to edit (p. 52).
To select the tones you want to edit at the same time,
simultaneously press two or more of the [F5 (Wave Select1)]-[F8
(Wave Select4)] buttons, making them light red.
To switch a wave on/off
•
You cannot edit the rhythm sets in the GM group.
Press a [F1 (Wave Sw1)]–[F4 (Wave Sw4)] button to switch the
corresponding wave on/off.
If you want to create a rhythm set from scratch (rather than
starting from an existing rhythm set), execute the Initialize
operation (p. 84).
*
You can also select the tone by pressing
or
.
6. When you have made your selection, press [EXIT].
7. Turn the VALUE dial, or Press [INC]/[DEC] to set a value.
2. Press [PATCH EDIT].
•
To change the part that you want to edit
The Rhythm Edit screen appears.
fig.07-001_50
Press [F7 (Part Select)].
8. Repeat steps 5–7 to set each parameter you want to edit.
9. If you wish to save the changes you’ve made, press
[WRITE] to perform the Save operation (p. 86). If you do not
wish to save changes, press [EXIT] to return to the Patch
Play screen.
If you return to the Patch Play screen without saving, an “*”
will be displayed at the left of the rhythm set number,
indicating that the rhythm set settings have been edited.
If you turn off the power or select a different sound while the
display indicates “*,” your edited rhythm set will be lost.
3. The parameters are organized into several editing groups.
Press [F1 (⇑)] or [F2 (⇓)] to select the tab for the editing
group that contains the parameter you wish to edit.
For details on how the parameters are grouped, refer to
“Rhythm Set Parameter” (p. 259).
4. Use
or
to move the cursor to the parameter you
wish to modify.
83
Creating a Rhythm Set
1. Press [PATCH/RHYTHM] to access the Patch Play screen,
and select the part (keyboard part or pad part) and rhythm
set that you want to initialize (p. 52).
Edit)
2. Hold down [SHIFT] and press [F1 (Init)].
A message will ask you for confirmation.
You can edit while viewing a graphic display of the most frequently
used important parameters.
3. Press [F8 (Exec)].
Zoom Edit lets you edit the following parameters.
The initialization will be carried out, and you’ll be returned to
the previous screen.
Parameter
Pitch Envelope
TVF
TVF Envelope
TVA Envelope
page
p. 91
p. 92
p. 93
p. 94
To cancel, press [F7 (Cancel)].
Initializing only a specific key
Here’s how to initialize only a specific key of a Rhythm Set.
1. Press [PATCH/RHYTHM] to access the Patch Play screen,
and select the part (keyboard part or pad part) and patch
that you want to edit.
1. Press [PATCH/RHYTHM] to access the Patch Play screen,
and select the part (keyboard part or pad part) and rhythm
set that you want to initialize (p. 52).
2. Press [PATCH EDIT], and then press [F3 (Zoom Edit)].
The Zoom Edit screen will appear.
fig.07-002_50
2. Press [PATCH EDIT].
Press keys to specify the key (A0–C8) that is to be initialized.
3. Press [F4 (Init)].
Select the type of initialization.
•
ALL:
All keys of the rhythm set will be initialized. (This is
the same as the rhythm set initialize procedure
described above.)
•
KEY:
One key will be initialized.
4. Press [F8 (Select)].
A message will ask for confirmation.
5. Press [F8 (Exec)].
The initialization will be carried out, and you’ll be returned to
the previous screen.
3. The parameters are organized into several edit groups.
Press [F1]–[F4] to select the tab for the parameters that you
want to edit.
To cancel, press [F7 (Cancel)].
•
To select a Wave for editing or switch a Wave on/off
Press [F8 (Wave Sw/Sel)].
Copying Rhythm Tone Settings
(Copy)
•
To switch to a different part for editing
Press [F7 (Part Select)].
This operation copies the settings of any desired rhythm set to the
currently selected rhythm set. You can use this feature to make the
editing process faster and easier.
4. Use [CURSOR] to move the cursor to the parameter that
you want to edit.
You can use the realtime control knob to set the value.
5. Turn the VALUE dial or use [INC][DEC] to modify the value.
Basic Procedure for Rhythm Tone
Copy
6. When you have finished editing, press [EXIT].
1. Press [PATCH/RHYTHM] to access the Patch Play screen,
and select the part (keyboard part or pad part) that you want
to edit and the copy-destination Rhythm set (p. 52).
Initializing Rhythm Set Settings
(Init)
2. Press [PATCH EDIT].
“Initialize” means to return the settings of the currently selected
sound to a standard set of values or to the factory settings.
The Initialize operation will affect only the currently selected
sound; the sounds that are stored in user memory will not be
affected. If you wish to restore all of the Fantom’s settings to
their factory values, perform a Factory Reset (p. 235).
84
Creating a Rhythm Set
3. Press [F5 (Tone Copy)].
The Rhythm Copy window appears.
fig.07-003_50
themselves, such as percussive instrument sounds.
The Fantom-X also contains many other one-shot
waveforms that are elements of other sounds. These
include attack components such as piano-hammer
sounds and guitar fret noises.
Looped:
These waveforms include sounds with long decays
as well as sustained sounds. Loop waveforms
repeatedly play back (loop) the portion of the
waveform after the sound has reached a relatively
steady state. The Fantom-X’s looped waveforms also
include components of other sounds, such as piano-
string resonant vibrations and the hollow sounds of
brass instruments.
4. Using [CURSOR] to move the cursor, select the “Source
(copy-source)” bank and number, and the rhythm tone.
5. Turn the VALUE dial or use [INC][DEC] to make the setting.
6. Using [CURSOR] to move the cursor, select the
Cautions When Using a One-shot
Waveform
“Destination (copy-destination)” rhythm tone number.
7. Turn the VALUE dial or use [INC][DEC] to make the setting.
It is not possible to use the envelope to modify a one-shot waveform
to create a decay that is longer than the original waveform, or to turn
it into a sustaining sound. If you were to program such an envelope,
you would be attempting to shape a portion of the sound that simply
doesn’t exist, and the envelope would have no effect.
8. Press [F8 (Exec)].
A message will ask for confirmation.
9. Press [F8 (Exec)] to return to the Rhythm Edit screen.
*
To cancel, press [F7 (Cancel)].
Cautions When Using a Loop
Waveform
The Compare Function
For the Rhythm Tone Copy operations, you can use the
Compare function.
With many acoustic instruments such as piano and sax, extreme
timbral changes occur during the first few moments of each note.
This initial attack is what defines much of the instrument’s character.
For such waveforms, it is best to use the complex tonal changes of
the attack portion of the waveform just as they are, and to use the
envelope only to modify the decay portion. If you attempt to use the
envelope to modify the attack portion as well, the characteristics of
the original waveform may prevent you from getting the sound that
If you want to play the copy-source patch, press [F6 (Compare)]
to light it into red. Now you can play the copy-source rhythm
set from the keyboard or pads.
fig.07-004_50
you intend.
fig.06-006.e
Level
Looped portion
Tone change stored
with the wave
The rhythm set auditioned using the Compare function
may sound slightly different than when it is played
normally.
Time
Envelope
for the TVF filter
Cautions When Selecting a
Waveform
Resulting
tone change
The sounds of the Fantom-X are based on complex PCM waveforms,
and if you attempt to make settings that are contrary to the type of
the original waveform, the results will not be as you expect.
The internal waveforms of the Fantom-X fall into the following two
groups.
One-shot:
These waveforms contain sounds that have short
decays. A one-shot waveform records the initial rise
and fall of the sound. Some of the Fantom-X’s one-
shot waveforms are sounds that are complete in
85
Creating a Rhythm Set
6. Turn the VALUE dial or use [INC][DEC] and [F2 (⇑)] [F3 (⇓)]
to select the write destination and rhythm set number.
The write destination can be either the Fantom-X’s internal user
Saving Rhythm Sets You’ve
Created (Write)
area (User), or a memory card (Card).
fig.07-007_50
Changes you make to sound settings are temporary, and will be lost
if you turn off the power or select another sound. If you want to keep
the modified sound, you must save it in the internal user memory or
memory card.
When you edit the patch settings, an “*” will appear in the Patch
Play screen.
When you perform the save procedure, the data that previously
occupied the save destination will be lost.
By pressing [F6 (Compare)] you can check the save-destination
Rhythm set (Compare function).
1. Make sure that the Rhythm Set you wish to save is selected.
7. Press [F8 (Write)].
2. Press [WRITE].
A message will ask you for confirmation.
The WRITE Menu screen appears.
fig.07-005_50
Never switch off the Fantom-X while data is being saved.
8. Press [F8 (Exec)] to execute the save operation. To cancel
the operation, press [F7 (Cancel)].
*
To cancel, press [F7 (Cancel)].
Auditioning the Save-Destination
Rhythm Set (Compare)
Before you save a rhythm set, you can audition the rhythm set which
currently occupies the save destination to make sure that it is one
you don’t mind overwriting. This can help prevent important
rhythm sets from being accidentally overwritten and lost.
3. Press [F2 (Patch/Rhythm)].
*
Press
or
to select “Rhythm Edit,” and then press [ENTER].
The Rhythm Set Name screen appears.
fig.07-006_50
1. Follow the procedure in “Saving Rhythm Sets You’ve
Created (Write)” through step 5 to select the save
destination.
2. Press [F7 (Compare)] to light it into red.
The Rhythm Compare window appears, making it possible to
fig.07-008.e
Save-destination
rhythm set
4. Assign a name to the rhythm set.
For details on assigning names, refer to “Assigning a Name”
(p. 36)
3. Play the keyboard or pad to sound the save destination
5. When you have finished inputting the name, press [F8
(Write)].
rhythm set, then check whether you really want to overwrite
it.
A screen will appear, allowing you to select the write-
destination rhythm set.
The rhythm set auditioned using the Compare function may
sound slightly different than when it is played normally.
86
Creating a Rhythm Set
4. If you wish to change the save destination, re-specify the
1
Rhythm Level (Rhythm Set Level)
save-destination rhythm set by using
or
.
Sets the volume of the rhythm set.
5. Press [F7 (Write)].
Value: 0–127
6. Press [F8 (Exec)] once again to execute the Save operation.
The volume levels of the tones from which the rhythm set is
composed is set with the Tone Level parameter (p. 94). The
volume levels of the Waves from which the rhythm tone is
composed is set with the Wave Level parameter (p. 90).
Functions of Rhythm Set
Parameters
This section explains the functions the different rhythm set
Tone Name (Rhythm Tone Name)
parameters have, as well as the composition of these parameters.
You can assign a name of up to 12 characters to the rhythm tone.
1
2
3
If a number is displayed for the parameter name, (
,
,
,
Value:
space, A-Z, a-z, 0-9, ! " # $ % & ' ( ) * + , - . / : ; < = > ?
@ [ \ ] ^ _ ` { | }
4
), you can use the realtime controller knob of the corresponding
number (the left most knob is number 1, the right most knob is
number 4) to set the value.
For details on assigning names, refer to “Assigning a Name”
(p. 36)
When you enter the Rhythm Edit screen, the indicator at the right of
the Realtime Control knobs will go out, and the Realtime Control
knobs can be used to edit the parameters of the patch or rhythm set.
If you once again press the button located at the right of the Realtime
Control knobs to make the indicator light, the knobs will control
their original functions. When you exit the Rhythm Edit screen, the
Assign Type
Assign Type sets the way sounds are played when the same key is
pressed a number of times.
Value
indicator will automatically return to its previous lit state.
fig.06-010
MULTI:
Layer the sound of the same keys. Even with
continuous sounds where the sound plays for an
extended time, such as with crash cymbals, the
sounds are layered, without previously played
sounds being eliminated.
SINGLE:
Only one sound can be played at a time when the
same key is pressed. With continuous sounds where
the sound plays for an extended time, the previous
sound is stopped when the following sound is
played.
1
2
3
4
Making Settings Common to the
Entire Rhythm Set (General)
Mute Group
fig.07-001_50
On an actual acoustic drum set, an open hi-hat and a closed hi-hat
sound can never occur simultaneously. To reproduce the reality of
this situation, you can set up a Mute Group.
The Mute Group function allows you to designate two or more
Mute Groups can be used. rhythm tones that are not belong to any
such group should be set to “OFF.”
Value: OFF, 1–31
When a loop waveform (p. 85) is selected, the sound will normally
continue as long as the key is pressed. If you want the sound to
decay naturally even if the key remains pressed, set this to “NO
SUS.”
For details on these settings, refer to “How to make Rhythm
Set settings” (p. 83).
Value: NO-SUS, SUSTTAIN
Rhythm Level applies to the entire rhythm set; the other
parameters are set individually for each rhythm tone.
If a one-shot type Wave (p. 85) is selected, it will not sustain
even if this parameter is set to “SUST.”
87
Creating a Rhythm Set
Tone Pitch Bend Range
(Rhythm Tone Pitch Bend Range)
Modifying Waveforms (Wave)
Specifies the amount of pitch change in semitones (4 octaves) that
will occur when the Pitch Bend Lever is moved. The amount of
change when the lever is tilted is set to the same value for both left
and right sides.
fig.07-009_50
Value: 0–48
Tone Receive Expression
(Rhythm Tone Receive Expression Switch)
For each rhythm tone, specify whether MIDI Expression messages
will be received (ON), or not (OFF).
Value: OFF, ON
Tone Receive Hold-1
(Rhythm Tone Receive Hold-1 Switch)
For details on these settings, refer to “How to make Rhythm
For each rhythm tone, specify whether MIDI Hold-1 messages will
be received (ON), or not (OFF).
Set settings” (p. 83).
Value: OFF, ON
With rhythm tones, sounds are created by combining up to four
Waves (eight for stereo).
If “NO SUS” is selected for Env Mode parameter (p. 87), this
setting will have no effect.
Tips on Creating a Rhythm Tone
Tone Receive Pan Mode
The Waves for the bass drum, snare, hi-hat, toms, and other
percussion instruments are each assigned to one rhythm tone.
When adding 3D effects to the sound, make the Pan settings for
each rhythm tone individually.
(Rhythm Tone Receive Pan Mode)
For each rhythm tone, specify how pan messages will be received.
Value
CONTINUOUS:Whenever Pan messages are received, the stereo
position of the tone will be changed.
KEY-ON:
The pan of the tone will be changed only when the
next note is played. If a pan message is received
while a note is sounding, the panning will not
change until the next key is pressed.
Wave Group
Select the groups containing the Waves comprising the rhythm tone.
Value
INT:
Waveforms stored in internal
Waveform stored in a Wave Expansion Board (SRX
series) installed in EXP slots.
Sample waveforms
EXP:
The channels cannot be set so as not to receive Pan messages.
SMAP:
MSAM:
One Shot Mode
Multisample waveforms
The sound will play back until the end of the waveform (or the end
of the envelope, whichever comes first). The result will be the same
as when the envelope’s Tone Env Mode parameter (p. 87) is set to
NO-SUS. If you have set Wave Group (p. 88) to Sample, the loop
setting will be forced to ONE SHOT.
You cannot select a waveform group of a Wave Expansion
Board that is not installed.
Wave Bank
Value: OFF, ON
Select the wave bank.
Aftertouch Time Ctrl Sens (Sensitivity)
Value
When the wave group is EXP:
When the wave group is SAMP:
When the wave group is MSAM:
A-D
If Wave Group is set to SAMPLE and Tempo Sync is ON, aftertouch
will control the amount of time stretching/shrinking caused by Time
Stretch. If Time Stretch is not being applied, nothing will happen. If
the stretch/shrink time will become shorter, and if set to “-” the time
will become longer.
PRST, USER, CARD
USER, CARD
Value: -63–+63
88
Creating a Rhythm Set
Wave No. L (Mono) (Wave Number L (Mono))
Wave No. R (Wave Number R)
2
FXM Switch
This sets whether FXM will be used (ON) or not (OFF).
This selects the Waves comprising the rhythm tone. Along with the
Wave number, the Wave name appears at the lower part of the
display.
Value: OFF, ON
When in monaural mode, only the left side (L) is specified. When in
stereo, the right side (R) is also specified.
FXM
FXM (Frequency Cross Modulation) uses a specified waveform
to apply frequency modulation to the currently selected
waveform, creating complex overtones. This is useful for
creating dramatic sounds or sound effects.
Value: —-, 1–1228 (The upper limit will depend on the wave group.)
If you want to select a left/right pair of Waves, select the left (L)
Wave number and then press [F6 (Set Stereo)]; the right (R)
(Wave) will be recalled.
*
When using a multisample in stereo, you must specify the same
number for L and R.
3
FXM Color
Specifies how FXM will perform frequency modulation. Higher
settings result in a grainier sound, while lower settings result in a
more metallic sound.
1
Wave Tempo Sync
When you wish to synchronize a Phrase Loop to the clock (tempo),
expansion board is installed, and a waveform that indicates a tempo
(BPM) is selected as the sample for a wave.
Value: 1–4
4
FXM Depth
Specifies the depth of the modulation produced by FXM.
Value: OFF, ON
Value: 0–16
If a waveform from a wave expansion board is selected for the
tone, turning the Wave Tempo Sync parameter “ON” will cause
pitch-related settings (p. 91) and FXM-related settings (p. 89) to
be ignored.
When the Tempo Sync parameter is set to “ON,” settings
related to Pitch (p. 91) and FXM (p. 89) are disabled.
•
•
If a sample is selected for a tone, you must first set the BPM
(tempo) parameter of the sample.
Changing How a Rhythm Tone Is
Sounded (WMT)
If a sample is selected for a tone, Wave Tempo Sync will require
twice the normal number of voices.
The WMT (Wave Mix Table) uses key velocity to control the four
waveforms assigned to the rhythm tone.
fig.07-010_50
Phrase Loop
Phrase loop refers to the repeated playback of a phrase that’s
been pulled out of a song (e.g., by using a sampler). One
technique involving the use of Phrase Loops is the excerpting of
a Phrase from a pre-existing song in a certain genre, for example
dance music, and then creating a new song with that Phrase
used as the basic motif. This is referred to as “Break Beats.”
Realtime Time Stretch
For details on these settings, refer to “How to make Rhythm
If the wave group is “SAMP” or “MSAM,” and the Wave
Tempo Sync parameter is turned “ON,” you can vary the
playback speed of the waveform without affecting the pitch.
Set settings” (p. 83).
1
Wave Coarse Tune
Adjusts the pitch of the waveform’s sound up or down in semitone
1
Wave Gain
steps (+/-4 octaves).
Value: -48– +48
Sets the gain (amplification) of the waveform. The value changes in 6
dB (decibel) steps—an increase of 6 dB doubles the waveform’s gain.
Value: -6, 0, +6, +12
The Coarse Tune of the entire rhythm tone is set by the Tone
Coarse parameter (p. 91).
89
Creating a Rhythm Set
Velo Fade Lower (Velocity Fade Width Lower)
2
Wave Fine Tune
This determines what will happen to the tone’s level when the tone
is played at a velocity lower than its specified velocity range. Higher
settings produce a more gradual change in volume. If you want
notes played outside the specified key velocity range to not be
sounded at all, set this to “0.”
steps (+/-50 cents).
Value: -50– +50
One cent is 1/100th of a semitone.
Value: 0–127
Velo Range Lower (Velocity Range Lower)
The Fine Tune of the entire rhythm tone is set by the Tone Fine
Tune parameter (p. 91).
This sets the lowest velocity at which the waveform will sound.
Make these settings when you want different waveforms to sound in
response to notes played at different strengths.
Value: 1–UPPER
3
Wave Level
You can set the volume of the waveform.
Velo Range Upper (Velocity Range Upper)
Value: 0–127
This sets the highest velocity at which the waveform will sound.
Make these settings when you want different waveforms to sound in
response to notes played at different strengths.
Value: LOWER–127
The volume level of each rhythm tone is set with the Tone Level
parameter; the volume levels of the entire rhythm set is set with
the Rhythm Level parameter (p. 87).
4
Wave Pan
If you attempt to set the Lower velocity limit above the Upper,
or the Upper below the Lower, the other value will
automatically be adjusted to the same setting.
This specifies the pan of the waveform. “L64” is far left, “0” is center,
and “63R” is far right.
Value: L63–0–63R
Velo Fade Upper (Velocity Fade Width Upper)
Wave Rnd Pan Sw
This determines what will happen to the tone’s level when the tone
is played at a velocity greater than its specified velocity range.
Higher settings produce a more gradual change in volume. If you
want notes played outside the specified key velocity range to not be
sounded at all, set this to “0.”
(Wave Random Pan Switch)
Use this setting to cause the waveform’s panning to change
randomly each time a key is pressed (ON) or not (OFF).
Value: OFF, ON
Value: 0–127
fig.06-028.e
Level
*
The range of the panning change is set by the Rnd Pan Depth
parameter (p. 94).
WMT Velocity Control (Velocity Control Switch)
Velocity
WMT Velocity Control determines whether a different rhythm tone
is played (ON) or not (OFF) depending on the force with which the
key is played (velocity).
Fade Upper
Range Upper
Fade Lower
Range Lower
When set to “RND,” the rhythm set’s constituent rhythm tones will
Value: OFF, ON, RANDOM
Modifying Pitch (Pitch/Pitch Env)
fig.07-011_50
Wave Alter Pan Sw
(Wave Alternate Pan Switch)
This setting causes panning of the waveform to be alternated
between left and right each time a key is pressed. Set Alternate Pan
Switch to “ON” to pan the Wave according to the Alter Pan Depth
parameter (p. 94) settings, or to “REV” when you want the panning
reversed. If you do not want the panning to change each time a key
is pressed, set this to “OFF.”
Range: OFF, ON, REV
For details on these settings, refer to “How to make Rhythm
Set settings” (p. 83).
90
Creating a Rhythm Set
P-Env T4 V-Sens (Pitch Envelope Time 4
Velocity Sensitivity)
Pitch
1
Use this parameter when you want key release speed to affect the
Time 4 value of the pitch envelope. If you want Time 4 to be speeded
up for quickly released notes, set this parameter to a positive (+)
value. If you want it to be slowed down, set this to a negative (-)
value.
Selects the pitch at which a rhythm tone sounds.
Value: C-1– G9
Value: -63– +63
Set the coarse tuning for Waves comprising the rhythm tones
with the Wave Coarse Tune parameter (p. 89).
1
P-Env Time 1–4 (Pitch Envelope Time 1–4)
,
2
4
,
2
Tone Fine Tune (Rhythm Tone Fine Tune)
Specify the pitch envelope times (Time 1–Time 4). Higher settings
will result in a longer time until the next pitch is reached. (For
steps (+/-50 cents).
example, Time 2 is the time over which the pitch changes from Level
Value: -50– +50
1 to Level 2.)
Value: 0–127
One cent is 1/100th of a semitone.
3
P-Env Level 0–4 (Pitch Envelope Level 0–4)
Specify the pitch envelope levels (Level 0–Level 4). It determines
how much the pitch changes from the reference pitch (the value set
with Coarse Tune or Fine Tune on the Pitch screen) at each point.
Positive (+) settings will cause the pitch to be higher than the
standard pitch, and negative (-) settings will cause it to be lower.
Set the fine tuning for Waves comprising the rhythm tones with
the Wave Fine Tune parameter (p. 90).
3
Tone Random Pitch Depth
This specifies the width of random pitch deviation that will occur
each time a key is pressed. If you do not want the pitch to change
randomly, set this to “0.” These values are in units of cents (1/100th
of a semitone).
Value: -63– +63
fig.06-032.e
T1
T2
T3
T4
Value:
0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 20, 30, 40, 50, 60, 70, 80, 90,
100, 200, 300, 400, 500, 600, 700, 800, 900, 1000, 1100,
1200
Pitch
L0
Time
L1
L3
Pitch Env
Note off
Note on
L2
L4
P-Env Depth (Envelope Depth)
T: Time L: Level
Adjusts the effect of the Pitch Envelope. Higher settings will cause
the pitch envelope to produce greater change. Negative (-) settings
will invert the shape of the envelope.
Value: -12– +12
P-Env V-Sens (Pitch Envelope Velocity
Sensitivity)
Keyboard playing dynamics can be used to control the depth of the
pitch envelope. If you want the pitch envelope to have more effect
for strongly played notes, set this parameter to a positive (+) value. If
you want the pitch envelope to have less effect for strongly played
notes, set this to a negative (-) value.
Value: -63– +63
P-Env T1 V-Sens (Pitch Envelope Time 1
Velocity Sensitivity)
This allows keyboard dynamics to affect the Time 1 of the Pitch
envelope. If you want Time 1 to be speeded up for strongly played
notes, set this parameter to a positive (+) value. If you want it to be
slowed down, set this to a negative (-) value.
Value: -63– +63
91
Creating a Rhythm Set
If you set “LPF2” or “LPF3,” the setting for the Resonance
parameter will be ignored.
Modifying the Brightness of a
Sound with a Filter (TVF/TVF Env)
fig.07-012_50
1
Cutoff Frequency
Selects the frequency at which the filter begins to have an effect on
the waveform’s frequency components.
Value: 0–127
lower cutoff frequency settings reduce a tone’s upper harmonics for
a more rounded, warmer sound. Higher settings make it sound
brighter.
If “BPF” is selected, harmonic components will change depending
on the TVF Cutoff Frequency setting. This can be useful when
creating distinctive sounds.
With “HPF” selected, higher Cutoff Frequency settings will reduce
lower harmonics to emphasize just the brighter components of the
sound.
For details on these settings, refer to “How to make Rhythm
Set settings” (p. 83).
With “PKG” selected, the harmonics to be emphasized will vary
depending on Cutoff Frequency setting.
TVF
3
Filter Type
2
Resonance
Selects the type of filter. A filter cuts or boosts a specific frequency
region to change a sound's brightness, thickness, or other qualities.
Value
Emphasizes the portion of the sound in the region of the cutoff
frequency, adding character to the sound. Excessively high settings
can produce oscillation, causing the sound to distort.
OFF:
LPF:
No filter is used.
Value: 0–127
fig.06-034.e
Low Pass Filter. This reduces the volume of all
frequencies above the cutoff frequency (Cutoff Freq)
in order to round off, or un-brighten the sound. This
is the most common filter used in synthesizers.
Band Pass Filter. This leaves only the frequencies in
the region of the cutoff frequency (Cutoff
LPF
BPF
HPF
PKG
Level
High
Frequency
BPF:
HPF:
PKG:
Cutoff frequency
Frequency), and cuts the rest. This can be useful
when creating distinctive sounds.
High Pass Filter. This cuts the frequencies in the
region below the cutoff frequency (Cutoff
Frequency). This is suitable for creating percussive
sounds emphasizing their higher ones.
Peaking Filter. This emphasizes the frequencies in
the region of the cutoff frequency (Cutoff
Low
Frequency). You can use this to create wah-wah
effects by employing an LFO to change the cutoff
frequency cyclically.
Cutoff V-Curve (Cutoff Frequency Velocity
Curve)
Selects one of the following seven curves that determine how
keyboard playing dynamics (velocity) influence the cutoff frequency.
Set this to “FIXED” if you don't want the Cutoff frequency to be
affected by the keyboard velocity.
LPF2:
LPF3:
Low Pass Filter 2. Although frequency components
above the Cutoff frequency (Cutoff Frequency) are
cut, the sensitivity of this filter is half that of the LPF.
This makes it a comparatively warmer low pass
filter. This filter is good for use with simulated
instrument sounds such as the acoustic piano.
Low Pass Filter 3. Although frequency components
above the Cutoff frequency (Cutoff Frequency) are
cut, the sensitivity of this filter changes according to
the Cutoff frequency. While this filter is also good
for use with simulated acoustic instrument sounds,
the nuance it exhibits differs from that of the LPF2,
even with the same TVF Envelope settings.
Value: FIXED, 1–7
fig.06-036
1
2
3
4
5
6
7
92
Creating a Rhythm Set
Cutoff V-Sens (Cutoff Velocity Sensitivity)
F-Env T4 V-Sens
(TVF Envelope Time 4 Velocity Sensitivity)
Use this parameter when changing the cutoff frequency to be
applied as a result of changes in playing velocity. If you want
strongly played notes to raise the cutoff frequency, set this
parameter to positive (+) settings. If you want strongly played notes
to lower the cutoff frequency, use negative (-) settings.
Value: -63– +63
The parameter to use when you want key release speed to control
the Time 4 value of the TVF envelope. If you want Time 4 to be
speeded up for quickly released notes, set this parameter to a
positive (+) value. If you want it to be slowed down, set this to a
negative (-) value.
Value: -63– +63
Resonance V-Sens
(Resonance Velocity Sensitivity)
F-Env Time 1–4 (TVF Envelope Time 1–4)
This allows keyboard velocity to modify the amount of Resonance. If
you want strongly played notes to have a greater Resonance effect,
set this parameter to positive (+) settings. If you want strongly
played notes to have less Resonance, use negative (-) settings.
Value: -63– +63
1
2
4
,
,
Specify the TVF envelope times (Time 1– Time 4). Higher settings
will lengthen the time until the next cutoff frequency level is
reached. (For example, Time 2 is the time over which Level 1 will
change to Level 2.)
Value: 0–127
TVF Env
3
F-Env Level 0–4 (TVF Envelope Level 0–4)
F-Env Depth (TVF Envelope Depth)
Specify the TVF envelope levels (Level 0–Level 4). These settings
specify how the cutoff frequency will change at each point, relative
to the standard cutoff frequency (the cutoff frequency value
specified in the TVF screen).
Specifies the depth of the TVF envelope. Higher settings will cause
the TVF envelope to produce greater change. Negative (-) settings
will invert the shape of the envelope.
Value: -63– +63
Value: 0–127
fig.06-037.e
F-Env V-Curve (TVF Envelope Velocity Curve)
T1
T2
T3
T4
Selects one of the following 7 curves that will determine how
keyboard playing dynamics will affect the TVF envelope. Set this to
“FIXED” if you don't want the TVF Envelope to be affected by the
keyboard velocity.
Cutoff
Frequency
L0
L1
Note on
Value: FIX, 1–7
Time
L2
L3
L4
fig.06-036
Note off
1
2
3
4
5
6
7
T: Time L: Level
F-Env V-Sens
(TVF Envelope Velocity Sensitivity)
Specifies how keyboard playing dynamics will affect the depth of the
TVF envelope. Positive (+) settings will cause the TVF envelope to
have a greater effect for strongly played notes, and negative (-)
settings will cause the effect to be less.
Value: -63– +63
F-Env T1 V-Sens
(TVF Envelope Time 1 Velocity Sensitivity)
This allows keyboard dynamics to affect the Time 1 of the TVF
envelope. If you want Time 1 to be speeded up for strongly played
notes, set this parameter to a positive (+) value. If you want it to be
slowed down, set this to a negative (-) value.
Value: -63– +63
93
Creating a Rhythm Set
3
Adjusting the Volume (TVA/TVA
Use this parameter when you want the stereo location to change
randomly each time you press a key. Higher settings will produce a
greater amount of change.
Env)
fig.07-013_50
Value: 0–63
This will affect only waves whose Wave Rnd Pan Sw parameter
4
Alternate Pan Depth
This setting causes panning to be alternated between left and right
each time a key is pressed. Higher settings will produce a greater
which the pan will alternate between left and right. For example if
two rhythm tones are set to “L” and “R” respectively, the panning of
the two rhythm tones will alternate each time they are played.
Value: L63–0–63R
For details on these settings, refer to “How to make Rhythm
Set settings” (p. 83).
TVA
parameter (p. 90) is ON or REV.
1
Sets the volume of the rhythm tone. Use this parameter to adjust the
volume balance between rhythm tones.
Value: 0–127
TVA Env
A-Env T1 V-Sens (TVA Envelope Time 1
Velocity Sensitivity)
The volume levels of the Waves from which the rhythm tone is
composed is set with the WMT1–4 Wave Level parameter (p.
90).
This allows keyboard dynamics to affect the Time 1 of the TVA
envelope. If you want Time 1 to be speeded up for strongly played
notes, set this parameter to a positive (+) value. If you want it to be
slowed down, set this to a negative (-) value.
Level V-Curve (Level Velocity Curve)
Value: -63– +63
You can select from seven curves that determine how keyboard
playing strength will affect the volume. If you do not want the
volume of the rhythm tone to be affected by the force with which
you press the key, select “FIXED.”
A-Env T4 V-Sens (TVA Envelope Time 4
Velocity Sensitivity)
The parameter to use when you want key release speed to control
the Time 4 value of the TVA envelope. If you want Time 4 to be
speeded up for quickly released notes, set this parameter to a
positive (+) value. If you want it to be slowed down, set this to a
negative (-) value.
Value: FIXED, 1–7
fig.06-036
1
2
3
4
5
6
7
Value: -63– +63
Level V-Sens (Level Velocity Sensitivity)
Set this when you want the volume of the rhythm tone to change
depending on the force with which you press the keys. Set this to a
positive (+) value to have the changes in rhythm tone volume
increase the more forcefully the keys are played; to make the tone
play more softly as you play harder, set this to a negative (-) value.
Value: -63– +63
1
A-Env Time 1–4 (TVA Envelope Time 1–4)
,
2
4
,
Specify the TVA envelope times (Time 1– Time 4). Higher settings
will lengthen the time until the next volume level is reached. (For
example, Time 2 is the time over which Level 1 will change to Level
2.)
2
Tone Pan (Rhythm Tone Pan)
Value: 0–127
Sets the pan for the rhythm tone. “L64” is far left, “0” is center, and
“63R” is far right.
Value: L64–0–63R
Set the Pan for Waves comprising the rhythm tones with the
Wave Pan parameter (p. 90).
94
Creating a Rhythm Set
Tone Out Assign
3
A-Env Level 1–3 (TVA Envelope Level 1–3)
Specifies how the direct sound of each tone will be output.
Specify the TVA envelope levels (Level 1–Level 3). These settings
specify how the volume will change at each point, relative to the
standard volume (the Rhythm Tone Level value specified in the TVA
screen).
Value:
MFX:
Output in stereo through multi-effects. You can also
apply chorus or reverb to the sound that passes
through multi-effects.
Value: 0–127
A, B:
1–4:
Output to the OUTPUT A (MIX) jack or OUTPUT B
jack in stereo without passing through multi-effects.
Output to the INDIVIDUAL 1–4 jacks in mono
without passing through multi-effects.
fig.06-041.e
T1 T2
T3
T4
If the Rhythm Output Assign is set to anything other than
“TONE,” these settings will be ignored.
Level
Time
L3
L2
L1
Note on
Note off
T: Time L: Level
If you've made settings so that sounds are separately routed to
is actually inserted in the INDIVIDUAL 2 jack, the sounds
routed to INDIVIDUAL 1 and INDIVIDUAL 2 will be mixed
and output from the INDIVIDUAL 1 jack.
Output Settings (Output)
fig.07-014_50
*
*
If you've set Tone Out Assign to “MFX,” set the MFX Output
sound that has passed through the multi-effects.
*
*
Chorus and reverb are output in mono at all times.
The output destination of the signal after passing through the chorus
is set with the Chorus Output Select (p. 209) and the Chorus Output
Assign (p. 209).
*
The output destination of the signal after passing through the reverb is
set with the Reverb Output Assign (p. 212).
For details on these settings, refer to “How to make Rhythm
Set settings” (p. 83).
Tone Out Level
Rhythm Out Assign
Set the level of the signal that is sent to the output destination
specified by Patch/Tone Output Assign.
Value: 0–127
Specifies for each rhythm set how the direct sound will be output.
Value:
MFX:
Output in stereo through multi-effects. You can also
apply chorus or reverb to the sound that passes
through multi-effects.
Tone Chorus Send (Send Level (Output=MFX))
1
A, B:
1–4:
Output to the OUTPUT A (MIX) jack or OUTPUT B
jack in stereo without passing through multi-effects.
Output to the INDIVIDUAL 1–4 jacks in mono
without passing through multi-effects.
Specifies the level of the signal sent to the chorus for each tone if the
tone is sent through MFX.
Value: 0–127
Tone Reverb Send (Send Level (Output=MFX))
If you've made settings so that sounds are separately routed to
the INDIVIDUAL 1 jack and INDIVIDUAL 2 jack, but no plug
is actually inserted in the INDIVIDUAL 2 jack, the sounds
routed to INDIVIDUAL 1 and INDIVIDUAL 2 will be mixed
and output from the INDIVIDUAL 1 jack.
Specifies the level of the signal sent to the reverb for each tone if the
tone is sent through MFX.
Value: 0–127
If the Mix/Parallel parameter is set to “MIX,” all sounds are
output from the OUTPUT A (MIX) jacks in stereo (p. 230).
95
Creating a Rhythm Set
Tone Chorus Send (Send Level (Output=non
3
MFX))
Reverb)
Sets the level of the signal sent to chorus for each tone if the tone is
not sent through MFX.
Value: 0–127
Tone Reverb Send (Send Level (Output=non
For details regarding effect settings, refer to the pages shown
below.
4
MFX))
•
•
•
•
“Applying Effects in Patch Mode” (p. 207)
“Making Multi-Effects Settings (MFX1–3)” (p. 213)
“Making Chorus Settings (Chorus)” (p. 215)
“Making Reverb Settings (Reverb)” (p. 216)
Sets the level of the signal sent to reverb for each tone if the tone is
not sent through MFX.
Value: 0–127
96
Playing in Performance Mode
A performance contains settings that apply to each individual part,
such as the patch (rhythm set) assigned to each part, and its volume
Displaying Performance
and pan.
Mixer Screen
Broadly speaking, Performance mode consists of two screens: Layer
screen and Mixer screen.
To access the Performance Mixer screen, use the following
Use the Layer screen when you want to combine multiple sounds
(patches or rhythm sets) to create complex sounds. This lets you play
patches together (“layer”) or play different patches in separate areas
of the keyboard (“split”).
procedure.
1. Press PERFORMANCE [MIXER].
You will enter Performance mode, and the Mixer screen
Use the Mixer screen when you want to mix the sounds by adjusting
the level and pan for each of 16 parts.
appears.
fig.04-016_50
When you play the keyboard, you will hear the current part and the
parts whose keyboard switch has a check mark.
In addition to the settings of each part, the following settings can
also be stored for each performance.
•
Controller settings such as the D Beam, realtime control knobs,
assignable switches, and pads
•
•
Arpeggio and chord memory settings
Rhythm group number
Displaying Performance
Layer Screen
2. Press [F6] to switch the page.
fig.08-001_50
To access the Performance Layer screen, use the following
procedure.
1. Press PERFORMANCE [LAYER/SPLIT].
You will enter Performance mode, and the Layer screen
appears.
fig.04-015_50
97
Playing in Performance Mode
Functions in the PERFORMANCE Layer/Mixer Screen
fig.08-002.e
LAYER screen
MIXER1 screen
4
2
1
4
2
3
8
5
3
5
7
6
7
11
9
17
15
16
10
11
12
13
11
14
MIXER2 screen
18
Set the volume (LEVEL), pan (PAN), reverb (REV),
chorus (CHO), Mute Sw (M), Solo Sw (S) of the part.
The setting screen is divided into two screens, and
you can press function button [F6] to switch between them.
9
11
12
13
10
11
12
Indicates the keyboard switch on/off.
1
2
Indicates the current sound generating mode.
Jumps to the setting screen of the displayed parameter.
Switches the MIXER screen 1 and 2.
Indicates the name of the currently selected song,
the measure location, the time signature, and
the sequencer status.
These select the four parts that are controlled by the knobs.
The currently selected parts are enclosed by a light green border.
13
3
4
Indicates the Octave Shift (Oct) and the Transpose (Trans).
Use [CURSOR] (
or
) to select what is to be controlled.
Indicates multi-effects (MFX), chorus (CHO),
reverb (REV) and mastering (MASTER) on and off.
14
15
Scrolls the settings through parts 1-16.
Indicates the tempo at which the song,
Arpeggio or rhythm pattern is played.
Indicates the Loop Play on/off (LOOP).
Indicates the functions that are assigned to each
realtime controller knob (●) and assignable switch (■).
5
6
MIXER screen: Indicates the group, number, and name
of the selected performance.
LAYER screen: Selects the group, number of
the selected performance.
This indicates the function that is assigned to the D Beam
controller, and the response status of the D Beam controller.
16
17
Indicates the key range in which you can play the keyboard
or play rhythm sets.
LAYER screen: Displays the patches assigned to the parts.
When you switch the current part, the part number will
also change.
7
8
Set the Part Course Tune (Key), Output Assign, Keyboard Sw (K)
reverb (REV), Arpeggio Part (A), Pad Part (P) of the part.
The setting screen is divided into two screens, and
18
Current Indicates the part.
you can press function button [F6] to switch between them.
98
Playing in Performance Mode
Selecting Performances from the
List
Selecting a Performance
The Fantom-X has two performance groups, including the User
group and Preset groups, with each group storing 64 performances,
for a total of 128 performances.
You can display a list of performances and select a performance from
that list.
1. Press [LAYER/SPLIT] or [MIXER].
USER
This is the group inside the Fantom-X which can be rewritten.
Performances you yourself create can be stored in this group. The
Fantom-X contains 64 preset performances.
2. Press [F5 (Perf List)].
The Performance List screen appears.
fig.08-004_50
PRST (Preset)
This is the group inside the Fantom-X which cannot be rewritten.
However you may modify the settings of the currently selected
performance, and then store the modified performance in User
memory. The Fantom-X contains 64 preset performances.
CARD (Memory Card)
This group lets you use patches stored on a memory card inserted in
the rear panel PC card slot. Since the data in this group can be
rewritten, you can use this group to store patches that you create.
3. To switch the performance group, press [F1(⇑)] [F2 (⇓)] to
move the cursor to the performance group tab, and press
1. Press [LAYER/SPLIT].
or
to select the performance.
2. Press [CURSOR] to move the cursor to the performance
group.
fig.08-003.e
4. Press [F8 (Select)] to close the Performance List screen.
Performance group
Performance number
Creating a list of frequently
used Patches and
Setting function)
3. Turn the VALUE dial, or press [INC]/[DEC] to select a
You can create a list of frequently used sounds, and recall them
instantly. Since you can register Patches, Rhythm Sets, or
Performances, any type of sound you need can be recalled instantly
regardless of the mode.
performance group.
USER:
PRST:
CARD:
User
Preset
Memory Card
For details, refer to p. 42.
4. Press [CURSOR] to move the cursor to the performance
number.
5. Turn the VALUE dial or press [INC]/[DEC] to select the
performance number.
99
Playing in Performance Mode
3. Press [F3 (Favorite)].
The Favorite List screen appears.
fig.08-006_50
Selecting Favorite
Performances
You can bring together your favorite and most frequently used
performances in one place by registering them in the Favorite
Performance. By using this function you can quickly select your
favorite performances.
For instructions on how to register to the Favorite Performance,
refer to “Registering a Favorite Performance” (p. 100).
1. Press [LAYER/SPLIT] or [MIXER].
4. Press [F1 (⇑)] [F2 (⇓)] to select the bank in which you wish
to register the Performance.
2. Press [F5 (Perf List)] and then press [F3 (Favorite)].
The Favorite List screen appears.
fig.08-005_50
5. Press
or
to select the number to which you wish to
register. The number you select here corresponds to [F1]–
[F8].
6. Press [F6 (Regist)] to execute the registration.
*
To cancel, press [EXIT].
By pressing [F5 (Remove)] you can cancel the Performance
registration that is selected in the Favorite List screen.
Using the Layer Screen
3. Press
or
to select a performance number.
To switch banks, press [F1 (⇑)] [F2 (⇓)].
Selecting a Part
4. Press [F8 (Select)] to select the patch.
The currently selected part is called the “current part.”
Registering a Favorite
Performance
1. From the Layer screen, Use
or
to select the part.
The selected part is indicated by “
fig.08-007_50
.”
You can bring together your favorite and most frequently used
Performance. By using this function you can rapidly select favorite
Performances from Preset/User/Card area or a Wave Expansion
Board. You can register a total of 64 Performances (8 sounds x 8
banks) as favorite Performance.
For details on selecting a favorite performance, refer to
“Selecting Favorite Performances” (p. 100).
1. Select the Performance that you wish to register (p. 99).
2. Press [F5 (Perf List)].
100
Playing in Performance Mode
Selecting the Sound for a Part
Selecting the Part that You want to
Sound (Keyboard Switch)
If you don’t like the patch that is assigned to a part, it’s easy to
switch the patch.
Here's how to select the parts whose patch or rhythm set will sound.
For each part, use the check box to specify whether that part will be
played from the keyboard; this is called the “keyboard switch.”
Selecting from a list display
1. From the Layer screen, Use [CURSOR] to move the cursor
to “KBD,” and press [INC] to add a check mark (✔) to
“KBD.”
1. Select the part whose sound you want to switch.
2. Press [F1 (Patch List)].
When you play the keyboard, you will hear the current part and
The Patch List screen will appear.
fig.05-008_50
the parts that have a check mark.
fig.08-008_50
*
To cancel, press [EXIT].
3. Use or to select a patch.
If you press [F4 (Patch Categ)], the list will show the categories.
If you press [F5 (Patch)] or [F6 (Rhythm)], the list will show the
patch groups.
About the keyboard switch
Use the keyboard switch when you want to play multiple
sounds layered together (Layer) or assign different sounds to
different regions of the keyboard (Split). Conversely, you can
turn off all keyboard switches when you are creating data, etc.
fig.05-009_50
To switch groups, press [F1 (⇑)] [F2 (⇓)].
By pressing [F7 (Preview)] you can audition a patch using a
preselected phrase appropriate for that type (category) of patch
(Phrase Preview).
4. Press [F8 (Select)] to select the patch.
101
Playing in Performance Mode
A split performance is one application of a layer. Changing the
key range of each part in the layer results in a split.
Combining and Playing Sounds
Together (Layer)
1. Press [LAYER/SPLIT] to access the Layer screen.
In Performance mode you can play the sounds of all parts whose
Internal Switch is on, and all connected parts. Combining the parts
2. Press
or
to select the part you want to play.
will produce, thicker, fatter sounds.
fig.08-009.e
3. Press [F3 (Key Range)].
Part 1
(Rx ch.1)
Part 2
(Rx ch.2)
Part 15
(Rx ch.15)
Part 16
(Rx ch.16)
4. Press [F3 (KBD)], move the cursor to the keyboard switch,
and press [INC] to turn on the keyboard switch that is
connected to the part you want to sound.
5. To set the lower limit of the range, use [F4 (Lower)] to move
the cursor to “Key Range Lower.” To set the lower limit of
the range, use [F5 (Upper)] to move the cursor to “Key
Range Upper.”
KBD Switch:
On
Turn the VALUE dial or press [INC]/[DEC] to specify the
range.
The bar shown above the keyboard indicates the range of keys
that will sound.
1 (Tx ch.1)
2 (Tx ch.2)
15 (Tx ch.15)
16(Tx ch.16)
If you attempt to set the lower limit higher than the upper limit,
or attempt to set the upper limit below the lower limit, the other
Rx ch.: Receive Channel
Tx ch.: Transmit Channel
setting will change with the same value.
fig.08-011_50
1. Press [LAYER/SPLIT] to access the Layer screen.
2. Press or to select the part you want to play.
The Performance Edit screen appears.
3. Press [INC] to add a check mark to the part that you want to
sound.
Pressing [DEC] will remove the check mark.
The bar shown above the keyboard indicates the range of keys
that will sound.
When you play the keyboard, you will hear the current part and
the parts whose keyboard switch has a check mark.
Value:
Key Range Lower: C-1–UPPER
Key Range Upper: LOWER–G9
4. Repeat steps 2. 3. to turn the Internal Switch on for all parts
that are connected to the parts you want to play.
By specifying sections for different parts so that they overlap
each other, you can combine two or more parts only in a specific
section.
Playing Different Sounds in
Different Areas of the Keyboard
(Split)
6. When you are finished making settings, press [F8 (Close)]
to return to the Performance Layer screen, and begin
playing.
In Performance mode you can divide the keyboard and play a
different patch in each area (this is called “split”). As the note range
that plays each part can be specified individually, you can split the
keyboard into a maximum of 16 sections.
For instance, you can play strings in the lower range, piano in the
upper range, and both sounds in the middle range.
fig.08-010.e
Part 1: Strings
Part 1 + Part 2:
(Strings + Piano)
Part 2: Piano
102
Playing in Performance Mode
Selecting the Sound for a Part
Using the Mixer Screen
You can switch the patch that is assigned to a part.
Selecting Parts for a Layer or Split
Selecting from a list display
The currently selected part is called the “current part.”
1. Select the part whose sound you want to switch.
1. In the Mixer 2 screen, use
or
to select the part.
2. Press [F1 (Patch List)].
fig.08-012
The Patch List screen will appear.
fig.05-008_50
Current Part
*
To cancel, press [EXIT].
*
Use [CURSOR] to move the “Part,” and turn VALUE dial or press
3. Use or to select a patch.
[INC] [DEC] to select the part.
If you press [F4 (Patch Categ)], the list will show the categories.
If you press [F5 (Patch)] or [F6 (Rhythm)], the list will show the
patch groups.
You can also select multiple parts in the Mixer screen.
2. In the Mixer 2 screen, press
to move the cursor to the
bottom of the screen.
fig.05-009_50
3. Press [INC] to display “KBD,” and select the part that you
want to sound.
When you play the keyboard, you will hear the current part and
the parts whose keyboard switch has a check mark.
fig.08-013_50
To switch groups, press [F1 (⇑)] [F2 (⇓)].
By pressing [F7 (Preview)] you can audition a patch using a
preselected phrase appropriate for that type (category) of patch
(Phrase Preview).
4. Press [F8 (Select)] to select the patch.
About the keyboard switch
Use the keyboard switch when you want to play multiple
sounds layered together (Layer) or assign different sounds to
different regions of the keyboard (Split). Conversely, you can
turn off all keyboard switches when you are creating data, etc.
103
Playing in Performance Mode
Selecting in the Mixer Screen
Editing the Part Settings
1. Press [MIXER] to access the MIXER screen.
part.
2. Use
or
to select a part.
3. Use
to move the cursor to the patch number.
fig.08-014
Shown in the Mixer screen
as
Parameter
Part Level (p. 108)
Part Pan (p. 108)
Part Reverb Send (p. 108)
Part Chorus Send (p. 108)
Solo Switch (p. 105)
Mute Switch (p. 105)
Level
Pan
Rev
M
4. Turn the VALUE dial or use [INC] [DEC] to select a patch.
Shown in the Mixer screen
Parameter
as
Keyboard Switch (p. 110)
Arpeggio Part (p. 130)
Pad Part (p. 161)
K
A
P
Selecting the Rhythm Set
1. Press [MIXER] to access the MIXER screen.
Part Coarse Tune (p. 109)
Output Assign (p. 108)
Key
Output Assign
2. Use
or
to select a part.
3. Use
to move the cursor to the following location.
1. Press [MIXER].
fig.08-015
The Performance Mixer 1 screen will appear.
*
If you want to edit the parameters of the Performance Mixer 2 screen,
press [F6] to switch screens.
fig.04-016_50
4. Turn the VALUE dial or press [INC] [DEC] to select “R.”
The rhythm set will be selected.
2. Use
or
to move the cursor to the parameter you
to move the cursor to the part that you want
want to edit.
3. Use
to edit.
or
4. Turn the VALUE dial or use [INC] [DEC] to set the desired
value.
The green border enclosing four parts corresponds to the four
REALTIME CONTROL knobs.
104
Playing in Performance Mode
Selecting a Part to Play
Individually (Solo)
Silencing the Playback of a Specific
Part (Mute)
When playing back a song, you can choose to hear just a specific part
play by itself.
When playing along with a song, you can turn off (i.e., mute) parts
you don't want to hear. This allows you to turn off the melody part
for karaoke applications or for practicing the muted part.
1. Press [MIXER] to access the Mixer screen.
1. Press [MIXER] to access the Mixer screen.
2. Use
to move the cursor to the solo switch.
2. Use
to move the cursor to the mute switch.
3. Turn the VALUE dial or press [INC] or [DEC] to turn the
SOLO switch on/off.
fig.08-016_50
3. Turn the VALUE dial or press [INC] or [DEC] to turn the
MUTE switch on/off.
fig.08-016a_50
This setting is linked with the Solo Part Select parameter (Part
View screen), and can be saved as a performance setting.
Part Mute does not turn off the MIDI receive switch; rather, it
sets the volume to the minimum setting to silence the sound.
Therefore, MIDI messages are still received.
Part Mute does not turn off the MIDI receive switch; rather, it
sets the volume to the minimum setting to silence the sound.
Therefore, MIDI messages are still received.
Using pads to mute Parts
You can use the pads to switch part muting on/off. Pad numbers 1–
16 correspond to part numbers 1–16.
1. Press [MIXER] to access the Mixer screen.
2. Press [F3 (Mute)].
The Muting Parts with Dynamic Pads screen will appear.
At this time, the pads will function as mute on/off buttons; each
time you press a pad, muting will be switched on or off.
•
•
Pad lit:
muted
Pad unlit:
not muted
Pressing [F6 (All Mute)] will mute all parts. Pressing [F7 (All
Play)] will un-mute all parts.
105
Playing in Performance Mode
Viewing the Part Settings as a
List (Performance Part View)
Viewing MIDI messages for
each Part (Part Information)
In Performance mode you can view the part settings as a list. This is
called the “Part View” screen. In this screen you can view a list that
shows settings for all parts at once, such as the patch assigned to
each part, and its volume and pan settings. You can also edit these
settings here, and make detailed settings that cannot be made in the
Layer screen or Mixer screen.
In Performance mode, the reception status of MIDI messages that
control various things can be viewed for each part. This is useful
when you want to check whether the sound generator is responding
correctly to the keyboard, or to operations from an external MIDI
controller.
1. Access the Performance Layer or Mixer screen (p. 97).
1. Access the Performance Layer or Mixer screen.
2. Hold down [SHIFT] and press [F2 (Part Info)].
2. Press [F2 (Part View)].
The Part Information window appears.
fig.08-018_50
The Part View screen will appear.
For details on the setting, refer to “Viewing the Part Settings
as a List (Performance Part View)” (p. 107).
fig.08-017_50
3. Turn VALUE dial or press [INC][DEC] to select the message
that you want to check.
Modulation: Modulation messages
Breath:
Breath messages
Foot type messages
Volume messages
Panpot messages
3. Press [F1 (Level/Pan)]–[F8 (MIDI Filter)] to select the screen.
Foot Type:
Volume:
Panpot:
4. Press [EXIT] to return to the Layer or Mixer screen.
Expression: Expression messages
Hold 1: Hold 1 messages
Performing with the
Pitch Bend: Pitch Bend messages
Arpeggio/Rhythm function
Aftertouch: Aftertouch messages
For details on using the Arpeggio and Rhythm functions, refer to
Voice messages (The number of voices used)
“Playing Arpeggios” (p. 128),” and “Playing Rhythms” (p. 135).
4. Press [F8 (Close)] to close the window.
Performing with the
Realtime Controllers and D
Beam Controller
Viewing the number of
voices used by the sound
For details on the setting, refer to “Make Settings for the Realtime
For details, refer to “Viewing the number of voices used by the
Controllers and D Beam Controller (Ctrl)” (p. 114).
sound generator (Voice Monitor)” (p. 37).
Adjusting the Master Level
For details, refer to “How Do I Adjust the Volume?” (p. 229)
106
Creating a Performance
With the Fantom-X, you have total control over a wide variety of
settings. Each item that can be set is known as a parameter. When
you change the values of parameters, you are doing what is referred
to as Editing. This chapter explains the procedures used in creating
Performances, and the functions of the Performance parameters.
3. Use [CURSOR] to move the cursor to the parameter you
want to change.
4. Turn the VALUE dial or press [INC]/[DEC], set the value.
*
The name of the parameter at the cursor location is displayed in the
bottom line of the Part View screen.
Viewing the Part Settings as a
List (Performance Part View)
[F1 (Level/Pan)]
Patch Type
In Performance mode you can view the part settings as a list. This is
called the “Part View” screen. In this screen you can view a list that
shows settings for all parts at once, such as the patch assigned to
each part, and its volume and pan settings. You can also edit these
settings here, and make detailed settings that cannot be made in the
Layer screen, or Mixer screen.
Sets the assignment of a patch (Patch) or rhythm set (Rhythm) to
each of the parts.
Patch Bank
Selects the group to which the desired patch or rhythm set belongs.
Value
USER:
PRA–H:
GM:
User
1. Access the Performance Layer or Mixer screen.
Preset A–H
2. Press [F2 (Part View)].
The Part View screen will appear.
fig.08-017_50
GM (GM2)
CARD:
XP-A–D:
Card
Wave Expansion Boards installed in EXP-A–D Slots
Patch Number
Selects the desired patch or rhythm set by its number.
Value: 001–
Keyboard Switch
Specifies, for each part, whether or not the keyboard controller
section will be connected to the internal sound generator.
Value: OFF, ON (✔)
3. When you have finished making settings, press [EXIT] to
Solo Switch
return to the LAYER/SPLIT or Mixer screen.
Check “✔” this setting if you want to hear the part by itself; this is
called “soloing” the part.
When the cursor is at a patch group or patch number, you can
press [ENTER] to open the Patch List screen and choose a patch
from the list (p. 41).
Value: OFF, ON (✔)
Mute Switch
Mutes (✔) or un-mutes (OFF) each part.
Use this setting when, for example, you want to use the instrument
for karaoke by muting the part playing the melody, or when you
want to play something using a separate sound module.
Value: OFF, ON (✔)
Adjusting the Parameters of Each
Part
1. Access the Part View screen.
2. Press [F1 (Level/Pan]–[F8 (MIDI Filter)] to select the
parameter.
fig.09-001_50
The Mute Switch parameter does not turn the part off, but sets
the volume to minimum so that no sound is heard. Therefore,
MIDI messages are still received.
107
Creating a Performance
•
•
Chorus and reverb are output in mono at all times.
The output destination of the signal after passing through the
chorus is set with the Chorus Output Select (p. 209) and the
Chorus Output Assign (p. 209).
Part Level
Adjust the volume of each part. This setting’s main purpose is to
adjust the volume balance between parts.
Value: 0–127
•
The output destination of the signal after passing through the
reverb is set with the Reverb Output Assign (p. 209).
Part Pan
Adjust the pan of each part. “L64” is far left, “0” is center, and “63R”
Part Output MFX Select (Part Output Multi-
Effects Select)
is far right.
Value: L64–0–63R
Of the three types of multi-effects that can be used simultaneously,
specify which multi-effects will be used.
[F2 (Output Effect)]
Value: 1–3 (MFX-1–MFX-3)
fig.09-002_50
Part Output Level
Set the level of the signal that is sent to the output destination
specified by Part Output Assign.
Value: 0–127
Part Chorus Send Level
Sets the level of the signal sent to chorus for each part.
Value: 0–127
Part Reverb Send Level
Sets the level of the signal sent to reverb for each part.
Value: 0–127
For details on these settings, refer to “Adjusting the
Parameters of Each Part” (p. 107).
MFX1–3 Source
Chorus Source
Reverb Source
Part Output Assign
Specifies for each part how the direct sound will be output.
Value
The settings of a specific patch can be used as the settings for MFX1
(1)–MFX3 (3), chorus (C), and reverb (R). This setting specifies the
part to which this patch has been assigned.
MFX:
Output in stereo through multi-effects. You can also
apply chorus or reverb to the sound that passes through
multi-effects.
If no part is selected, the settings of the Performance will be used.
A, B:
1–4:
Output to the OUTPUT A (MIX) jack or OUTPUT B jack
in stereo without passing through multi-effects.
Output to the INDIVIDUAL 1–4 jacks in mono without
passing through multi-effects.
For the following parameters, settings can be made individually
for each multi-effects (MFX1–MFX3) selected in Part Output
MFX Select.
PAT:
The part’s output destination is determined by the
settings of the patch or rhythm set assigned to the part.
If you've made settings so that sounds are separately routed to
the INDIVIDUAL 1 jack and INDIVIDUAL 2 jack, but no plug
is actually inserted in the INDIVIDUAL 2 jack, the sounds
routed to INDIVIDUAL 1 and INDIVIDUAL 2 will be mixed
and output from the INDIVIDUAL 1 jack.
If the Mix/Parallel parameter is set to “MIX,” all sounds are
output from the OUTPUT A (MIX) jacks in stereo (p. 230).
If you've set Tone Out Assign to “MFX,” set the MFX Output
Assign parameter to specify the output destination of the sound
that has passed through the multi-effects.
108
Creating a Performance
Part Mono/Poly
[F3 (Pitch)]
Set this parameter to “MONO” when the patch assigned to the part
is to be played monophonically, or to “POLY” when the patch is to
be played polyphonically. If you want to use the Mono/Poly setting
of the patch assigned to the part (p. 77), set this to “PAT.”
Value: MONO, POLY, PAT
fig.09-003_50
This setting is ignored for parts to which a rhythm set is
assigned.
Part Legato Switch
You can add legato when performing monophonically. The term
“legato” refers to a playing style in which notes are smoothly
connected to create a flowing feel. This creates a smooth transition
between notes, which is effective when you wish to simulate the
hammering-on and pulling-off techniques used by a guitarist.
Turn this parameter “ON” when you want to use the Legato feature
and “OFF” when you don’t. If you want to use the Legato Switch
setting of the patch assigned to the part (p. 77), set this to “PAT.”
Value: OFF, ON, PAT
For details on these settings, refer to “Adjusting the
Parameters of Each Part” (p. 107).
Part Octave Shift
Adjusts the pitch of the part’s sound up or down in units of an
octave (+/-3 octaves).
Value: -3– +3
Note that when a rhythm set is assigned to a part, you cannot
modify the Octave Shift parameter.
assigned.
Part Coarse Tune
Part Pitch Bend Range
Adjusts the pitch of the part’s sound up or down in semitone steps
Specifies the amount of pitch change in semitones (2 octaves) that
will occur when the Pitch Bend Lever is moved. The amount of
change when the lever is tilted is set to the same value for both left
the patch assigned to the part (p. 67), set this to “PAT.”
Value: 0–24, PAT
(+/-4 octaves).
Value: -48– +48
Coarse Tune and Octave Shift
The Coarse Tune and Fine Tune parameters, along with the
Octave Shift parameter, can all be seen as doing the same thing
to the sound, i.e., changing the pitch of the sound. For example,
if C4 (Middle C) is played with the Coarse Tune parameter set
to “+12,” the note produced is C5 (one octave above C4). For
example, if C4 (Middle C) is played with the Octave Shift
parameter set to “+1,” the note produced is C5 (one octave
above C4).
Part Portamento Switch
Specify whether portamento will be applied. Turn this parameter
“ON” when you want to apply Portamento and “OFF” when you
assigned to the part (p. 77), set this to “PAT.”
Value: OFF, ON, PAT
However, internally these function very differently. When the
Coarse Tune parameter is set to “+12,” the pitch itself is raised
one octave. On the other hand, when the Octave Shift parameter
is set to “+1,” it is the same as pressing the keys one octave up.
In other words, use the Coarse Tune parameter when changing
the pitch, and the Octave Shift parameter when you want to
shift the entire keyboard, for example, when the number of keys
is insufficient.
Part Portamento Time
When portamento is used, this specifies the time over which the
pitch will change. Higher settings will cause the pitch change to the
next note to take more time. If you want to use the Portamento Time
setting of the patch assigned to the part (p. 78), set this to “PAT.”
Value: 0–127, PAT
This setting is ignored for parts to which a rhythm set is
assigned.
Part Fine Tune
Adjusts the pitch of the part’s sound up or down in 1-cent steps (+/-
50 cents).
Value: -50– +50
One cent is 1/100th of a semitone.
109
Creating a Performance
Part Release Time Offset
[F4 (Offset)]
Adjusts the TVA/TVF Envelope Release Time for the patch or
rhythm set assigned to a part.
fig.09-004_50
Value: -64– +63
Patches also contain a Release Time Offset setting (p. 62). The
final TVA Envelope release time value is therefore the sum of
the tone’s TVA Envelope Time 4 setting, the patch’s Release
Time Offset, and the part’s Release Time Offset. If the tone’s
Time 4 parameter is set to “127” (maximum), there will be no
change in the Release Time Offset, even when this is set to a
positive value.The same applies to the TVF envelope.
Part Decay Time Offset
For details on these settings, refer to “Adjusting the
Adjusts the TVA/TVF Envelope Decay Time for the patch or rhythm
Parameters of Each Part” (p. 107).
set assigned to a part.
Part Cutoff Offset
Value: -64– +63
Adjusts the cutoff frequency for the patch or rhythm set assigned to
a part.
[F5 (Key Range)]
Value: -64– +63
fig.09-005_50
Patches also have a Cutoff Offset setting (p. 61). The final Cutoff
frequency value is the sum of the tone Cutoff Frequency value
and the patch and part Cutoff Offset values. If the tone’s cutoff
frequency is already set to “127” (maximum), there will be no
change produced by setting the Cutoff Offset to a positive
value.
Part Resonance Offset
Adjusts the Resonance for the patch or rhythm set assigned to a part.
Value: -64– +63
For details on these settings, refer to “Adjusting the
Parameters of Each Part” (p. 107).
Patches also have a Resonance Offset setting (p. 62). The final
Resonance value is the sum of the tone Resonance value and the
patch and part Resonance Offset values. If the tone’s resonance
is already set to “127” (maximum), there will be no change
produced by setting the resonance offset to a positive value.
Specifies whether the controller (keyboard) section will be connected
to the internal sound generator and MIDI OUT regardless of the
current part. Normally, you will leave this off, but you can turn it on
Value: ON, OFF
Part Attack Time Offset
Keyboard Switch
Adjusts the TVA/TVF Envelope Attack Time for the patch or
rhythm set assigned to a part.
Specifies, for each part, whether or not the keyboard controller
section will be connected to the internal sound generator.
Value: On, OFF
Value: -64– +63
Patches also contain the Attack Time Offset setting (p. 62). The
final TVA Envelope attack time value is therefore the sum of the
tone’s TVA Envelope Time 1 setting, the patch’s Attack Time
Offset, and the part’s Attack Time Offset. If the tone’s Time 1
parameter is already set to “127” (maximum), there will be no
change produced by setting the Attack Time Offset to a positive
value.The same applies to the TVF envelope.
Keyboard Range Lower (Part Keyboard Range
Lower)
Specifies the lowest note that the tone will sound for each part.
Value: C-1–UPPER
110
Creating a Performance
Keyboard Range Upper
Voice Reserve
(Part Keyboard Range Upper)
This setting specifies the number of voices that will be reserved for
each part when more than 128 voices are played simultaneously.
Value: 0–63, FUL
Specifies the highest note that the tone will sound for each part.
Value: LOWER–G9
When the Key Range (p. 65) is set for each individual tone in a
patch, sounds are produced in the range where the Key Range
It is not possible for the settings of all parts to total an amount
greater than 128. The remaining number of available voices will
be displayed at (rest=). Pay attention to this readout as you
make Voice Reserve settings.
of each tone and the Key Range for the part overlap.
fig.09-006.e
Key range specified for Performance
Calculating the Number of Voices Being Used
The Fantom-X is able to play up to 128 notes simultaneously.
The polyphony, or the number of voices (sounds) does not refer
only to the number of sounds actually being played, but
changes according to the number of tones used in the patches,
and the number of Waves used in the tones. The following
method is used to calculate the number of sounds used for one
patch being played.
Key range specified for Patch
The range in which notes will play
If you attempt to raise the lower key higher than the upper key,
or to lower the upper key below the lower key, the other value
will be automatically modified to the same setting.
(Number of Sounds Being Played) x (Number of Tones Used by
Patches Being Played) x (Number of Waves Used in the Tones)
Realtime Stretch requires twice the normal polyphony.
Part Velocity Sensitivity Offset
This changes the volume and cutoff frequency for each part
according to the velocity with which the keys are pressed. If you
want strongly played notes to raise the volume/cutoff frequency, set
this parameter to positive (+) settings. If you want strongly played
notes to lower the volume/cutoff frequency, use negative (-)
settings. Set Velocity Sensitivity to “0” when you want sounds
played at a fixed volume and cutoff frequency, regardless of the
force with which the keys are played.
fig.09-007_50
Value: -63– +63
Patches also contain a Velocity Sensitivity Offset setting (p. 62).
The ultimate Velocity Sensitivity Offset value is the sum of the
part’s and the patch’s Velocity Sensitivity Offsets. Accordingly,
if the patch’s Velocity Sensitivity Offset parameter is set to
“127” (maximum), there will be no change in the part’s Velocity
Sensitivity Offset, even when this is set to a positive value.
Part Vibrato Rate
For details on these settings, refer to “Adjusting the
Parameters of Each Part” (p. 107).
For each part, adjust the vibrato speed (the rate at which the pitch is
modulated). The pitch will be modulated more rapidly for higher
settings, and more slowly with lower settings.
Value: -64– +63
Part Scale Tune C–B
Make scale tune settings for each part.
Value: -64– +63
Part Vibrato Depth
For each part, this adjusts the depth of the vibrato effect (the depth at
which the pitch is modulated). The pitch will be modulated more
greatly for higher settings, and less with lower settings.
Value: -64– +63
Scale Tune is switched on/off by means of the Scale Tune
Switch parameter (p. 232).
Part Vibrato Delay
For each part, this adjusts the time delay until the vibrato (pitch
modulation) effect begins. Higher settings will produce a longer
delay time before vibrato begins, while lower settings produce a
shorter time.
Value: -64– +63
111
Creating a Performance
Receive Switch
For each part, specify whether MIDI messages will be received (ON),
or not (OFF).
Equal Temperament
This tuning divides the octave into 12 equal parts, and is the
most widely used method of temperament used in Western
music. The Fantom-X employs equal temperament when the
Scale Tune Switch is set to “OFF.”
If this is “OFF,” the part will not respond. Normally, you should
leave this “ON,” but you can turn it “OFF” when you do not want a
specific part to be playing during song playback.
Value: OFF, ON
Just Temperament (Tonic of C)
Receive Channel
Compared with equal temperament, the principle triads sound
pure in this tuning. However, this effect is achieved only in one
key, and the triads will become ambiguous if you transpose.
Specifies the MIDI receive channel for each part
Value: 1–16
Ext Bank Select MSB (External Bank Select
MSB)
Arabian Scale
In this scale, E and B are a quarter note lower and C#, F# and G#
are a quarter-note higher compared to equal temperament. The
intervals between G and B, C and E, F and G#, Bb and C#, and
Eb and F# have a natural third—the interval between a major
third and a minor third. On the Fantom-X, you can use Arabian
temperament in the three keys of G, C and F.
If you want a Bank Select number MSB (controller number 0) to also
be transmitted when you switch Performances, specify the value that
you want to transmit (0–127) for each part. If you do not want this
message to be transmitted, set this to “OFF.”
Value: 0–127, OFF
<Example>
The data of the part for which the Keyboard Switch is turned off
will not be transmitted.
Note name
Equal tem-
perament
Just Tem-
perament
(tonic C)
Arabian
Scale
Ext Bank Select LSB (External Bank Select LSB)
C
C#
D
Eb
E
F
F#
G
G#
A
Bb
B
0
0
0
0
0
0
0
0
0
0
0
0
0
-8
-6
+45
-2
-12
-51
-8
+43
-4
+47
0
-10
-49
If you want a Bank Select number LSB (controller number 32) to also
be transmitted when you switch Performances, specify the value that
you want to transmit (0–127) for each part.
+4
+16
-14
-2
-10
+2
+14
-16
+14
-12
Value: 0–127
The data of the part for which the Keyboard Switch is turned off
will not be transmitted.
Ext Program Number (External Program
Change Number)
If you want a Program Change number to also be transmitted when
you switch Performances, specify the value that you want to
transmit (0–128) for each part. If you do not want this message to be
transmitted, set this to “OFF.”
[F7 (External)]
Value: 1–128, OFF
fig.09-008_50
The data of the part for which the Keyboard Switch is turned off
will not be transmitted.
Ext Level (External Level)
If you want Volume messages to also be transmitted when you select
a Performance, specify the desired value (0–127) for the part. If you
do not want this message to be transmitted, set this to “OFF.”
Value: 0–127, OFF
The data of the part for which the Keyboard Switch is turned off
will not be transmitted.
For details on these settings, refer to “Adjusting the
Parameters of Each Part” (p. 107).
112
Creating a Performance
Ext Pan (External Pan)
Polyphonic Key Pressure (Receive Polyphonic
Key Pressure Switch)
If you want Pan messages to also be transmitted when you select a
Performance, specify the desired value (L64–0–63R) for the part. If
you do not want this message to be transmitted, set this to “OFF.”
Value: L64–0–63R, OFF
For each MIDI channel, specify whether MIDI polyphonic key
pressure messages will be received (ON), or not (OFF). Assigning a
check mark (✔) will enable reception, and removing the check mark
will disable reception.
These messages will not be transmitted by parts whose
Keyboard Switch is turned off.
Modulation (Receive Modulation Switch)
For each MIDI channel, specify whether MIDI Modulation messages
will be received (ON), or not (OFF). Assigning a check mark (✔) will
enable reception, and removing the check mark will disable
reception.
[F8 (MIDI Filter)]
fig.09-009_50
Volume (Receive Volume Switch)
For each MIDI channel, specify whether MIDI Volume messages will
be received (ON), or not (OFF). Assigning a check mark (✔) will
reception.
Pan (Receive Pan Switch)
For each MIDI channel, specify whether MIDI Pan messages will be
received (ON), or not (OFF). Assigning a check mark (✔) will enable
reception, and removing the check mark will disable reception.
For details on these settings, refer to “Adjusting the
Expression (Receive Expression Switch)
Parameters of Each Part” (p. 107).
For each MIDI channel, specify whether MIDI Expression messages
will be received (ON), or not (OFF). Assigning a check mark (✔) will
enable reception, and removing the check mark will disable
reception.
MIDI Filter
Program Change (Receive Program Change
Switch)
Hold-1 (Receive Hold 1 Switch)
For each MIDI channel, specify whether MIDI Hold 1 messages will
be received (ON), or not (OFF). Assigning a check mark (✔) will
enable reception, and removing the check mark will disable
reception.
For each MIDI channel, specify whether MIDI Program Change
messages will be received (ON), or not (OFF). Assigning a check
mark (✔) will enable reception, and removing the check mark will
disable reception.
Phase Lock (Phase Lock Switch)
Bank Select (Receive Bank Select Switch)
Set Phase Lock to “✔” (ON) when you want to suppress
discrepancies in timing of parts played on the same MIDI channel.
For each MIDI channel, specify whether MIDI Bank Select messages
will be received (ON), or not (OFF). Assigning a check mark (✔) will
enable reception, and removing the check mark will disable
reception.
When the Phase Lock parameter is set to “ON,” parts on the
same MIDI channel are put in a condition in which their timing
is matched, enabling them to be played at the same time.
Accordingly, a certain amount of time may elapse between
reception of the Note messages and playing of the sounds. Turn
this setting to “ON” only as needed.
Pitch Bend (Receive Pitch Bend Switch)
For each MIDI channel, specify whether MIDI Pitch Bend messages
will be received (ON), or not (OFF). Assigning a check mark (✔) will
enable reception, and removing the check mark will disable
reception.
Velocity Curve
Velocity Curve selects for each MIDI channel one of the four
following Velocity Curve types that best matches the touch of the
connected MIDI keyboard. Set this to “OFF” if you are using the
MIDI keyboard’s own velocity curve.
Channel Pressure (Receive Channel Pressure
Switch)
For each MIDI channel, specify whether MIDI Channel Pressure
messages will be received (ON), or not (OFF). Assigning a check
mark (✔) will enable reception, and removing the check mark will
disable reception.
Value: OFF, 1–4
fig.09-010
1
2
3
4
113
Creating a Performance
Make Settings for the Realtime
Controllers and D Beam Controller
(Ctrl)
Selecting the Parameter
Controlled by the Realtime
Controllers or D Beam
Controller (Control Setting)
The Fantom-X lets you assign the parameters that will be affected
when you operate the realtime control knobs, assignable switches, D
sound in a variety of ways by operating the controllers.
1. Access the Performance Layer or Mixer screen, and select
the Performance whose settings you wish to modify (p. 99).
If you want to create a performance from scratch (rather than
starting from an existing performance), execute the Initialize
operation (p. 119).
For details on these settings, refer to “Selecting the Parameter
Controlled by the Realtime Controllers or D Beam
Controller (Control Setting)” (p. 114).
2. Press [F4 (Ctrl Setting)].
The Control Setting (Performance) screen appears.
fig.09-011_50
D Beam (Pad Trigger)
Instead of striking the pads themselves, you can also use the D Beam
controller to control the sounding of the pads.
PAD trigger settings are saved independently for each
performance as part of the performance settings. This lets you
create performances that make effective use of controller
settings.
Pad Number
3. The parameters are organized into several editing groups.
Press [F1 (⇑)] [F2 (⇓)] to select the tab for the editing group
that contains the parameter you wish to edit.
Specifies the pad number affected by the D Beam.
Value: 1–16
4. Use [CURSOR] to move the cursor to the parameter you
Pad Velocity
wish to modify.
Specifies the strength of the pad sound played by the D Beam
5. Turn the VALUE dial or press [INC]/[DEC] to get the value
controller.
you want.
Value: 1–127
Pad Control Mode
7. The settings for the Solo Synth are saved for the system
settings. Press [F8 (System Write)] to execute the write
operation.
This specifies how the D Beam will behave when it is obstructed. If
this is set to MOMENTARY, the parameter will be on only while the
D Beam is obstructed, and will turn off when you stop obstructing it.
If this is set to LATCH, the parameter will alternately be switched
on/off each time you obstruct the D Beam.
8. The settings in the Control Setting screen are saved
independently for each performance. If you wish to save the
changes you’ve made, press [WRITE] to perform the Save
operation (p. 120). If you do not wish to save changes,
press [EXIT] to return to the Performance Layer or Mixer
screen.
Value: MOMENTARY, LATCH
If you return to the Performance PLAY screen without saving,
the display will indicate “*,” reminding you that the
Performance settings have been modified.
If you turn off the power or select a different sound while the
display indicates “*,” your edited Performance will be lost.
114
Creating a Performance
OSC1 Sync Switch
D Beam (Solo Synth)
Turning this switch on produces a complex sound with many
harmonics. This is effective when the OSC1 pitch is higher than the
OSC2 pitch.
You can use the D Beam controller to perform in a way similar to on
a mono synth.
fig.09-014_50
Value: OFF, ON
Filter Type
Selects the type of filter.
No filter is used.
Low Pass Filter. This reduces the volume of all
frequencies above the cutoff frequency (Cutoff Freq) in
order to round off, or un-brighten the sound. This is the
most common filter used in synthesizers.
BPF:
HPF:
PKG:
Band Pass Filter. This leaves only the frequencies in the
region of the cutoff frequency, and cuts the rest. This can
be useful when creating distinctive sounds.
For details on these settings, refer to “Selecting the Parameter
Controlled by the Realtime Controllers or D Beam
Controller (Control Setting)” (p. 114).
High Pass Filter. This cuts the frequencies in the region
below the cutoff frequency. This is suitable for creating
percussive sounds emphasizing their higher tones.
Peaking Filter. This emphasizes the frequencies in the
region of the cutoff frequency. You can use this to create
wah-wah effects by employing an LFO to change the
cutoff frequency cyclically.
When you press [F7 (Panel View)], the Panel View screen will
appear, which displays the above parameters in graphical
fashion, simulating an analog synthesizer. From the Panel View
screen, you can press [F2 (Image View)] to open the Image View
screen, where you can see a graphical indication of the D Beam
output value. Press [EXIT] to leave this screen.To exit from this
screen, press [EXIT].
Cutoff
Selects the frequency at which the filter begins to have an effect on
the waveform’s frequency components.
Value: 0–127
Settings for the Solo Synth are saved for system settings.
Resonance
OSC 1/2 Waveform
Emphasizes the portion of the sound in the region of the cutoff
frequency, adding character to the sound. Excessively high settings
can produce oscillation, causing the sound to distort.
Value: 0–127
Select the waveform. SAW is a sawtooth wave, and SQR is a square
wave.
OSC 1/2 Pulse Width
Level
Specifies the pulse width of the waveform. By cyclically modifying
the pulse width you can create subtle changes in the tone.
Sets the volume.
Value: 0–127
*
The Pulse Width is activated when “SQR” is selected with OSC1/2
waveform.
Chorus Send Level
Value: 0–127
Sets the level of the signal sent to chorus.
OSC 1/2 Coarse Tune
Value: 0–127
Adjusts the pitch of the tone’s sound up or down in semitone steps
Reverb Send Level
(+/-4 octaves).
Sets the level of the signal sent to reverb.
Value: -48–+48
Value: 0–127
OSC 1/2 Fine Tune
LFO Rate
Adjusts the pitch of the tone’s sound up or down in 1-cent steps (+/-
Adjusts the modulation rate, or speed, of the LFO.
50 cents).
Value: 0–127
Value: -50–+50
LFO Osc 1 Pitch Depth
OSC2 Level
Specifies the depth to which the LFO will modulate the OSC1 pitch.
Adjust the level.
Value: -63–+63
Value: 0–127
115
Creating a Performance
LFO Osc 2 Pitch Depth
Type (Assignable Type)
Specifies the depth to which the LFO will modulate the OSC2 pitch.
Specifies the function controlled by the D Beam controller.
Value
Value: -63–+63
CC01–31, 33–95: Controller numbers 1–31, 33–95
LFO Osc 1 Pulse Width Depth
Specifies the depth to which the LFO will modulate the pulse width
of the OSC1 waveform.
For more information about Control Change messages, please
refer to “MIDI Implementation” (p. 298).
*
The Pulse Width is activated when “SQR” is selected with OSC1/2
waveform.
Bend Up:
Controls the pitch as specified by the “Pitch
Bend Range Up” setting (p. 67).
Controls the pitch as specified by the “Pitch
Bend Range Down” setting (p. 67).
Starts/Stops the sequencer.
Value: -63–+63
Bend Down:
LFO Osc 2 Pulse Width Depth
Start/Stop:
Specifies the depth to which the LFO will modulate the pulse width
of the OSC2 waveform.
TAP Tempo:
Tap tempo (a tempo specified by the interval at
which you move your hand over the D Beam
controller).
*
The Pulse Width is activated when “SQR” is selected with OSC1/2
waveform.
Arp Grid:
Arpeggio Grid
Value: -63–+63
Arp Duration:
Arp Motif:
Adjusts the duration of each arpeggiated note
Arpeggio Motif
Range (Solo synth range)
Arp Oct Up:
The range in which the arpeggio is sounded will
rise in steps of an octave (maximum 3 octaves).
The range in which the arpeggio is sounded will
lower in steps of an octave (maximum 3
octaves).
Specifies the range in which the pitch of the solo synth will vary.
Value: 2 OCTAVES, 4 OCTAVES, 8 OCTAVES
Arp Oct Down:
D Beam (Assignable)
By assigning a variety of functions to the D Beam controller you can
Range Min (D Beam Range Lower)
apply different effects to the sound in real time.
fig.09-015_50
Specify the lower limit of the range of the D Beam controller.
Value: 0–127
Range Max (D Beam Range Upper)
Specify the upper limit of the range of the D Beam controller. By
Value: 0–127
For details on these settings, refer to “Selecting the Parameter
Controlled by the Realtime Controllers or D Beam
Controller (Control Setting)” (p. 114).
The settings for the ASSIGNABLE are saved independently for
each performance as part of the performance settings. This lets
you create performances that make effective use of controller
settings.
116
Creating a Performance
Knob
Switch
fig.09-016_50
fig.09-017_50
For details on these settings, refer to “Selecting the Parameter
For details on these settings, refer to “Selecting the Parameter
Controlled by the Realtime Controllers or D Beam
Controller (Control Setting)” (p. 114).
Controlled by the Realtime Controllers or D Beam
Controller (Control Setting)” (p. 114).
Switch 1/2 (Assignable Switch 1–2)
Knob parameters are valid only when the REALTIME
CONTROL button is set to “ASSIGNABLE.”
Specify the functions that will be controlled by the [
]/[
]
buttons.
Knob Assign 1–4
Value
Transpose Down: Lowers the key range in semitone steps (up to 5
semitones lower).
Specify the functions that will be controlled by the [
Value
] knobs.
Transpose Up:
Tap Tempo:
Mono/poly:
Raises the key range in semitone steps (up to 6
semitones higher).
CC01–31, 33–95: Controller numbers 1–31, 33–95
Tap tempo (a tempo specified by the interval at
which you press the button).
Pressed to toggle between polyphonic (POLY)
and monophonic (MONO) play of a patch.
Portamento On/Off
For more information about Control Change messages, please
refer to “MIDI Implementation” (p. 298).
Pitch Bend:
Aftertouch:
Arp Style:
Pitch Bend
Portamento:
Hold:
Aftertouch
Hold play On/Off
Arpeggio Style
MFX1–3 Sw:
Chorus Sw:
Reverb Sw:
Mastering Sw:
Loop:
Multi-effect 1–3 switch
Arp Grid:
Arpeggio Grid
Chorus switch
Arp Duration:
Arp Motif:
Adjusts the duration of each arpeggiated note
Arpeggio Motif
Reverb switch
Mastering switch
Chord Form:
Master Level:
Chord form of the Chord Memory function
The volume of the entire Fantom-X
Loop play On/Off
Rhythm Start/Stop: Rhythm pattern playback On/Off
*
Master Level adjusts the volume both of the OUTPUT A jacks and the
DIGITAL OUT jack. The panel VOLUME knob only adjusts the
volume of the OUTPUT A jacks.
Arp Step:
Controls the playback position of the arpeggio
pattern.
Digital In:
Input level from DIGITAL IN.
117
Creating a Performance
Tempo
Control Switch Settings (Ctrl Switch)
fig.09-018_50
You can change controller switch on/off settings for each patch in
the performance.
1. In the Control Setting (Performance) screen, press [F7 (Ctrl
Switch)].
fig.09-012_50
For details on these settings, refer to “Selecting the Parameter
Controller (Control Setting)” (p. 114).
Recommended Tempo
If you want the sequencer tempo to change when you switch
Performances, specify the tempo that will follow this change. This
setting is valid when the Seq Tempo Override parameter is “ON.” In
order to enable this setting, turn on the Tempo Override parameter
(p. 227).
2. Use [CURSOR] to move the cursor to the parameter you
wish to modify.
3. Turn the VALUE dial or press [INC]/[DEC] to get the value
you want.
Value: 20–250
4. Repeat steps 2-3 to set each parameter you want to edit.
*
This value is specified independently for each performance. This means
that when you switch performances, the tempo setting of the Fantom-
X will change.
5. Press [F8 (EXIT)] to return to the previous screen.
Control Bender (Control Pitch Bend Switch)
*
The sequencer tempo will be overwritten to the new tempo when you
switch performances.
For each part, specify whether MIDI Pitch Bend messages will be
transmitted (ON), or not (OFF).
Value: OFF, ON
MFX Ctrl Ch
Control Aftertouch (Control Aftertouch Switch)
fig.09-019_50
For each part, specify whether MIDI Aftertouch messages will be
transmitted (ON), or not (OFF).
Value: OFF, ON
For each part, specify whether MIDI Modulation messages will be
transmitted (ON), or not (OFF).
Value: OFF, ON
Control Hold Pedal (Control Hold Pedal Switch)
For each part, you can specify whether control messages from a
pedal connected to the HOLD PEDAL jacks will be transmitted
(ON), or not (OFF).
For details on these settings, refer to “Selecting the Parameter
Controlled by the Realtime Controllers or D Beam
Controller (Control Setting)” (p. 114).
Value: OFF, ON
MFX 1–3 Control Channel
Control Pedal (Control Pedal Switch)
Select the channel to which the multi-effect will be applied. Control
to modify multi-effects parameters in realtime, when MFX1–3 Source
parameter is set to “Prf.” Set to “OFF” when the Multi-effects
Control is not being used.
For each part, you can specify whether control messages from a
pedal connected to the CONTROL PEDAL jacks will be transmitted
(ON), or not (OFF).
Value: OFF, ON
Value: 1–16, OFF
118
Creating a Performance
Control D Beam (Control D Beam Switch)
Specifies whether each part will be controlled by the D Beam.
Initializing Performance
Settings (Init)
Value: OFF, ON
Control Knob (Control Knob Switch)
“Initialize” means to return the settings of the currently selected
Specifies whether each part will be controlled by the control knob.
sound to a standard set of values.
Value: OFF, ON
The Initialize operation will affect only the currently selected
sound; the sounds that are stored in user memory will not be
affected. If you wish to restore all of the Fantom-X’s settings to
their factory values, perform a Factory Reset (p. 235).
Changing the Settings of the
Patch Assigned to a Part
When using patches in Performance mode, some settings such as
effects settings will be affected by Performance settings. If you wish
to edit a patch while hearing how it will sound in the Performance,
use this procedure:
1. Select the Performance that you wish to initialize (p. 99).
2. Hold down [SHIFT] and press [F1 (Init)].
The Performance Initialize window will appear.
3. Turn the VALUE dial or press
or
to select the
*
Here we explain how to change the setting of a patch assigned to a
part. The procedure for changing the settings of rhythm sets is the
same. Substitute “rhythm set” wherever “patch” appears in a
sentence.
initialization type.
•
DEFAULT:
Resets the currently selected performance
in the Temporary memory to the
standard values. Use this setting when
you wish to create a sound from scratch.
1. Make sure the Performance mode is selected.
•
SOUND CONTROL: Initializes the values of the following part
parameters. Cutoff Offset, Resonance
2. Press [PATCH EDIT].
The patch assigned to the part is displayed in the Patch Edit
Offset, Attack Time Offset, Release Time
Offset, Decay Time Offset, Vibrato Rate,
Vibrato, Depth, Vibrato Delay
screen.
fig.09-020_50
4. Press [F8 (Select)].
A message will ask you for confirmation.
5. Press [F8 (Exec)].
The initialization will be carried out, and you’ll be returned to
the previous screen.
To cancel, press [F7 (Cancel)].
3. The rest of the procedure is the same as when making
changes in Patch mode (p. 56).
119
Creating a Performance
5. When you have finished inputting the name, press [F8
(Write)].
Saving a Performance
You’ve Created (Write)
A screen will appear, allowing you to select the write-
destination performance.
fig.09-023_50
Changes you make to sound settings are temporary, and will be lost
if you turn off the power or select another sound. If you want to keep
the modified sound, you must save it in the User area or a memory
card.
When you modify the settings of a Performance, the Performance
Layer screen will indicate “*.” Once you save the Performance into
user area, the “*” indication goes away.
6. Press [F1 (⇑)] or [F2 (⇓)] to select the write destination. Then
the VALUE dial or use [INC] [DEC] to select the
performance number.
When you perform the save procedure, the data that previously
occupied the save destination will be lost.
The write destination can be either the Fantom-X’s internal user
area (User), or a memory card (Card).
1. Make sure that the performance you wish to save is
selected.
7. Press [F8 (Write)].
2. Press [WRITE].
A message will ask you for confirmation.
The Write Menu screen appears.
fig.09-021_50
Never switch off the Fantom-X while data is being saved.
8. Press [F8 (Exec)] to execute the save operation.
*
To cancel the operation, press [F7 (Cancel)].
When Changing the Settings for the
Patch or Rhythm Set Assigned to a
Part in a Performance
If you've edited a patch or rhythm set assigned to a part in a
performance and then try to save the performance without first
saving the edited patch or rhythm set, the following message
3. Press [F1 (Perf)].
*
Alternatively, you can use CURSOR
“Performance,” and then press [ENTER].
The Performance Write screen appears.
or
to select
appears.
fig.09-024_50
fig.09-022_50
In such cases, first save the patches and rhythm sets, and then save
the performance.
4. Assign a name to the performance.
For details on assigning names, refer to “Assigning a Name”
(p. 36)
120
Modifying the Sound in Real Time
You can use the D Beam controller, realtime controllers, assignable
switches or a pedal to modify the sound while you perform.
4. To turn off the D Beam controller, once again press the
button you pressed in step 2 so the indicator goes out.
If Performance mode is selected, the D Beam controller on/off
setting is saved for each performance as part of the performance
settings.
Here we will explain the procedures and settings for using these
functions in Patch mode. The operations are the same in
Performance mode.
Waving Your Hand Over
the D Beam to Modify the
Sound (D Beam Controller)
The usable range of the D Beam controller
fig.10-003
The D Beam controller can be used simply by waving your hand
function that is assigned to it. You can also create effects in which the
sound changes instantaneously, in a way that would not be possible
by operating a knob or the bender lever. On the Fantom-X, the D
Beam controller can be used not only to modify the sounds assigned
to the Keyboard part or Pad part, but also to control the pitch of a
monophonic (solo) synthesizer sound.
The following diagram shows the usable range of the D Beam
controller. Waving your hand outside this range will produce
no effect.
The response of the D Beam Controller can also be checked in
the “D Beam” area of the display. This is displayed graphically
as a bar that lengthens as you move your hand closer, and
1. Access the Patch Play screen (p. 38).
The following area of the screen is the D Beam controller
shortens as you move your hand away.
fig.10-002
display area.
fig.10-001
The usable range of the D Beam controller will become
extremely small when used under strong direct sunlight.
Please be aware of this when using the D Beam controller
outside.
The sensitivity of the D Beam controller will change depending
on the amount of light in the vicinity of the unit. If it does not
function as you expect, adjust the sensitivity as appropriate for
the brightness of your location. Increase this value will raise the
sensitivity (p. 226).
2. Press either the D BEAM [PAD TRIGGER], [SOLO SYNTH],
or [ASSIGNABLE] button to turn on the D Beam controller.
fig.10-002
•
•
•
ASSIGNABLE button:Operates the function assigned to the D
Beam controller.
PAD TRIGGER button:Use the D Beam controller to play
sounds instead of striking the pads.
SOLO SYNTH button:Lets you use the D Beam as a
monophonic synthesizer.
3. While you play the keyboard or pads to produce sound,
place your hand above the D Beam controller and move it
slowly up and down.
An effect will be applied to the sound, depending on the function
that is assigned to the D Beam controller.
121
Modifying the Sound in Real Time
Range Min (D Beam Range Lower)
Specify the lower limit of the range of the D Beam controller.
Making Settings for the D Beam
Controller
Value: 0–127
Range Max (D Beam Range Upper)
Assignable
You can assign various functions to the D Beam controller and apply
Specify the upper limit of the range of the D Beam controller.By
setting Range Max below Range Min you can invert the range of
change.
a wide range of effects to the sound in real time.
Value: 0–127
1. Hold down [SHIFT] and press D BEAM [ASSIGNABLE].
The Assignable screen appears.
fig.10-004_50
The settings for the ASSIGNABLE are saved independently for
each performance as part of the performance settings. This lets
you create performances that make effective use of controller
settings.
If Patch mode is selected, this is saved as part of the system
settings. If you want to save the settings, press [F8 (System
Write)].
Pad Trigger (Pad-related settings)
You can use the D Beam controller to control the pads as an
2. Move the cursor to the parameter that you want to set, and
turn the VALUE dial or press [INC]/[DEC] to make the
setting.
alternative to striking the pads themselves.
1. Hold down [SHIFT] and press D BEAM [PAD TRIGGER].
The Pad Trigger Screen appears.
fig.10-005_50
3. Press [EXIT] the Assignable screen will close.
Type
Specifies the function controlled by the D Beam controller.
Value
CC01–31, 33–95:
Controller numbers 1–31, 33–95
For more information about Control Change messages, please
refer to “MIDI Implementation” (p. 298).
Bend Up:
Controls the pitch as specified by the “Pitch
Bend Range Up” setting (p. 67).
Controls the pitch as specified by the “Pitch
Bend Range Down” setting (p. 67).
Starts/Stops the sequencer.
Tap tempo (a tempo specified by the interval
at which you move your hand over the D
Beam controller).
Bend Down:
2. Move the cursor to the parameter that you want to set, and
turn the VALUE dial or press [INC]/[DEC] to make the
setting.
Start/stop:
TAP Tempo:
3. Press [EXIT] the Pad Trigger screen will close.
Pad Number
Arp Grid:
Arpeggio Grid
Specifies the pad number affected by the D Beam.
When the cursor is located at this parameter, you can also make this
setting by striking the desired pad.
Arp Duration:
Adjusts the duration of each arpeggiated
note
Arp Motif:
Arpeggio Motif
Value: 0–16
Arp Oct Up:
The range in which the arpeggio is sounded
will rise in steps of an octave (maximum 3
octaves).
Pad Velocity
Specifies the strength of the pad sound played by the D Beam
Arp Oct Down:
The range in which the arpeggio is sounded
will lower in steps of an octave (maximum 3
octaves).
controller.
Value: 1–127
Arp Step:
Controls the playback position of the
arpeggio pattern.
Aftertouch:
Aftertouch
122
Modifying the Sound in Real Time
Pad Control Mode
OSC 1/2 Waveform
This specifies how the D Beam will behave when it is obstructed. If
this is set to MOMENTARY, the parameter will be on only while the
D Beam is obstructed, and will turn off when you stop obstructing it.
If this is set to LATCH, the parameter will alternately be switched
on/off each time you obstruct the D Beam.
Select the waveform. SAW is a sawtooth wave, and SQR is a square
wave.
Value: SAW, SQR
OSC 1/2 Pulse Width
Value: MOMENTARY, LATCH
Specifies the pulse width of the waveform. By cyclically modifying
the pulse width you can create subtle changes in the tone.
*
The Pulse Width is activated when “SQR” is selected with OSC1/2
waveform.
PAD trigger settings are saved independently for each
performance as part of the performance settings. This lets you
create performances that make effective use of controller
settings.
Value: 0–127
OSC 1/2 Coarse Tune
Adjusts the pitch of the tone’s sound up or down in semitone steps
If Patch mode is selected, this is saved as part of the system
settings. If you want to save the settings, press [F8 (System
Write)].
(+/-4 octaves).
Value: -48–+48
OSC 1/2 Fine Tune
Solo Synth
On the Fantom-X you can play a monophonic synthesizer whose
Adjusts the pitch of the tone’s sound up or down in 1-cent steps (+/-
50 cents).
Value: -50–+50
pitch is controlled by the D Beam.
OSC2 Level
1. Hold down [SHIFT] and press D BEAM [SOLO SYNTH].
The Solo Synth screen appears.
fig.10-006_50
Adjust the OSC2 level.
Value: 0–127
OSC1 Sync Switch
Turning this switch on produces a complex sound with many
harmonics. This is effective when the OSC1 pitch is higher than the
OSC2 pitch.
Value: OFF, ON
Filter Type
Selects the type of filter.
OFF:
LPF:
No filter is used.
Low Pass Filter. This reduces the volume of all
frequencies above the cutoff frequency (Cutoff Freq)
in order to round off, or un-brighten the sound. This
is the most common filter used in synthesizers.
Band Pass Filter. This leaves only the frequencies in
the region of the cutoff frequency, and cuts the rest.
This can be useful when creating distinctive sounds.
High Pass Filter. This cuts the frequencies in the
region below the cutoff frequency. This is suitable
for creating percussive sounds emphasizing their
higher tones.
When you press [F6 (Panel View)], the Panel View screen will
appear, which displays the above parameters in graphical
fashion, simulating an analog synthesizer. From the Panel View
screen, you can press [F2 (Image View)] to open the Image View
screen, where you can see a graphical indication of the D Beam
output value. Press [EXIT] to return to the Control Setting
screen.
BPF:
HPF:
2. Move the cursor to the parameter that you want to set, and
turn the VALUE dial or press [INC]/[DEC] to make the
setting.
PKG:
Peaking Filter. This emphasizes the frequencies in
the region of the cutoff frequency. You can use this
to create wah-wah effects by employing an LFO to
change the cutoff frequency cyclically.
3. If you want to save the settings, press [F8 (System Write)].
If you press [EXIT] the Assignable screen will close.
Setting for the Solo Synth are saved for system settings.
Cutoff
Selects the frequency at which the filter begins to have an effect on
the waveform’s frequency components.
Value: 0–127
123
Modifying the Sound in Real Time
Resonance
Emphasizes the portion of the sound in the region of the cutoff
frequency, adding character to the sound. Excessively high settings
can produce oscillation, causing the sound to distort.
Value: 0–127
Modify the Sound (Realtime
Controller)
Level
You can use the REALTIME CONTROL knobs and ASSIGNABLE
SW buttons to modify the sound in real time.
Sets the volume.
Value: 0–127
1. Access the Patch Play screen (p. 38).
The “Realtime Control” area shows the function that is assigned
Chorus Send Level
to each realtime controller knob and button. [
] indicate the
Sets the level of the signal sent to chorus.
four knobs, and [ ], [ ] indicate the two buttons.
fig.10-007.e
Value: 0–127
Reverb Send Level
State of the controller settings
The controller applies to the part whose display is visible
Sets the level of the signal sent to reverb.
Value: 0–127
LFO Rate
Adjusts the modulation rate, or speed, of the LFO.
Value: 0–127
LFO Osc 1 Pitch Depth
Specifies the depth to which the LFO will modulate the OSC1 pitch.
Value: -63–+63
LFO Osc 2 Pitch Depth
Parameters that will change
when you turn a realtime controller knob
Specifies the depth to which the LFO will modulate the OSC2 pitch.
Parameters that will change when you press an assignable switch
Value: -63–+63
LFO Osc 1 Pulse Width Depth
2. You can select the function of the knobs by pressing the
button located at the right of the realtime control knobs.
The parameter display at the bottom of the screen will also
change.
Specifies the depth to which the LFO will modulate the pulse width
of the OSC1 waveform.
*
The Pulse Width is activated when “SQR” is selected with OSC1/2
waveform.
•
If the FILTER/ENV indicator is lit
Turning the knobs will control Cutoff, Resonance, Attack, and
Release.
Value: -63–+63
•
If the ARP/RHY indicator is lit
LFO Osc 2 Pulse Width Depth
Turning the knobs will control the arpeggio parameters Range
and Accent, and the rhythm parameters Accent Rate and
Tempo.
Specifies the depth to which the LFO will modulate the pulse width
of the OSC2 waveform.
*
The Pulse Width is activated when “SQR” is selected with OSC1/2
waveform.
•
If the ASSIGNABLE indicator is lit
Turning the knobs will control the assigned parameters. You
can freely assign parameters.
Value: -63–+63
*
If the indicators are unlit, turning the knobs will not control any
parameters.
Range (Solo synth range)
Specifies the range in which the pitch of the solo synth will vary.
3. While playing the keyboard or pressing the pads to produce
sound, operate the REALTIME CONTROL knobs and
ASSIGNABLE SW buttons.
Value:2 OCTAVES, 4 OCTAVES, 8 OCTAVES
The sound will change according to the function assigned to
each knob or button.
124
Modifying the Sound in Real Time
Assignable Switch Settings
Changing Realtime Controller Settings
Realtime Controller Knob Settings
1. Hold down [SHIFT] and press one of the ASSIGNABLE SW
button.
The Switch screen appears.
fig.10-009_50
1. Hold down [SHIFT] and rotate one of the REALTIME
CONTROL knobs.
The Knob screen appears.
fig.10-008_50
2. Move the cursor to the parameter that you want to set, and
turn the VALUE dial or press [INC]/[DEC] to make the
setting.
3. If you want to save your settings, press [F8 (System Write)].
2. Move the cursor to the parameter that you want to set, and
Press [Exit] to return to the previous screen.
turn the VALUE dial or press [INC]/[DEC] to set it.
3. If you want to save your settings, press [F8 (System Write)].
Realtime controller settings are saved independently for each
performance as part of the performance settings. This lets you
create performances that make effective use of controller
settings.
Press [Exit] to return to the previous screen.
Realtime controller settings are saved independently for each
performance as part of the performance settings. This lets you
create performances that make effective use of controller
settings.
Switch Assign
Specify the function that will be controlled by the assignable switch.
Value
Knob Assign 1–4 (Realtime Control Knob
Assign 1–4)
TRANSPOSE DOWN
TRANSPOSE UP:
TAP TEMPO:
:
Lowers the key range in semitone steps (up
to 5 semitones lower).
Raises the key range in semitone steps (up to
6 semitones higher).
Specify the functions that will be controlled by the [
Value
] knobs.
Tap tempo (a tempo specified by the interval
at which you press the button).
Pressed to toggle between polyphonic
(POLY) and monophonic (MONO) play of a
patch.
CC01–31, 33–95: Controller numbers 1–31, 33–95
MONO/POLY:
For more information about Control Change messages, please
refer to “MIDI Implementation” (p. 298).
PITCH BEND:
Pitch Bend
PORTAMENTO:
HOLD:
Portamento On/Off
AFTERTOUCH:
ARP STYLE:
ARP GRID:
Aftertouch
Hold play On/Off
Arpeggio Style
Arpeggio Grid
MFX1–3 SW:
CHORUS SW:
REVERB SW:
MASTERING SW:
LOOP:
Multi-effect 1–3 switch
Chorus switch
ARP DURATION: Adjusts the duration of each arpeggiated note
Reverb switch
ARP MOTIF:
Arpeggio Motif
Mastering switch
CHORD FORM:
Chord form of the Chord Memory function
Loop play On/Off
MASTER LEVEL: The volume of the entire Fantom-X
RHY START/STOP:
Rhythm pattern playback On/Off
*
Master Level adjusts the volume both of the OUTPUT A jacks and the
DIGITAL OUT jack. The panel VOLUME knob only adjusts the
volume of the OUTPUT A jacks.
If Patch mode is selected, assignable switches are available
when the keyboard part is selected.
ARP STEP:
Controls the playback position of the arpeggio
pattern.
DIGITAL IN:
Input level from DIGITAL IN.
125
Modifying the Sound in Real Time
BEND UP:
Controls the pitch as specified by the “Pitch
Bend Range Up” setting (p. 67).
Controls the pitch as specified by the “Pitch
Bend Range Down” setting (p. 67).
Aftertouch
Using a Pedal to Modify the
Sound (Control Pedal)
You can modify the sound by pressing a pedal that is connected to
the rear panel PEDAL HOLD jack or PEDAL CONTROL jack.
Pedal such as expression pedals (DP-8; available separately), pedal
switches (DP series; available separately), or foot switches (BOSS FS-
U; available separately) can be connected to the Fantom-X.
BEND DOWN:
AFTERTOUCH:
OCT UP:
Each pedal press raises the key range in
octave steps (up to 3 octaves higher).
Each pedal press lowers the key range in
octave steps (up to 3 octaves lower).
The sequencer will start/stop.
Manual punch-in/out recording will start/
stop.
OCT DOWN:
START/STOP:
PUNCH IN/OUT:
1. Access the Patch Play screen (p. 38).
2. While playing the keyboard to produce sound, operate a
TAP TEMPO:
Tap tempo (a tempo specified by the interval
at which you press the pedal).
The next sound number will be selected.
The previous sound number will be selected.
The favorite patch/performance of the next
number or bank will be selected.
The favorite patch/performance of the
previous number or bank will be selected.
Switches the Arpeggio/Rhythm function
on/off.
pedal.
The sound will change according to the function that is assigned
to the control pedal.
PROG UP:
PROG DOWN:
FAVORITE UP:
Making Control Pedal Settings
FAVORITE DOWN:
ARP SW:
1. Press [MENU].
2. Use
[ENTER].
or
to select “System,” and then press
RHY START/STOP:
CHORD SW:
Switch Rhythm pattern playback on/off.
Switches the Chord function on/off.
Switches to the next step within a Live
Setting list.
The System Setup screen appears.
3. Press [F1 (⇑)] or [F2 (⇓)] to select “Pedal/D Beam.”
A screen like the following appears.
fig.10-010_50
LIVE SET UP:
LIVE SET DOWN:
LOOP:
Switches to the previous step within a Live
Setting list.
Loop play On/Off
Control Pedal Polarity
Selects the polarity of the pedal. On some pedals, the electrical signal
output by the pedal when it is pressed or released is the opposite of
other pedals. If your pedal has an effect opposite of what you expect,
set this parameter to “REVERSE.” If you are using a Roland pedal
(that has no polarity switch), set this parameter to “STANDARD.”
Value: STANDARD, REVERSE
4. Turn the VALUE dial or press [INC]/[DEC] to make the
Hold Pedal Polarity
setting.
Select the polarity of the Hold pedal. On some pedals, the electrical
signal output by the pedal when it is pressed or released is the
you expect, set this parameter to “REVERSE.” If you are using a
Roland pedal (that has no polarity switch), set this parameter to
“STANDARD.”
5. If you want to save your settings, press [F8 (System Write)].
Press [Exit] to return to the Patch Play screen.
This specifies the function of each pedal connected to the PEDAL
CONTROL jacks.
Range: STANDARD, REVERSE
Value
CC01–31, 33–95:
Controller numbers 1–31, 33–95
Continuous Hold Pedal
This setting determines whether the HOLD PEDAL jack will provide
support for half-pedaling (ON), or not (OFF). When this is set to
support use of half-pedaling techniques, you can then connect an
optional expression pedal (DP-8, etc.), and employ pedal work to
achieve even finer control in performances in which piano tones are
used.
For details on control change messages, refer to “MIDI
Implementation” (p. 298).
Value: OFF, ON
126
Modifying the Sound in Real Time
127
Playing Arpeggios
About Arpeggio
The Fantom-X’s Arpeggio function lets you produce arpeggios
automatically; simply hold down some keys, and a corresponding
arpeggio will be played automatically.
Determining the Tempo for
Arpeggio Performances
This sets the arpeggio tempo. You can save the arpeggio tempo
settings individually in each Patch, Rhythm Set, or Performance.
Not only can you use the factory-set Arpeggio Styles, which
determine the way the arpeggio is played, but you can also freely
rewrite Styles and enjoy performing your own original arpeggios.
An Arpeggio Style is not part of any Performance, but rather
independent data; you can store up to 128 Arpeggio Styles.
Therefore you can use a single Arpeggio Style in different Patches
and Performances. Arpeggio settings can be saved independently for
each performance. However, they cannot be saved as part of a patch.
What’s more, you can perform in ensemble using these arpeggios
and rhythm patterns (p. 135).
1. Press [TEMPO].
The current tempo value appears in the display.
fig.11-002_50
2. Press VALUE dial or [INC], [DEC] to set the tempo value (5–
300), or set the value by tapping [F6 (Tap)] a number of
times with the same rhythm (Tap Tempo).
*
You cannot play the arpeggio from the pads.
*
If you press [F7 (Click)] to light it in red, the click will sound.
Playing Arpeggios
3. When you have made the setting, press [F8 (Close)].
Using a controller to adjust the playback tempo
Since tempo control is assigned to one of the Fantom-X’s
realtime control knobs, it’s easy to adjust the tempo while
Turning Arpeggio On and Off
1. Press [ARPEGGIO] to turn it on.
The button will light.
fig.11-001
playing arpeggios.
fig.11-003
2. Play a chord on the keyboard.
The Fantom-X will play an arpeggio, according to the notes
forming the chord you have just voiced.
Tempo
1. Press the REALTIME CONTROL button so the ARP/
3. To finish playing arpeggios, press [ARPEGGIO] again to
turn it off.
2. Play an arpeggio, and turn the realtime control knob.
In arpeggio settings, the Style (Arpeggio Style) (p. 129) is
particularly important. The playback pattern of the arpeggio is
determined mainly by this selection.
Holding an Arpeggio
By using the following procedure, you can produce arpeggios even
without continuing to press the keyboard.
For details regarding each parameter, refer to“Arpeggio
Settings” (p. 129).
1. Press [ARP HOLD].
The indicator will begin blinking.
Using in Combination with the Chord
Memory Function
2. Play a chord on the keyboard.
3. If you play a different chord or notes while the arpeggio is
When performing with the Arpeggio, you can also use it along
with the Chord Memory function (p. 133). After first storing
complex Chord Forms in memory, you can then call them up
when Arpeggio function is on, and you can easily play complex
arpeggio sounds just by pressing a single key.
being held, the arpeggio will change accordingly.
4. To cancel Arpeggio Hold, press [ARP HOLD] once again.
When Using a Hold Pedal
If you play an arpeggio while pressing the hold pedal, the arpeggio
will continue to be played even if you release the chord.
128
Playing Arpeggios
1. Connect an optional pedal switch (DP series etc.) to the
HOLD PEDAL jack.
About Arpeggio Styles
2. Press [ARPEGGIO] to turn on the arpeggio.
An Arpeggio Style is a series of data for basic arpeggio patterns
and chord styles recorded in the form of a grid consisting of a
3. Play a chord while pressing the hold pedal.
maximum of 32 steps x 16 pitches.
fig.11-005
4. If you play a different chord or notes while the arpeggio is
being held, the arpeggio will change accordingly.
Note 16
HIGH
Playing Arpeggios Along
When using arpeggios while the sequencer is playing, or when you
want to record arpeggios into the sequencer in real time, you can
synchronize the arpeggio with the start/stop timing of the
sequencer.
Note 06
Note 05
Note 04
Note 03
STEP
Note 02
Note 01
1
8
10
11 ....
2
3
4
5
6
7
9
32
Each grid contains one of the following kinds of data.
For details, refer to “Arpeggio/Rhythm Sync Switch” (p. 227).
•
•
•
ON:
Note On (with Velocity data)
Tie (hold of the previous note)
Rest (no sound played)
TIE:
REST:
Arpeggio Settings
1. Hold down [SHIFT] and press [ARPEGGIO].
A screen like the one below appears.
The keys that are pressed along with the sequence in which they
are pressed is referenced to the “lowest-pitched key during
input.” Thus, you can use a single Arpeggio Style in different
Patches and Performances at the same time.
If Performance mode is selected, (Performance) will appear at
A Arpeggio Style is not part of any patch or Performance, but
rather independent data; you can store up to 64 Arpeggio
Styles.
the right of “Arpeggio.”
fig.11-004_50
Changing the Beat and Shuffle
(Arp/Rhythm Grid)
This sets the particular note division and resolution in a “single
grid” used in creating the arpeggio in an Arpeggio Style, and how
much of a “shuffle” syncopation is to be to applied (none/weak/
strong) to it (grid type).
2. Press [CURSOR] to move the cursor to each parameter, and
either turn the VALUE dial or press [INC] or [DEC] to make
the setting.
*
Grid settings are shared with the rhythm pattern.
Value:
1/4:
3. When you have made the setting, press [EXIT].
Quarter note (one grid section = one beat)
Eighth note (two grid sections = one beat)
Eighth note shuffle Light (two grid sections = one beat,
with a light shuffle)
1/8:
Selecting Styles for Arpeggio
Performances (Arpeggio Style)
1/8L:
1/8H:
Eighth note shuffle Heavy (two grid sections = one beat,
with a heavy shuffle)
This selects the arpeggio’s basic performance Style. The arpeggio
styles are kept in preset memory and user memory.
Value: U001–128 (User), P001–128 (Preset)
1/12:
1/16:
1/16L:
Eighth note triplet (three grid sections = one beat)
Sixteenth note (four grid sections = one beat)
Sixteenth note shuffle Light (four grid sections = one
beat, with a light shuffle)
1/16H:
1/24:
Sixteenth note shuffle Heavy (four grid sections = one
beat, with a heavy shuffle)
Sixteenth note triplet (six grid sections = one beat)
129
Playing Arpeggios
RANDOM (L):
RANDOM (_):
PHRASE:
Notes will be sounded randomly for the keys
you press, with only the lowest key sounded
each time.
Applying Staccato and Tenuto
(Arp/Rhythm Duration)
Only the lowest of the keys pressed is sounded
each time, the notes you press will be sounded
randomly. No note will sound each time.
Pressing just one key will play a phrase based on
the pitch of that key. If you press more than one
key, the key you press last will be used.
This setting (duration) determines whether the sounds are played
staccato (short and clipped), or tenuto (fully drawn out).
*
Grid settings are shared with the rhythm pattern.
Value:
30, 40, 50, 60, 70, 80, 90, 100, 120, Full
30–120:
For example, when set to “30,” the length of the note
in a grid (or when a series of grids is connected with
ties, the final grid) is 30% of the full length of the
note set in the grid type.
<Example>
Action of a Style starting from the lowest note, “1-2-3-2” when the
keys “C-D-E-F-G” are played
When “UP (L)” is selected as the motif:
FUL (Full):
Even if the linked grid is not connected with a tie,
the same note continues to sound until the point at
which the next new sound is specified.
C-D-E-D -> C-E-F-E -> C-F-G-F (-> repeated)
When “UP (_)” is selected as the motif:
C-D-E-D -> D-E-F-E -> E-F-G-F (-> repeated)
When “UP&DOWN (L&H)” is selected as the motif:
C-D-G-D -> C-E-G-E -> C-F-G-F -> C-E-G-E (-> repeated)
Selecting Ascending/Descending
Variations (Different Ways of
Playing the Sounds) (Arp Motif)
Adjusting the Velocity of the
Arpeggio (Arp Velocity)
This selects the method used to play sounds (motif) when you have a
greater number of notes than programmed for the Arpeggio Style.
Specifies the loudness of the notes that you play.
If you want the velocity value of each note to depend on how
strongly you play the keyboard, set this parameter to REAL. If you
want each note to have a fixed velocity regardless of how strongly
you play the keyboard, set this parameter to the desired value (1–
127).
When the number of keys played is less than the number of
notes in the Style, the highest-pitched of the pressed keys is
played by default.
Value:
Value: REAL, 1–127
UP (L):
Only the lowest of the keys pressed is sounded
each time, and the notes play in order from the
lowest of the pressed keys.
Selecting the Part that Will Play
Arpeggios in Performance Mode
(Arp Part)
Here’s how to specify the part that will use the arpeggio in
Performance mode. You can specify only one part for playing
arpeggios.
UP (L&H):
Notes from both the lowest and highest pressed
keys are sounded each time, and the notes play
in order from the lowest of the pressed keys.
The notes play in order from the lowest of the
pressed keys. No one note is played every time.
Only the lowest of the keys pressed is sounded
each time, and the notes play in order from the
highest of the pressed keys.
UP (_):
DOWN (L):
If a rhythm set is assigned to a part in Performance mode, you can
play a rhythm pattern along with the arpeggios.
The part you select here functions for both the arpeggio and the
chord memory functions.
DOWN (L&H):
Notes from both the lowest and highest pressed
keys are sounded each time, and the notes play
in order from the highest of the pressed keys.
The notes play in order from the highest of the
pressed keys. No note is played every time.
Notes will be sounded from the lowest to the
highest key you press and then back down to the
lowest key, with only the lowest key sounded
each time.
Value: Part1–16
DOWN (_):
Changing the Accent Strength (Arp
Accent)
UP&DOWN (L):
When you play arpeggios, the velocity of each arpeggiated note is
determined by the velocity of the notes programmed within the
arpeggio style. You can adjust the amount (“spread”) of this
dynamic variation. With a setting of 100%, the arpeggiated notes will
have the velocities that are programmed by the arpeggio style. With
a setting of 0%, all arpeggiated notes will be sounded at a fixed
velocity.
UP&DOWN (L&H): Notes from both the lowest and highest pressed
keys are sounded each time, and the notes play
in order from the lowest of the pressed keys and
then back again in the reverse order.
UP&DOWN (_):
The notes play in order from the lowest of the
pressed keys, and then back again in the reverse
order. No note is played every time.
Value: 0-100%
You can also use a REALTIME CONTROL knob to control this.
130
Playing Arpeggios
Hanging the Range of the Arpeggio
(Oct Range)
Step-recording
In this method, you use the keyboard and pads to step-record your
arpeggio. Each time you input a note, you will advance to the next
step. This method is convenient when you want to create an
arpeggio from scratch using a Style that contains no data.
This adds an effect that shifts arpeggios one cycle at a time in octave
units (octave range). You can set the shift range upwards or
downwards (up to three octaves up or down).
Value: -3–0–+3
If you want to create “from scratch,” you’ll need to initialize the
Style. In the Arpeggio Style Edit screen, hold down [SHIFT] and
press [F1 (Init)]. A message will ask whether you want to
initialize; press [F8 (Exec)] to execute initialization.
You can also use a REALTIME CONTROL knob to control this.
Using the Realtime Control Knobs
to Edit the Arpeggio Settings
1. Hold down [SHIFT] and press [ARPEGGIO].
You can use the realtime control knobs to change the arpeggio
settings by editing the parameters in real time.
2. Press [F7 (Edit)].
The Arpeggio Style Edit screen will appear.
1. Play arpeggios.
3. Press [F1 (Arp Setup)].
The Arpeggio Setup screen will appear.
2. Press the REALTIME CONTROL button to select “ARP/
RHY.”
4. Move the cursor to “End Step,” and specify the number of
The “ARP/RHY” indicator will light.
fig.11-006
steps for the arpeggio style you want to create.
5. Move the cursor to “Input Velocity,” and specify the
•
With the “Real” setting, the velocity will depend on the strength
with which you actually strike the keyboard or pads.
With a numerical setting of “1–127,” the data will always be
input with the specified velocity, regardless of how strongly
you strike the keyboard or pads.
Octave Range
Accent Rate
Tempo
3. Turn the REALTIME CONTROL knobs.
While arpeggios are playing, you can use the knobs to control
the following parameters.
Make the desired setting, and then press [F8 (Close)] to close the
Arpeggio Setup screen.
•
•
“Hanging the Range of the Arpeggio (Oct Range)” (p. 131)
“Changing the Accent Strength (Arp Accent)” (p. 130)
6. Press [F8 (Step Rec)] so it lights red.
Now you’re ready to step-record. Play the keyboard or pads to
input notes.
Creating an Arpeggio Style
(Arpeggio Style Edit)
In addition to using the built-in arpeggio styles, you are free to create
your own. After creating an original arpeggio style, you can store it
in the internal user memory.
*
*
*
To input a tie, press [F2 (TIE)].
To input a rest, press [F3 (Rest (Clear))].
You can use [F4 (Zoom In)]/[F5 (Zoom Out)] to zoom the display in
or out.
Broadly speaking, there are two ways to create an arpeggio style.
*
You can press [F6 (Preview)] to audition the style you’ve input.
fig.11-007_50
131
Playing Arpeggios
Using the Dial or [INC][DEC] to
Input Values
Saving the Styles You Have
Created (Write)
The Styles you create are temporary; they are deleted as soon as you
turn off the power or select some other Style. You can store 128
arpeggio styles in the User memory.
In this method, you’ll use the cursor to specify the step or pitch that
you want to input, and use the dial or [INC][DEC] to input values.
This method is convenient when you want to edit or modify
previously input data.
1. Hold down [SHIFT] and press [ARPEGGIO].
Arpeggio style settings are saved as independent data, not
as part of the data for each patch. The settings in Patch mode,
it is not possible to save arpeggio parameters (e.g., arpeggio
style, grid type, motif, duration, octave range).
2. Press [F7 (Edit)].
The Arpeggio Style Edit screen will appear.
3. Press [F1 (Arp Setup)].
It can be saved to individual in Performance mode. If you
want to save your settings, press [WRITE] and save the
performance.
The Arpeggio Setup screen will appear.
4. Move the cursor to “End Step,” and specify the number of
steps for the arpeggio style you want to create.
Make the desired setting, and then press [F8 (Close)] to close the
Arpeggio Setup screen.
1. Confirm that the current Style is the one you want to save.
2. Press [F3 (Arp)].
5. Use [CURSOR] to specify the step or pitch you want to
3. Press [F8 (Write)].
input.
The Arpeggio name entry screen will appear (p. 36).
*
When using this method of input, you can use the keyboard to specify
the pitch of the note. (Unlike when step-recording, pressing the
keyboard will not actually input the note.)
4. When you have finished entering the name, press [F8
(Write)].
A screen in which you can select the destination for the write
6. Input the velocity value, using either the VALUE dial or
[INC][DEC].
will appear.
fig.11-008_50
You can input a tie by turning VALUE all the way to the right
(or using [INC] to raise the value all the way).
*
*
*
You can also input a tie by pressing [F2 (TIE)].
To input a rest, press [F3 (Rest (Clear))].
You can use [F4 (Zoom In)]/[F5 (Zoom Out)] to zoom the display in
or out.
*
*
You can press [F6 (Preview)] to audition the style you’ve input.
When using this method of input, you can use the pads to specify the
velocity and finalize your input; after you’ve specified the step and
pitch to be input, strike a pad to input it.
(Higher-numbered pads produce higher velocity values; for example,
striking pad 1 specifies a velocity value of 8, while striking pad 16
specifies a velocity value of 127.)
5. Turn the VALUE dial or use [INC] [DEC] to select the write
destination.
6. Press [F8 (Write)].
A message will ask you for confirmation.
A maximum of sixteen note numbers (pitches) can be used in a
single style.
7. To write the data, press [F8 (Exec)].
Never switch off the Fantom-X while data is being saved.
*
To cancel, press [F7 (Cancel)].
132
Using the Chord Memory Function (Chord Memory)
About the Chord Memory
Function
Performing with the Chord
Memory Function
Chord Memory is a function that allows you to play chords based on
pre-programmed Chord Forms, just by pressing a single key on the
keyboard. The Fantom-X can store 64 preset chord forms and 64 user
chord forms. If you wish, you can overwrite any of the 64 user
(factory set) chord forms.
Turning Chord Memory Function
On and Off
1. Press [CHORD MEMORY] to turn it on.
The button will light.
fig.11-001
The chord memory function operates on the arpeggio part in
Performance mode. If a rhythm set is selected for that part, you can
also use this to play rhythms.
*
You cannot use the chord memory function with the pads.
2. Play the keyboard.
When you use the Chord Memory function with a tone for
which the Mono/Poly Parameters (p. 77) is Mono, only one
sound in the chord is played. When using the Chord Memory
function to turn Poly the Mono/Poly Parameters.
A chord will sound according to the currently selected chord
form.
When you press the C4 key (Middle C), the chord is played
using the exact chord structure recorded in the Chord Form.
This is referenced to the C4 key; parallel chords are played by
pressing other keys.
Using in Combination with the Arpeggio
Function
When performing with the Chord Form function, you can also
use it along with the Arpeggio function (p. 128). After first
storing complex Chord Forms in memory, you can then call
them up when Arpeggio is on, and you can easily create
complex arpeggio sounds just by pressing a single key.
3. To finish playing arpeggios, press [CHORD MEMORY] again
to turn it off.
Selecting Chord Forms
Changing the chord form will change the notes in the chord.
1. Hold down [SHIFT] and press [CHORD MEMORY].
The following screen appears.
If Performance mode is selected, (Performance) will appear at
the right of “Chord Form.”
fig.12-001_50
2. Either turn the VALUE dial or use [INC]/[DEC] to select a
Chord Form number.
The notes of the chord will be displayed.
3. When you have finished selecting a Chord Form, press [Exit].
133
Using the Chord Memory Function (Chord Memory)
4. Use the keyboard to input the chord that you want to play.
When you press a key, the note will be added in the screen.
If you input a note by mistake, press [F5 (Del Note)].
You can also erase a note you input by pressing the same key.
You can press [F6 (Preview)] to hear the chord that you are
inputting.
Sounding a chord in the order of
its notes (Rolled Chord)
This causes the notes within a chord to be sounded consecutively, rather
than simultaneously. Since the playback speed will change according to
the force with which you play the keyboard, you can vary your playing
dynamics to create a realistic simulation of playing a guitar.
5. If you want to save the chord form you created, proceed to
step 3 of “Saving the Chord Forms You Have Created.” If
you don’t want to save it, press [F7 (Exit)].
1. Hold down [SHIFT] and press [CHORD MEMORY].
The chord memory screen appears.
Saving the Chord Forms You
Have Created
The Chord Form you create are temporary; they are deleted as soon
as you turn off the power or select some other Style. If you want to
keep a Chord Form you have made, save it to the Fantom-X’s user
memory.
2. Press [F1 (Rolled Chord)] so it lights red.
With this setting, the notes of the chord will be sounded
consecutively when you play the keyboard.
Changing the order in which notes
are sounded
You can change the order in which the notes of a chord are sounded.
1. Hold down [SHIFT] and press [CHORD MEMORY].
A chord form is not part of any patch or performance, but rather
independent data. Therefore you can use a single chord form in
different Patches and Performances. In Performance mode you
can save these settings individually for each performance. These
settings cannot be saved in a patch.
The chord memory screen appears.
2. Use
or
to select “Rolled Chord Type.”
3. Either turn the VALUE dial or use [INC]/[DEC] to change a
value.
If you want to save your settings, press [WRITE] and save the
performance.
Value
UP:
Notes will be sounded in order from bottom
to top.
DOWN:
Notes will be sounded in order from top to
bottom.
The order in which the notes are sounded
1. Hold down [SHIFT] and press [CHORD MEMORY].
Confirm that the chord form the one you want to save.
ALTERNATE:
will change each time you play the
keyboard.
2. Press [F8 (Write)].
The Chord Form name entry screen will appear (p. 36).
3. When you have finished entering the name, press [F8
(Write)].
Creating Your Own Chord
Forms
Not only can you use the prepared internal Chord Forms, which
determine the constituent notes of chords played using the Chord
Memory function, but you can also freely create and rewrite them as
well.
A screen will appear, allowing you to select the write
destination.
fig.12-003_50
1. Hold down [SHIFT] and press [CHORD MEMORY].
2. Turn the VALUE dial to select a chord form.
3. Press [F7 (Edit)].
The Chord Form Edit screen appears.
fig.12-002_50
4. Use
or
to select the write destination.
5. Press [F8 (Write)].
A message will ask you confirm.
6. To save the chord form, press [F8 (Exec)].
Never switch off the Fantom-X while data is being saved.
*
To cancel, press [F7 (Cancel)].
134
Playing Rhythms
About Rhythm Patterns
Playing Rhythm
The Fantom-X contains 256 preset rhythm patterns. You can play a
variety of rhythm patterns simply by pressing the pads. In addition
to using these built-in rhythm patterns, you can also create your
own.
Turning Rhythm On and Off
1. Press [RHYTHM] to turn it on.
The 256 rhythm patterns are maintained as independent data; they
are not part of a performance’s data. This means that any one
rhythm pattern can be shared by various rhythm sets or
performances. In Performance mode, a number by which a rhythm
pattern is recalled can be stored as one of the performance
parameters. This number cannot be stored in Patch mode.
The button will light.
fig.11-001
2. Play a pad (9-16).
According to the pad you pressed, the assigned rhythm pattern
will begin playing.
Rhythm Patterns and Rhythm Groups
The volume of the rhythm pattern will also change according to
how strongly you strike the pad.
fig.13-001.e
On the Fantom-X, a set of rhythm pattern numbers, percussion
instrument sounds and a rhythm set assigned to the sixteen
pads is stored as a Rhythm Group.
Rhythm pattern number
Rhythm Tone
Using Rhythm Groups
A “group” consists of settings for each of the sixteen pads, specifying
A pattern will begin playing when you press any pad from 9–16
that isn’t illuminated. A rhythm tone will sound when you
press a pad that is blink. The pattern or rhythm tone that is
sounded by each pad can be specified in Rhythm Group Edit (p.
139).
the pattern that each pad will play. The rhythm set used by that
group is also stored as part of the settings.
fig.13-001.e
*
*
You can stop playback by pressing a blinking pad.
Rhythm pattern number
Rhythm Tone
To stop rhythm pattern playback, press [RHYTHM] once again so the
indicator goes out.
Determining the Tempo for Rhythm
Pattern Performances
*
You are free to change how rhythm pattern numbers and rhythm
sounds are assigned.
Rhythm group data is not part of a rhythm set or performance; the
32 rhythm groups are stored as independent data. This means that
any one rhythm group can be shared by various patches or
performances. In addition to using the built-in rhythm groups, you
can also create your own.
This sets the Rhythm Pattern tempo.
Specify the tempo of the rhythm pattern.
1. Play a rhythm pattern (p. 135).
2. Press [TEMPO].
Rhythm Group settings can be saved independently for each
performance. However, they cannot be saved as part of a patch.
The current tempo value appears in the display.
fig.11-002_50
3. Press VALUE dial or [INC], [DEC] to set the tempo value (5–
300), or set the value by tapping [F6 (Tap)] a number of
times with the same rhythm (Tap Tempo).
*
When you press [F7 (Click)] to light it in red, the click will sound.
135
Playing Rhythms
4. When you have made the setting, press [F8 (Close)].
Rhythm Pattern Settings
1. Hold down [SHIFT] and press [RHYTHM].
Using a controller to adjust the playback tempo
Since tempo control is assigned to one of the Fantom-X’s
realtime control knobs, it’s easy to adjust the tempo at which the
2. Press [F2 (Rhythm)].
rhythm pattern will play back.
fig.11-003
A screen like the one below appears.
If Performance mode is selected, (PERFORMANCE) will appear
at the right of “Rhythm Pattern.”
fig.13-003_50
Tempo
1. Press the REALTIME CONTROL button so the ARP/
RHY indicator lights.
2. Play an Rhythm Pattern, and turn the realtime control
knob.
Select the Rhythm Group
3. Press
or
to move the cursor to each parameter,
and either turn the VALUE dial or press [INC] or [DEC] to
make the setting.
1. Hold down [SHIFT] and press [RHYTHM].
2. Press [F1 (Rhythm Group)].
A screen like the one below appears.
You can audition the rhythm pattern by pressing [F6 (Preview)]
so it lights in red. When you’ve finished auditioning the
pattern, press [F6 (Preview)] once again to stop.
If Performance mode is selected, (Performance) will appear at
the right of “Rhythm Group.”
fig.13-002_50
4. When you have made the setting, press [EXIT].
Selecting Rhythm Patterns
Select the basic playing style of the rhythm.
This selects the rhythm’s basic performance Style.
Value: P001–256 (Preset), U001–256 (User)
*
When you select the Rhythm group, the most suitable rhythm set is
assigned to the Pad part. (In the screen, this is indicated by
“Recommended Rhy (Recommended Rhythm set).”)
3. Turn the VALUE dial or press [INC] or [DEC] to make the
setting.
This selects the Rhythm group’s basic performance Style.
Value: P01–32 (Preset), U01–32 (User)
4. When you have made the setting, press [EXIT].
136
Playing Rhythms
Changing the Beat and Shuffle
(Grid)
Changing the Accent Strength
(Rhythm Accent)
This sets the particular note division and resolution in a “single
grid” used in creating the pattern in an Rhythm Pattern, and how
much of a “shuffle” syncopation is to be to applied (none/weak/
strong) to it (grid type).
When you play rhythm patterns, the velocity of each note is
determined by the velocity of the notes programmed within the
arpeggio style. You can adjust the amount (“spread”) of this
dynamic variation. With a setting of 100%, the notes will have the
velocities that are programmed by the rhythm pattern. With a setting
of 0%, all notes will be sounded at a fixed velocity.
Value: 0–100%
*
Grid settings are shared with the arpeggio.
Value:
1/4:
Quarter note (one grid section = one beat)
Eighth note (two grid sections = one beat)
Eighth note shuffle Light (two grid sections = one beat,
with a light shuffle)
1/8:
1/8L:
You can also use a REALTIME CONTROL knob to control this.
1/8H:
Eighth note shuffle Heavy (two grid sections = one beat,
with a heavy shuffle)
Using the Realtime Control Knobs
to Control the Rhythm
1/12:
1/16:
1/16L:
Eighth note triplet (three grid sections = one beat)
Sixteenth note (four grid sections = one beat)
Sixteenth note shuffle Light (four grid sections = one
beat, with a light shuffle)
Here’s how you can use the realtime control knobs to control the
rhythm in real time by adjusting the rhythm parameters.
1. Play rhythm.
1/16H:
1/24:
Sixteenth note shuffle Heavy (four grid sections = one
beat, with a heavy shuffle)
2. Press the REALTIME CONTROL button to select “ARP/
Sixteenth note triplet (six grid sections = one beat)
RHY.”
The “ARP/RHY” indicator will light.
fig.13-004
Applying Staccato and Tenuity
(Duration)
This setting (duration) determines whether the sounds are played
staccato (short and clipped), or tenuity (fully drawn out).
Tempo
Rhythm Accent
*
Grid settings are shared with the arpeggio.
Value:
30, 40, 50, 60, 70, 80, 90, 100, 120, Full
3. Turn the REALTIME CONTROL knobs.
While Rhythm Pattern are playing, you can use the knobs to
control the following parameters.
30–120:
For example, when set to “30,” the length of the note
in a grid (or when a series of grids is connected with
ties, the final grid) is 30% of the full length of the
note set in the grid type.
•
•
Rhythm Accent Rate -> p. 137
TEMPO -> p. 135
FUL (Full):
Even if the linked grid is not connected with a tie,
the same note continues to sound until the point at
which the next new sound is specified.
This has no effect if the Tone Env Mode parameter (p. 87) is set
to “No Sus.”
Changing the velocity of Rhythm
Pattern (Rhythm Pattern Velocity)
This specifies the strength with which the Pads you press will be
sounded. If you want the velocity to change according to the force
with which you press the Pads, set this to “REAL.” If you want the
velocity to be a fixed value regardless of the force with which you
press the Pads, specify the desired value (1–127).
Value: REAL, 1–127
137
Playing Rhythms
*
*
*
To input a tie, press [F2 (TIE)].
To input a rest, press [F3 (Rest (Clear))].
Creating an Rhythm Pattern
(Rhythm Pattern Edit)
In addition to using the built-in Rhythm Patterns, you are free to
create your own. After creating an original Rhythm Pattern, you can
store it in the internal user memory.
You can use [F4 (Zoom In)]/[F5 (Zoom Out)] to zoom the display in
or out.
*
You can press [F6 (Preview)] to audition the style you’ve input.
Using the Dial or [INC][DEC] to
Input Values
Broadly speaking, there are two ways to create an Rhythm Pattern.
fig.11-007_50
In this method, you’ll use the cursor to specify the step or pitch that
you want to input, and use the dial or [INC][DEC] to input values.
This method is convenient when you want to edit or modify
previously input data.
1. Hold down [SHIFT] and press [RHYTHM].
2. Press [F7 (Edit)].
The Rhythm Pattern Edit screen will appear.
3. Press [F1 (Rhythm Setup)].
The Rhythm Setup screen will appear.
Step-recording
4. Move the cursor to “End Step,” and specify the number of
steps for the Rhythm Pattern you want to create.
Make the desired setting, and then press [F8 (Close)] to close the
Rhythm Setup screen.
In this method, you use the keyboard and pads to step-record your
Rhythm pattern. Each time you input a note, you will advance to the
next step. This method is convenient when you want to create a
Rhythm pattern from scratch using a Style that contains no data.
5. Use [CURSOR] to specify the step or pitch you want to
input.
*
When using this method of input, you can use the keyboard to specify
the pitch of the note. (Unlike when step-recording, pressing the
keyboard will not actually input the note.)
If you want to create “from scratch,” you’ll need to initialize the
Style. In the Rhythm Pattern Edit screen, hold down [SHIFT]
and press [F1 (Init)]. A message will ask whether you want to
initialize; press [F8 (Exec)] to execute initialization.
6. Input the velocity value, using either the VALUE dial or
[INC][DEC].
1. Hold down [SHIFT] and press [RHYTHM].
You can input a tie by turning VALUE all the way to the right
(or using [INC] to raise the value all the way).
2. Press [F2 (Rhythm)].
*
*
*
You can also input a tie by pressing [F2 (TIE)].
To input a rest, press [F3 (Rest (Clear))].
3. Press [F7 (Edit)].
The Rhythm Pattern Edit screen will appear.
You can use [F4 (Zoom In)]/[F5 (Zoom Out)] to zoom the display in
or out.
4. Press [F1 (Rhythm Setup)].
The Rhythm Setup screen will appear.
*
*
You can press [F6 (Preview)] to audition the style you’ve input.
5. Move the cursor to “End Step,” and specify the number of
When using this method of input, you can use the pads to specify the
velocity and finalize your input; after you’ve specified the step and
pitch to be input, strike a pad to input it.
steps for the Rhythm Pattern you want to create.
6. Move the cursor to “Input Velocity,” and specify the
(Higher-numbered pads produce higher velocity values; for example,
striking pad 1 specifies a velocity value of 8, while striking pad 16
specifies a velocity value of 127.)
velocity setting for the data you will input.
•
•
With the “Real” setting, the velocity will depend on the strength
with which you actually strike the keyboard or pads.
With a numerical setting of “1–127,” the data will always be
input with the specified velocity, regardless of how strongly
you strike the keyboard or pads.
A maximum of sixteen note numbers (pitches) can be used in a
single style.
Make the desired setting, and then press [F8 (Close)] to close the
Rhythm Setup screen.
7. Press [F8 (Step Rec)] so it lights red.
Now you’re ready to step-record. Play the keyboard or pads to
input notes.
138
Playing Rhythms
1. Hold down [SHIFT] and press [RHYTHM].
2. Press [F1 (Rhythm Group)].
Saving the Patterns You
Have Created (Write)
Turn the VALUE dial, or press [INC][DEC] to select a rhythm
group you want to edit.
The rhythm patterns you create are temporary; they are deleted as
soon as you turn off the power or select some other rhythm patterns.
You can store 256 rhythm patterns in the User memory.
3. Press [F7 (Edit)].
The Rhythm Group edit screen will appear.
fig.13-007_50
Rhythm pattern settings are saved as independent data,
not as part of the data for each patch. The settings in Patch
mode, it is not possible to save rhythm pattern parameters (e.g.,
pattern, grid type).
It can be saved to individual in Performance mode. If you
want to save your settings, press [WRITE] and save the
performance.
1. Confirm that the current Pattern is the one you want to
4. Use [CURSOR] to select a parameter, and turn the VALUE
save.
dial or use [INC][DEC] to set the value.
2. In the Rhythm Pattern screen, press [F2 (Rhythm)].
•
PAD
Select the pad for which you want to make settings.
3. Press [F8 (Write)].
*
You can also choose the pad that you want to set by pressing that pad.
Recommended Rhy (Recommended Rhythm Set)
Specifies which rhythm set will be used.
Pad Mode
The name entry screen will appear (p. 36).
•
4. When you have finished entering the name, press [F8
(Write)].
•
•
•
•
•
A screen in which you can select the destination for the write
Specifies whether a rhythm tone or a rhythm pattern number
will be assigned to the pad.
will appear.
fig.13-006_50
Range: Pattern, Note, Off
Rhythm Pattern (Rhythm Pattern Number)
If Pad Mode is set to Pattern, specifies the pattern number that
will sound when you press the pad.
Range: U001–256, P001–256
Rhythm Pattern Velocity
Specifies the velocity of the rhythm pattern when the pad mode
is set to “Pattern.”
Range: REAL, 1–127
Pad Note
If Pad Mode is set to Note, specifies the note number that will
sound when you press the pad.
5. Turn the VALUE dial or use
,
to select the write
destination.
Range:C-1 –G9
6. Press [F8 (Write)].
Pad Velocity
A message will ask you for confirmation.
Specifies the strength of the sound heard when you strike the
pad. If this is set to REAL, you can add dynamics by varying the
strength of your strike.
7. To write the data, press [F8 (Exec)].
Never switch off the Fantom-X while data is being saved.
Range: REAL, 1–127
*
To cancel, press [F7 (Cancel)].
5. If you want to save the rhythm group you created, proceed
to step 4 of “Saving the Rhythm Group You Have Created
(Write)” (p. 140). If you don’t want to save it, press [F7
(Exit)].
Creating Your Own Styles
(Rhythm Group Edit)
Not only can you use the prepared internal Rhythm Groups that
determine how rhythm are played, but you can also create them as
well. This way, you can enjoy performing your own original rhythm
group.
139
Playing Rhythms
Saving the Rhythm Group
You Have Created (Write)
The Rhythm Group you create are temporary; they are deleted as
soon as you turn off the power or select some other Style. You can
store 32 Rhythm Groups in the User memory.
Rhythm group settings are saved as independent data, not
as part of the data for each patch. The settings in Patch mode,
it is not possible to save rhythm group settings.
It can be saved to individual in Performance mode. If you
want to save your settings, press [WRITE] and save the
performance.
1. Confirm that the current Rhythm Group is the one you want
to save.
2. Hold down [SHIFT] and press [RHYTHM].
3. Press [F1 (Rhythm Group)].
4. Press [F8 (WRITE)].
The name entry screen will appear (p. 36).
5. When you have finished entering the name, press [WRITE].
A screen in which you can select the destination for the write
will appear.
fig.13-008_50
6. Turn the VALUE dial or use
,
to select the write
destination.
7. Press [F8 (Write)].
A message will ask you for confirmation.
8. To write the data, press [F8 (Exec)].
Never switch off the Fantom-X while data is being saved.
*
To cancel, press [F7 (CANCEL)].
140
Sampling
The Fantom-X lets you sample audio sources, such as an audio
device, mic, or CD.
•
Input Select
Specifies the input source of the sound to be sampled.
This section explains the sampling procedure and what the
parameters do.
Value
DIGITAL IN:
LINE IN L/R:
LINE IN L:
DIGITAL IN connector
INPUT jacks L/R (stereo)
INPUT jack L (mono)
Switching external input
on/off
1. Press [MIX IN] to turn it on.
The button will light.
fig.11-000
MICROPHONE: INPUT jack L (mono, mic level)
Digital Input Level
•
If you’ve set Input Select to DIGITAL IN, this adjusts the input
level from the DIGITAL IN connector.
Value:
0–127
You can also control the Digital Input Level using an assignable
knob (p. 125).
•
Input Effect Type
Selects the type of effect that will be applied to the external
input source.
Value:
EQ, ENHANCER, COMPRESSOR, LIMITER, NOISE
SUP, C CANCELLER
2. To turn it off, press [MIX IN] again.
When you press [F8 (In FX Setup)], the parameter setting screen
for the currently selected input effect will be displayed “Making
Input Source Settings (Input Setting)” (p. 141).
Mix In Output Asgn (Mix In Output Assign)
Output destination of the external input sound that is mixed in
Value
Making Input Source
Settings (Input Setting)
1. Connect your CD player, mic, or other audio source to the
AUDIO INPUT jacks or to the DIGITAL IN connector located
on the rear panel of the Fantom-X.
•
DRY:
Output to OUTPUT (A) jacks without passing
through effects
MFX:
Output through multi-effects
When you select “MFX,” selects which of the three multi-effects
(1–3) will be used.
Cautions when using a microphone
Howling could be produced depending on the location of
microphones relative to speakers. This can be remedied by:
•
•
Mix In Output Level
Volume level of the external input sound.
1. Changing the orientation of the microphone(s).
Value:
0–127
Mix In Chorus Send Level
2. Relocating microphone(s) at a greater distance from
speakers.
Adjusts the depth of chorus that will be applied to the external
input source. Set this to “0” if you do not want to apply chorus.
3. Lowering volume levels.
Value:
0–127
•
•
Mix In Reverb Send Level
2. Hold down [SHIFT] and press [MIX IN].
Depth of reverb applied to the external input sound. Set this to 0
if you don’t want to apply reverb.
fig.14-001_50
Value:
0–127
Input Effect SW
Specifies whether the external input sound will be sent through
the effects processor (Input Effect). You can switch this on by
pressing [F7 (In FX Sw)] so it lights red. Press it once again to
turn it off.
Value:
ON, OFF
5. Play back the external input source.
3. Press
or
to select the parameter that you want to
set.
4. Turn the VALUE dial or press [INC]/[DEC] to set the value.
141
Sampling
6. If you use AUDIO INPUT, turn the EXT SOURCE LEVEL
knob to adjust the volume.
When you enter the Input Effect Setup screen, the indicator at
the right of the Realtime Control knobs will go out, and the
Realtime Control knobs can be used to edit the MFX
parameters. If you once again press the button located at the
knobs will control their original functions. When you exit the
Input Effect Setup screen, the indicator will automatically
return to its previous lit state.
*
If you’re using DIGITAL IN, this adjustment is not necessary.
fig.14-002
*
If the volume of the external source is too high, the PEAK indicator
5. Press [EXIT] to return to the previous screen.
will light. If this occurs, turn down the LEVEL knob until the PEAK
indicator no longer lights.
For details on the parameters that can be edited, refer to the
7. Press [EXIT] to return to the previous screen.
section “Input Effect Parameters” (p. 294)
Input Effect Setup Settings
1. Hold down [SHIFT] and press [MIX IN].
Sampling Procedure
1. Press [SAMPLING] to access the Sampling Menu screen.
fig.14-004
2. Press [F8 (In FX Setup)].
The Input Effect Setup screen appears.
fig.14-003_50
fig.14-005_50
3. Press
or
to move the cursor.
4. Turn the VALUE dial, or press [INC] /[DEC] to set the value.
•
Type (Input Effect Type)
The upper part of the screen will show the amount of free
memory. If the free memory reaches 0%, no further sampling is
possible.
Selects the input effect type.
Parameter
Explanation
1: Equalizer
Adjusts the tone of the low-fre-
quency and high-frequency ranges.
2. Press [F1 (Sampling)]–[F5 (SOLO)] to select the sampling
mode. The sampling-standby screen will appear.
To cancel, press [F8 (Exit)].
2: Enhancer
3: Compressor
4: Limiter
Modifies the harmonic content of
the high-frequency range to add
sparkle to the sound.
Restrains high levels and boosts
low levels to make the overall vol-
ume more consistent.
Compresses the sound when it ex-
ceeds a specified volume, to keep
distortion from occurring.
*
You cannot sample the sound that is output from the OUTPUT B
jacks. You’ll need to set things up so that the sound you want to
sample is output from the OUTPUT A (MIX) jacks.
Sampling mode
•
Sampling:[F1 (Sampling)]
Sample a sound from an external input source.
5: Noise Suppressor
6: Center Canceler
Suppresses noise during periods of
silence.
Removes the sounds that are local-
ized at the center of the stereo in-
put. This is a convenient way to
eliminate a vocal.
*
Operating the keyboards, pads, sequencer will not play the internal
sound generator.
In this settings screen, you can edit parameters for the type of
input effect you selected.
142
Sampling
•
Re-Sampling: [F2 (Re-Sampl)]
•
Pre Sample Time
Resample the sound of the internal sound generator. The sound
of the external input will not be heard.
The length of sound preceding the moment at which sampling
was manually or automatically initiated that will be captured in
the sample. This lets you prevent the attack portion of the
sound from being omitted from the sample.
Value: 0–1000 ms
*
The volume of a phrase that you resample may be less than the volume
of the original phrase. If necessary, execute the Normalize command
(p. 156) to raise the volume.
•
Stop Trigger
•
•
Mix Sampling: [F3 (Mix)]
Specifies how sampling will end.
Sample the combined sounds of the internal sound generator
and an external input source.
Value
MANUAL:
BEAT:
Continue sampling until you press [STOP].
Stop sampling after the specified number of
beats at the current tempo (BPM).
Auto divide sampling: [F4 (Auto Divide)]
Sample an extended source, and automatically divide it into
several samples at silent regions. If the sample contains silence,
it will be divided at that point, and the subsequent portion will
be assigned to the next sample number.
TIME:
Sample the specified length of time.
•
Sampling Length
You can specify this if Stop Trigger is “BEAT” or “TIME.”
Value
*
Operating the keyboards, pads or D Beam controllers will not play the
internal sound generator.
•
Solo sampling: [F5 (Solo)]
Sampling Length When Stop Trigger is “BEAT”:1–20000:
Number of beats to continue sampling
While playing the internal sound generator as usual, sample
only the sound from the external input.
When Stop Trigger is “TIME”:00’00”010–50’00”000:length of
time to continue sampling.
*
Effects cannot be applied to the external input sound.
fig.14-006_50
•
•
Auto Trigger Level
Specifies the volume at which sampling will begin if you have
pressed [F2 (Auto Trig)] to turn Auto Trig ON.
Value: 0–7 (A setting of 0 is the minimum.)
Gap Time
Specifies the length of the silences at which the sample will be
divided if the Sampling Mode is set to Auto Divide. Whenever
will be divided at that point, and the next sample number will
be assigned to the sound that follows.
Value: 500, 1000, 1500, 2000 ms
*
This parameter is valid only when you are using Auto Divide
Sampling.
3. Make the settings for things such as the input source of the
sound to be sampled, and triggering.
•
Input Select
•
•
Input Setting: [F1 (INPUT SETTING)]
Makes settings for the external input (p. 141).
Auto Trigger: [F2 (AUTO TRIG)]
Specifies the input source of the sound that is to be sampled.
Value
DIGITAL IN:
LINE IN L/R:
LINE IN L:
DIGITAL IN connector
INPUT jacks L/R (stereo)
INPUT jack L (mono)
sound is detected.
MICROPHONE: INPUT jack L (mic level)
Before you turn Auto Trig on, perform steps 4 and 5 to set the
input level.
*
This cannot be set when resampling.
Stereo Switch
•
•
Trim Sw: [F3 (TRIM SW)]
Specifies whether the sound will be sampled in stereo or in
monaural. Mono sampling uses half as much memory space.
Value
If this is turned on, the Start point and End point settings (p.
149) will be automatically adjusted after sampling is performed,
so any silent portions at the beginning or end of the sampled
sound are excluded.
MONO:
The sound will be sampled as one wave. If
the sound is stereo, the left and right signals
will be mixed.
4. Play the external input source.
STEREO:
The sound will be sampled as two waves, L
and R.
143
Sampling
5. In the EXT SOURCE section of the panel, use LEVEL knob
to adjust the input level of the external source.
Dividing a Sample During
Sampling
*
If you’re using DIGITAL IN, this adjustment is not necessary.
fig.14-002
1. During sampling, press [F8 (Divide)].
The sample will be divided at the point where you pressed the
button, and the subsequent material will be sampled as a
sample of the next number.
*
When sampling in mono, you can divide the material into a maximum
into a maximum of 128 samples (L/R total 256 samples).
*
If the volume of the external source is too high, the PEAK indicator
will light. If this occurs, turn down the LEVEL knob until the PEAK
indicator no longer lights.
*
*
If the level of the sound to be sampled is too high, the word “CLIP”
Sampling time
The Fantom-X contains 32 MB of memory, which allows about 6
minutes of mono or about 3 minutes of stereo sampling. If you
want to sample for a longer time than this, you must install
separately sold memory (DIMM) (p. 244, p. 246).
level to be low. Use a connection cable that does not contain a resistor.
6. Press [F8 (Start)] to begin sampling.
7. If Stop Trigger is set to MANUAL, press [F7 (Stop)] to stop
sampling.
The Sample Edit (p. 148) screen will appear.
*
If you want to edit the sample, refer to p. 146.
fig.14-007_50
When you finish sampling, the sample will automatically be
added to the sample list. Press [SAMPLE LIST] to view the
sample list.
Samples you record will be lost when you turn off the
power. If you want to keep your sample, press [WRITE] to save
it (p. 159). Samples shown as “NEW” in the sample list have not
yet been saved.
fig.14-008_50
8. Press [EXIT] to go back to where you were before you
entered the Sampling screen.
144
Sampling
4. Press [F8 (Exec)]; now you can play the sample from the
pad.
Sampling Earlier in Time
(Skip Back Sampling)
If you want to edit the sampled sound or play it from the
keyboard, press [SAMPLE EDIT] to access the Sample Edit
screen.
Sometimes you may want to preserve a nice phrase that you
happened to play a bit earlier. In such cases, you can use the Skip
Back Sampling function to sample sounds that were played earlier in
time.
•
•
Press [F3 (Sample Modify)] to edit the sample (p. 155 and
following).
Press [F6 (Assign KB/Pad)] to assign the sample to a keyboard
part (p. 152).
When you execute skip-back sampling, several beats of your prior
performance are saved as a sample. You can assign this sample to a
pad and play it from the pad.
fig.14-009
You can specify how far back sampling will occur when you
perform skip-back sampling (5–40 seconds). With the factory
settings this is set to 10 seconds.
Samples captured by Skip Back Sampling will be lost when you
turn off the power. If you want to keep the sample, perform the
Save procedure (p. 159).
Button lit:
Skip-back sampling can be performed in this
state.
Button unlit:
Skip-back sampling cannot be performed.Not
operating. You cannot use skip-back sampling if
there is insufficient free memory.
Button blinking: The following screen will appear, and Skip Back
Sampling will be executed.
1. Play the Fantom-X’s keyboard or pads, or connect an
instrument or some other device to the AUDIO IN jacks or
DIGITAL IN and input sounds or phrases.
2. Press [SKIP BACK SAMPLING].
The following screen will appear, and Skip Back Sampling will
be executed.
fig.14-010_50
When Skip Back Sampling ends, the Assign to Pad screen will
appear. Now you can specify the pad that will play this sound.
3. Specify the pad that you want to use; you can either turn
the VALUE dial or use [INC] [DEC] to select the pad number,
or simply strike the desired pad.
If you want to time-stretch the sample to match the tempo,
press [F1 (Tempo Sync)].
145
This section explains how you can edit a sample that you sampled/
imported
The sample list shows the current state of
the samples.
Editing is performed in sample memory—a memory area dedicated
to samples (p. 32).
fig.15-001
Selecting a Sample (Sample
List)
Select a sample from the list.
Selecting a Sample
1. Press [SAMPLE LIST].
The Sample List display appears.
NEW:
This is a sample that you sampled. It has not been
saved, and will be lost when you turn off the power.
The same is true for samples imported as WAV/
AIFF.
fig.14-008_50
UNLOAD: The sample has been saved, but not loaded into
sample memory.
EDIT:
This is a sample that you loaded or sampled and are
editing. Your edits will be lost when you turn off
the power. If you want to keep them, you must
Write the sample. Save this data as necessary.
The Fantom-X has a parameter (Load User Samples at Startup,
(p. 234)) that specifies whether the samples in user memory, the
samples in a memory card, or the preset samples will be
automatically loaded into sample memory when you turn on
the power. If Load User Samples at Startup is turned off,
samples will not be loaded into memory when you turn on the
power. In this case, you will need to load samples into memory
yourself. If you have unload a sample from sample memory,
you will also need to load it again before you can re-select that
sample.
2. Specify the group from which you want to select a sample.
•
•
•
[F1 (Preset)]: Select from preset samples.
[F2 (User)]: Select from user samples.
[F3 (Card)]: Select from samples stored on a memory card.
*
You cannot edit preset (Preset) samples.
3. Use VALUE dial, [INC][DEC], or
to select a sample.
If you hold down [SHIFT] while you operate the above buttons,
the sample number will change in steps of ten.
You can press [F8 (Preview)] to audition the selected sample.
4. Press [ENTER].
The Sample Edit Screen appears.
146
Editing a Sample
Loading a Sample
Unloading a Sample
Here’s how you can load a sample from the user area, a memory
card, or a preset into sample memory.
Here’s how you can unload a sample from sample memory. The
saved sample file itself will not be deleted.
1. Press [SAMPLE LIST].
1. With the Sample List screen shown, choose [F1 (Preset)]–
[F3 (Card)] to select the group that contains the sample you
want to erase.
The Sample List display appears.
2. From [F1 (Preset)]–[F3 (Card)], select the bank that contains
2. Use VALUE dial, [INC][DEC], or
to select a sample.
the desired sample.
If you want to erase two or more samples, press [F5 (Mark Set)]
to add a check mark (✔) to the samples that you want to select.
To remove the check mark, press [F4 (Mark Clear)].
3. Use VALUE dial, [INC][DEC], or
to select a sample.
If you want to load two or more samples, press [F5 (Mark Set)]
to add a check mark (✔) to the samples that you want to select.
To remove the check mark, press [F4 (Mark Clear)].
If you hold down [SHIFT] and press [F5 (Mark Set All)], a check
mark will be added to all samples of the selected bank. If you
hold down [SHIFT] and press [F4 (Mark Clr All)], check marks
will be removed from all selected samples.
If you hold down [SHIFT] and press [F5 (Mark Set All)], a check
mark will be added to all samples of the selected bank. If you
hold down [SHIFT] and press [F4 (Mark Clr All)], check marks
will be removed from all selected samples.
The edit screen for the selected sample will appear.
You can press [F8 (Preview)] to audition the selected sample.
The edit screen for the selected sample will appear.
3. Press [F7 (Load Utility)], and the press [F6 (Unload)].
4. Press [F7 (Load Utility)], and then press [F7 (Load)].
A message will ask you for confirmation.
A message will ask you for confirmation.
4. Press [F8 (Exec)] to unload the sample.
5. Press [F8 (Exec)] to load the sample.
To cancel, press [F7 (Cancel)].
To cancel, press [F7 (Cancel)].
*
You can also perform this operation from the Sample Edit screen by
pressing [MENU] and selecting Unload Sample.
*
You can also perform this operation from the Sample Edit or Sample
List screen by pressing [MENU] and selecting Load Sample.
Deleting a Sample
Loading all Samples
Here’s how to completely delete a sample file.
Here’s all samples in the user memory and memory card can be
loaded.
*
You cannot delete the preset samples.
1. With the Sample List screen shown, choose [F2 (User)]–[F3
(Card)] to select the group that contains the sample you
want to delete.
When you execute Load All Samples, all unsaved samples will
be erased.
2. Turn the VALUE dial, or press
or
to select the
sample.
If the total size of the data in the user bank and card bank
exceeds the size of memory, the samples of the user bank will be
loaded first. At this time, as many card bank samples as
possible will be loaded, starting from the lowest-numbered
sample.
If you want to delete two or more samples, press [F5 (Mark Set)]
to add a check mark (✔) to the samples that you want to select.
To remove the check mark, press [F4 (Mark Clear)].
If you hold down [SHIFT] and press [F5 (Mark Set All)], a check
mark will be added to all samples of the selected bank. If you
hold down [SHIFT] and press [F4 (Mark Clr All)], check marks
will be removed from all selected samples.
1. From the Sample List screen or Sample Edit Screen (p.
148), press [MENU].
The edit screen for the selected sample will appear.
2. Press
or
to select “Load All Samples,” and then
You can press [F8 (Preview)] to audition the selected sample.
press [ENTER].
A message will ask you for confirmation.
3. Press [F7 (Load Utility)], and the press [F5 (Delete Sample)].
*
If you press [SAVE/LOAD] and then press [F7 (Load All Smpl)]
instead of performing steps 1–2, the same confirmation message will
appear.
A message will ask you for confirmation.
4. Press [F8 (Exec)] to delete the sample.
To cancel, press [F7 (Cancel)].
3. Press [F8 (Exec)] to execute.
*
You can also perform this operation from the Sample Edit or Sample
List screen by pressing [MENU] and selecting Delete Sample File.
To cancel, press [F7 (Cancel)].
*
You can also perform this operation from the Sample Edit or Sample
List screen by pressing [MENU] and selecting Load All Samples.
147
Editing a Sample
Importing an Audio File
Displaying Sample Edit
Screen
Here’s how an audio file (WAV/AIFF) can be loaded into memory
as a sample.
1. When you press [SAMPLE EDIT] in the sampling section.
The Sample Edit screen will appear.
fig.14-007_50
Place the audio files in the “TMP/AUDIO_IMPORT” folder on
the user memory or memory card. For details on how you can
use your computer to copy a file into the user area or memory
card, refer to p. 218.
1. From the Sample List screen or Sample Edit screen (p. 148),
press [MENU] to select “Import Audio,” and then press
[ENTER].
*
You can obtain the same result by pressing [SAVE/LOAD] and then
pressing [F8 (Import Audio)] instead of performing step 1.
2. Press [F1 (User)] or [F2 (Card)] to select the import-source
area.
User: Select a file from the user area.
Samples that you edit will be lost when you turn off the power.
If you want to keep them, you must Save them (p. 159).
Card: Select a file from the memory card.
3. Use [CURSOR] to move the cursor to the “TMP/
AUDIO_IMPORT.”
Magnifying/Shrinking the
Waveform Display (Zoom In/Out)
4. Press
or
, then select the file that you want to
import.
Here’s how to change the magnification of the sample display.
If you want to select two or more samples, press [F5 (Mark Set)]
to add a check mark (✔) to the files that you want to select. To
remove the check mark, press [F4 (Mark Clear)].
1. In the Sample Edit screen, press [F7 (Zoom In/Out)].
The Zoom In/Out sub-window will appear.
fig.15-002_50
If you hold down [SHIFT] and press [F5 (Mark Set All)], a check
mark will be added to all files of the selected folder. If you hold
down [SHIFT] and press [F4 (Mark Clr All)], check marks will
be removed from all selected files.
5. Press [F8 (Import Audio)].
A message will ask you for confirmation.
*
To cancel, press [F7 (Cancel)].
6. Press [F8 (Exec)].
The file will be imported, and the Sample List screen will
appear.
2. Use [CURSOR] to change the magnification of the display.
*
To cancel, press [F7 (Cancel)].
•
Horizontal axis (time axis): 1/1–1/65536
Press
Press
to increase the display magnification.
to decrease the display magnification.
The imported file will be added to the sample list as a sample.
This sample is temporary, and will be lost when you turn off the
power. If you want to keep it, press [WRITE] to save the data.
*
Either turn the VALUE dial or use [INC], [DEC] to adjust this
setting.
•
Vertical axis (waveform amplitude axis): x1–x128
Press
Press
to increase the display magnification.
to decrease the display magnification.
3. Press [F8 (Close)] to close the sub-window.
Even without displaying the Zoom In/Out sub-window, you
can press CURSOR
to expand/shrink the horizontal
axis, or hold down [SHIFT] and press CURSOR
expand/shrink the vertical axis.
to
148
Editing a Sample
After specifying the start point and end point, you can execute
Truncate (p. 155) to delete unwanted portions at the beginning
and end of the sample.
of the Sample
You can specify the portion of the sample that will actually sound.
You can also specify the region that is to be looped.
About the beat
1. Press [SAMPLE LIST] and select the sample that you want
Samples contain beat data. Up to 100 beat locations are specified
for one sample. If the sample contains more than 100 beats, fifty
beat locations will be specified from the beginning and end of
the sample, respectively.
to edit (p. 146).
2. Press [SAMPLE EDIT].
fig.15-003_50
*
The preset samples do not contain beat data.
When you want to reset the beat indication
(Reset Grid function)
You can reassign the sample grid according to the specified
start point and BPM. In the Sample Edit screen, specify the start
point of the sample and press [F2 (Sample Param)] to access the
Sample Prm screen. In the Sample Prm screen, specify the BPM
and press [F7 (Reset Grid)]. To execute, press [F8 (Exec)].
*
For details on how to select a sample, refer to Sample List (p. 146).
3. Use
or
to select the point that you want to set.
•
•
•
Start Point:
This is the point at which playback will start. Set this so that any
unwanted portion at the beginning of the sample will be
skipped, and the sound will begin at the desired moment.
Loop Start:
Sample modify operations (Chop, Normalize, etc.) apply to the
entire sample. Even if you specify a start point or end point,
they will be ignored. If you want to apply the operation only to
the region between the start point and end point, use Truncate
to delete unwanted portions of the sample, and then perform
the sample modifying operation.
This is the point at which loop playback (second and
subsequent times) will start. Set this if you want to loop the
sound from a point other than the start point.
End Point:
Using the knobs to edit the points
This is the point at which playback will end. Set this so that any
unwanted portion at the end of the sample will not be heard.
You can use the knobs to edit each point. Using the knobs is
convenient when you need to make large changes to the value.
By pressing [F8 (Preview)] you can audition the region between
the start point and edit point.
1. Make sure that the button indicators located at the right of
the REALTIME CONTROL knobs are extinguished.
If they are lit, press the button so the indicators go out.
If you hold down [F8 (Preview)] and edit the start/loop/end
point, the sample will play repeatedly across that point. Since
the sound in the region you’re specifying will play repeatedly,
2. Use the REALTIME CONTROL knobs to specify the
following editing points.
fig.15-003a
(Zooming-in or zooming-out on the waveform will change the
region that loops.)
4. Either turn the VALUE dial or use [INC], [DEC] to move the
point so it’s where you want it to be.
You’ll probably find it convenient to zoom-in when making fine
adjustments, and zoom-out when making major adjustments (p.
148).
1
2
3
4
: Start Point
: Loop Start
: End Point
1
You can move the point in units of one beat by pressing [F4 (⇐)]
or [F5 (⇒)].
2
3
4
: Zoom-in/zoom-out the horizontal axis of the display
The preset samples cannot be moved by beat.
149
Editing a Sample
fig.15-007
Loop
Start P.
Start P.
End P.
Making Settings for Sample
(Sample Parameters)
Here you can make various settings for the sample.
REV-ONE (Reverse One-shot)
1. Press [SAMPLE LIST] and select the sample that you want
The sample will be played back only once from the End point to
the Start point in the reverse direction.
to edit (p. 146).
2. Press [SAMPLE EDIT] to access the Sample Edit screen,
fig.15-008
Loop
Start P.
and press [F2 (Sample Param)].
fig.15-004_50
Start P.
End P.
•
Loop Tune
Specifies the pitch of the loop region.
Value: -50– +50
*
Make fine adjustments in one-cent (1/100 semitone) increments.
Original Key
•
Note number that will play the sample at the pitch at which it
was sampled.
3. Press
or
to select a parameter.
Value:
0 (C-1)–127 (G9)
4. Use VALUE dial or [INC], [DEC] to edit the value.
•
BPM (TEMPO)
•
Loop Mode
Specifies the original tempo of the sample.
Specifies how the sample will be played.
Value
Value:
5.00–300.00
*
*
In order to synchronize the tempo, Wave Temp Sync (p. 63) must be
turned on.
FWD (Forward)
After the Sample played back from the Start point to the End
point, it will then be repeatedly played back in the forward
direction, from the Loop Start point to the End point.
When setting the BPM (tempo) value, you can hold down [SHIFT]
and turn the VALUE dial, or use [INC] [DEC] to adjust the value to
the right of the decimal point.
fig.15-005
•
Time Stretch Type
Loop
Start P.
Start P.
End P.
Specifies how the tempo will be synchronized. Decreasing this
value will optimize the sound for more rapid phrases, and
increasing this value will optimize the sound for slower
phrases.
Value:
TYPE01–TYPE10
ONE-SHOT
•
•
•
Start Fine
The sample will be played back only once, from the Start point
to the End point.
Fine adjustment of the Start point.
Value: 0–255
fig.15-006
Loop
Start P.
Loop Start Fine
Start P.
End P.
Fine adjustment of the Loop Start point.
Value:
0–255
Loop End Fine
Fine adjustment of the End point.
REV (Reverse)
Value:
0–255
When the sample has been played back from the End point to
the Start point, it will be repeatedly played back in the reverse
direction, from the Loop Start point to the Start point.
*
By pressing [F7 (Reset Grid)] you can reassign the sample grid
according to the specified start point and BPM. To execute, press [F8
(Exec)].
5. Press [EXIT] when you are finished.
150
Editing a Sample
From Performance Mode
Assigning Samples to a Pad
(Assign To Pad)
Here’s how to assign samples as the rhythm tones of a rhythm set.
For example, you can create an original rhythm set by replacing
certain tones of a preset rhythm set with different samples.
Before you continue with the procedure below, make sure you're in
Performance mode, and select the patch or rhythm set to which you
want to assign the sample.
1. Press [SAMPLE LIST] to select a sample, and then press
[SAMPLE EDIT] to access the Sample Edit screen.
*
From the Sample List screen you can also press [F7 (Load Utility)]->
[F2 (Assign to Pad)] to execute Assign To Pad.
2. Press [F6 (Assign KB/Pad)].
*
You cannot execute this with more than one sample selected.
The Assign to Kbd/Pad screen will appear.
3. Press [F7 (Assign to Pad)].
From Patch Mode
The Assign to Pad screen will appear.
If a rhythm set is not assigned to the selected part, a message
will ask “Change into Rhythm and Initialize?”, asking if you
1. Press [SAMPLE LIST] to select a sample, and then press
[SAMPLE EDIT] to access the Sample Edit screen.
want to assign an initialized rhythm set to the selected part.
fig.15-010_50
2. Press [F6 (Assign KB/Pad)].
The Assign to Kbd/Pad screen will appear.
fig.15-009_50
3. Press [F7 (Assign to Pad)].
The Assign to Pad screen will appear.
fig.15-010_50
4. Select the desired pad by pressing it directly.
If you press [F1 (Tempo Sync)] to light it into red, the Wave
Tempo Sync parameter (p. 63) will be turned ON for the rhythm
tone that is assigned.
5. Press [F8 (Exec)].
A message will ask your confirmation.
6. Press [F8 (Exec)] to execute Assign to Pad.
The sample will be assigned (as a rhythm tone) to the specified
pad.
To cancel, press [F7 (Cancel)].
4. Select the desired pad by pressing it directly.
If you press [F1 (Tempo Sync)] to light it into red, the Wave
Tempo Sync parameter (p. 89) will be turned ON for the rhythm
tone that is assigned.
7. Press [EXIT] to return to the previous screen.
If you select another rhythm set, the rhythm set you assigned
will be replaced by that patch. If you want to keep the patch you
created, press [WRITE] and save it.
5. Press [F8 (Exec)].
A message will ask your confirmation.
6. Press [F8 (Exec)] to execute Assign to Pad.
The sample will be assigned (as a rhythm tone) to the specified
pad.
To cancel, press [F7 (Cancel)].
7. Press [EXIT] to return to the previous screen.
151
Editing a Sample
3. Press [F6 (Assign to Kbd)].
Assign to Keyboard window appears.
fig.15-012_50
Assigning a Sample as a
Patch to a Part (Assign to
Keyboard)
Here’s how you can use the currently selected sample to create a
patch, and assign it to a keyboard part.
*
*
From the Sample List screen you can also press [F7 (Load Utility)]->
[F2 (Assign to Pad)] to execute Assign To Pad.
4. Press
or
to specify the part to which the new patch
You cannot execute this with more than one sample selected.
is to be assigned, and then press [F8 (Select)].
The Assign to Keyboard window will appear, and you can
verify the assignment for the part.
From Patch Mode
If you press [F2 (Tempo Sync)] to turn it into red, the Wave
Tempo Sync parameter (p. 63) will be turned ON for the patch
that is assigned.
1. Press [SAMPLE LIST] to select a sample, and then press
[SAMPLE EDIT] to access the Sample Edit screen.
2. Press [F6 (Assign KB/Pad)].
Assign to Kbd/Pad window appears.
fig.15-009_50
5. Press [F8 (Exec)]
A message will ask you for confirmation.
6. Press [F8 (Exec)].
The sample will be assigned (as a patch) to the specified part.
To cancel, press [F7 (Cancel)].
7. Press [EXIT] to return to the previous screen.
3. Press [F6 (Assign to Kbd)].
If you select another patch, the patch you assigned will be
replaced by that patch. If you want to keep the patch you
created, press [WRITE] and save it.
The Assign to Keyboard window will appear, and you can
verify the assignment for the keyboard part.
If you press [F2 (Tempo Sync)] to turn it into red, the Wave
Tempo Sync parameter (p. 63) will be turned ON for the patch
that is assigned.
Create a Rhythm Set
(Create Rhythm)
4. Press [F8 (Exec)]
A message will ask you for confirmation.
Here’s how you can use the sample(s) to create a rhythm set. This
5. Press [F8 (Exec)].
operation is called Create Rhythm.
The sample will be assigned (as a patch) to the specified
keyboard part.
When you execute Create Rhythm, the sample(s) will become a
rhythm set and will be assigned to a part.
To cancel, press [F7 (Cancel)].
For example, you could record a sample, use the Chop function to
divide it, and then use this Create Rhythm operation to assign the
divided samples to a part as a rhythm set. Alternatively, you can
assign a mark to two or more samples in the sample list, and execute
Create Rhythm to assign the samples to a part as a rhythm set.
The samples will be assigned consecutively from the C2 key.
From Performance Mode
1. Press [SAMPLE LIST] to select a sample, and then press
[SAMPLE EDIT] to access the Sample Edit screen.
2. Press [F6 (Assign KB/Pad)].
1. Press [SAMPLE LIST] to access the Sample List screen.
Assign to Kbd/Pad window appears.
fig.15-009_50
2. Select the samples.
If you want to select two or more samples, press [F5 (Mark Set)]
to add a check mark (✔) to the samples that you want to select.
To remove the check mark, press [F4 (Mark Clear)].
You can press [F8 (Preview)] to audition the selected sample.
152
Editing a Sample
3. Press [F7 (Load Utility)], and then press [F4 (Create
Rhythm)].
Creating a Multisample
The Create Rhythm window will appear.
(Create Multisample)
Patch Mode
fig.15-013_50
Two or more samples assigned to different keys are collectively
called a “multisample.” One multisample can assign up to 128
samples divided (“split”) across the notes of the keyboard. A
memory card can store 128 multisamples.
In order to hear a multisample, you’ll need to assign it to a Part
as a Patch. Choose the desired samples to create the
multisample, and then assign it as a patch to a keyboard part for
use.
fig.04-012.e
Performance Mode
fig.15-014_50
Multisample
Multisample
No.128
A multisample is
divided into 128
Multisample No.001
sample
No.128
sample
No.127
sample sample sample
No.001 No.002 No.003
Number in the sample list
If, for example, only one note (e.g., the sound of the C4 key) is
sampled from a wide-ranging instrument such as a piano, and
assigned to the entire range of keys, it will sound unnatural
when played significantly below or above its original pitch. If
the instrument is sampled at several different pitches and
assigned to different ranges of the keyboard, this unnatural
4. Either turn the VALUE dial or use [INC] [DEC] to select the
part that you want to assign.
5. Press [F8 (Select)].
The Create Rhythm window will appear.
If you press [F1 (Tempo Sync)] to light it into red, the Wave
Tempo Sync parameter (p. 89) will be turned ON for the rhythm
effect can be minimized.
fig.15-015.e
tone that is assigned.
fig.15-014_50a
Multisample
128 split
(128 key)
sample
No.002
ogriginal key
C5
sample No.001
original key
C3
original key
C4
: original key
split point
split point
When you create a multisample, the split points are
automatically determined according to the original key of each
sample. Before you begin this process, you should set the
original key of each sample to the range where you want it to be
assigned. (“Assigning a multisample to the desired keys” (p.
154))
6. Press [F8 (Exec)]
The sample will be assigned (as a patch) to the specified part.
To cancel, press [F7 (Cancel)].
A sample will not sound at a pitch higher than one octave above
the original key.
7. Press [EXIT] to return to the previous screen.
*
If you select another rhythm set, the rhythm set you assigned will be
replaced by that rhythm set. If you want to keep the rhythm set, press
[WRITE] and save it.
*
The sounds will be assigned in order starting at the C2 key.
153
Editing a Sample
1. Press [SAMPLE LIST] to access the Sample List screen,
and select the sample(s) that you want to include in your
new multisample.
8. When the data has been written, the Assign to Keyboard
screen will appear.
fig.15-015b
If you want to select two or more samples from the sample list,
press [F5 (Mark Set)] to add a check mark (✔) to each sample.
Pressing [F4 (Mark Clear)] will clear the check mark.
You can press [F8 (Preview)] to audition the selected sample.
If the total number of marks exceeds 128, the multisample will
be created from the 128 lowest-numbered samples.
You cannot create a multisample using samples from more than
one group.
2. Press [F7 (Load Utility)], and then press [F3 (Create Multi
Sample)].
The Create Multisample Name screen will appear.
fig.15-xxx_50
9. If you want to use the multisample as a patch, press [F8
(Exec)].
If you decide to cancel, press [F7 (Cancel)].
Never turn off the power while data is being written.
*
You can’t listen to a multisample unless it’s assigned to a part as a
patch. If you press [F7 (Cancel)] at this point, the multisample will be
saved, but you’ll need to perform the additional step of assigning the
Assigning a multisample to the
desired keys
In order to assign a multisample to the desired keys, you’ll need to
set the Original Key of each sample to the appropriate keys. Then,
when you execute the Create Multisample operation, the Fantom-X
will assign the samples to the keyboard and set the split points
automatically.
3. Assign a name.
For details on assigning names, refer to “Assigning a Name”
(p. 36)
4. When you have finished inputting the name, press [F8
1. Press [SAMPLE LIST] to access the Sample List screen,
(Write)].
and select one of the samples within the multisample.
A screen will appear, allowing you to select the destination for
the write.
2. Press the [SAMPLE EDIT] button to access the Sample Edit
screen.
5. Either turn the VALUE dial or use [INC] [DEC] to select the
write destination.
3. Press [F2 (Sample Param)] to access the Sample Param
screen.
Multisamples consisting of user samples will be written to User,
and multisamples consisting of card samples will be written to
Card.
4. Set the Original Key to the note number of the key to which
you want to assign the sample.
6. Press [F8 (Write)].
You can also specify a note number by playing a note on the
keyboard.
A message will ask you to confirm the operation.
7. If you are sure you want to write the multisample, press [F8
(Exec)].
5. Press the [SAMPLE EDIT] button to return to the Sample
Edit screen, and set the Original Key for the other samples
in the same way.
If you decide to cancel, press [F7 (Cancel)].
Never switch off the Fantom-X while data is being saved.
When creating a multisample, you’ll need to change the
Original Key of more than one sample. After you’ve made the
setting for the first sample, you can simply press [SAMPLE
LIST] to access the Sample List screen, select another sample
and press [ENTER] to go directly to the Sample Param screen.
*
The Original Key you specify here needs to be saved for each sample.
154
Editing a Sample
6. When you’ve finished setting the Original Key of all
samples, create the multisample as described in “Creating
a Multisample (Create Multisample)” (p. 153).
Boosting or Limiting the
High-frequency Range of
the Sample (Emphasis)
Unloading a Sample
(Unload)
In some cases, the audio quality will be improved if you boost the
high-frequency range of an imported sample. Also, the high-
frequency range of the sample may be emphasized when you use a
sampler made by another manufacturer. In this case, you can
minimize the change in tonal character by attenuating the high-
frequency range.
In the Sample Edit screen you can press [F1 (Unload)] to unload the
currently selected sample and return to the previous screen.
Removing Unwanted
Portions of a Sample
(Truncate)
*
You cannot execute this with more than one sample selected.
1. Press [SAMPLE EDIT] to access the Sample Edit screen.
2. Press [F3 (Sample Modify)] to access the Sample Modify
This operation cuts the portions of the sample that are earlier than
window.
the Start Point and later than the Loop End Point.
3. Press [F2 (Emphasis)].
*
You cannot execute this with more than one sample selected.
1. Press [SAMPLE EDIT] to access the Sample Edit screen.
2. Press or to select the parameter.
fig.15-017_50
•
Start Point: Specifies the sample start point.
•
End Point: Specifies the sample end point.
3. Either turn the VALUE dial or use [INC] [DEC] to set the
value.
4. Press [F3 (Sample Modify)] to access the Sample Modify
window.
5. Press [F1 (Truncate)].
4. Either turn the VALUE dial or use [INC] [DEC] to select the
fig.15-016_50
emphasis type.
•
•
PreEmphasis: Emphasizes the high-frequency range.
DeEmphasis: Attenuates the high-frequency range.
5. If you want to replace the current sample with the
emphasized sample, press [F6 (Over Write)] to display the
“✔” symbol.
6. Press [F8 (Exec)].
A message will ask you for confirmation.
7. To execute, press [F8 (Exec)].
*
To cancel, press [F7 (Cancel)].
6. If you want to replace the current sample with the truncated
sample, press [F6 (Over Write)] to display the “✔” symbol.
7. Press [F8 (Exec)].
A message will ask you for confirmation.
8. To execute the Truncate operation, press [F8 (Exec)].
*
If you want to cancel without executing, press [F7 (Cancel)].
155
Editing a Sample
3. Press [F4 (Amp)].
fig.15-019_50
Maximizing the Volume of a
Sample (Normalize)
This operation raises the level of the entire sample as much as
possible without exceeding the maximum level. In some cases, the
volume of a phrase you resampled (p. 143) will be lower than the
volume of the original phrase. In this case, it is a good idea to boost
the volume by executing the Normalize operation.
*
You cannot execute this with more than one sample selected.
1. Press [SAMPLE EDIT] to access the Sample Edit screen.
4. Use VALUE dial or [INC] [DEC] to set the value.
2. Press [F3 (Sample Modify)] to access the Sample Modify
•
Rate 1–4: Specifies the rate of volume boost.
This specifies how much boost will be applied relative to the
current volume. The entire sample you select will be boosted.
Value: 0–400%
window.
3. Press [F3 (Normalize)].
fig.15-018_50
5. If you want to specify a point, press [F5 (Point)] to light it
into red. Press or to select a parameter, and then
use VALUE dial or [INC] [DEC] to set the value.
Current Point:Specifies the currently selected point. Beginning
near the start point, the points will be numbered 1, 2, 3, or 4.
Point 1–4: Location of the current point
•
•
•
Rate 1–4: Amplification ratio of the current point
Specifies how the volume of each point is to be boosted relative
to the current value.
Value: 0–400%
4. If you want to replace the current sample with the
normalized sample, press [F6 (Over Write)] to display the
“✔” symbol.
6. If you want the edited sample to replace the current sample,
press [F6 (Over Write)] to display the “✔” mark.
7. Press [F8 (Exec)].
5. Press [F8 (Exec)].
A message will ask you for confirmation.
A message will ask you for confirmation.
8. To execute, press [F8 (Exec)].
6. To execute, press [F8 (Exec)].
*
To cancel, press [F7 (Cancel)].
*
To cancel, press [F7 (Cancel)].
Stretching or Shrinking a
Sample (Time Stretch)
This operation stretches or shrinks the sample to modify the length
or tempo. You can stretch or shrink the sample by a factor of one half
to double the original length.
Amp
This operation applies an envelope (time-variant change) to the
volume of the sample.You can also adjust the volume of the entire
sample.
*
You cannot execute this with more than one sample selected.
*
You cannot execute this with more than one sample selected.
1. Press [SAMPLE EDIT] to access the Sample Edit screen.
1. Press [SAMPLE EDIT] to access the Sample Edit screen.
2. Press [F3 (Sample Modify)] to access the Sample Modify
2. Press [F3 (Sample Modify)] to access the Sample Modify
window.
window.
156
Editing a Sample
3. Press [F5 (Time Strtch)].
3. Press [F3 (Chop)].
fig.15-020_50
fig.15-021_50
4. Press
or
to select the parameter.
Procedure for Dividing a Sample
You can freely specify the point(s) at which the sample is to be
•
Edit Time Stretch
BPM:
Change the BPM of the sample to the BPM you
specify.
divided.
Time:
Rate:
Specify the length of the sample as a time value.
Specify the length relative to the current length of
the sample.
4. Press
or
to move the cursor to “Current Address.”
5. Either turn the VALUE dial or use [INC], [DEC] to move the
Value:
Type
50.0–200.0%
point.
•
•
6. At the location where you want to divide the sample, press
[F4 (Add Point)].
Lower settings of this value will make the sound more suitable
for faster phrases, and higher settings will make the sound
more suitable for slower phrases.
The current location will be the dividing point.
Value: TYPE01–TYPE10
7. Repeat steps 5 and 6 to specify other dividing points as
desired.
Quality Adjust
You can specify up to 15 locations at which to divide the
sample; i.e., the sample will be divided into a maximum of 16
pieces.
Make fine adjustments to the tonal quality of the Time Stretch.
Value: 1–10
5. Use VALUE dial or [INC/DEC] to specify the tempo/length.
When setting the BPM (tempo) value, you can hold down
[SHIFT] and turn the VALUE dial, or use [INC] [DEC] to adjust
the value to the right of the decimal point.
8. Audition the sample as described in the section
“Auditioning the divided samples.”
If you want to re-make settings, press [F7 (Cancel)], and move
or delete the point (p. 158).
6. Press [F8 (Exec)].
9. Press [F8 (Exec)].
A message will ask you for confirmation.
A message will ask you for confirmation.
7. To execute, press [F8 (Exec)].
The length of the sample will be changed as specified.
*
To cancel, press [F7 (Cancel)].
*
To cancel, press [F7 (Cancel)].
When you execute the Chop operation, a message will ask
whether you want to execute Create Rhythm.
*
The divided samples will be added to the sample list.
11. If you want to execute Create Rhythm, press [F8 (Exec)].
For the rest of the procedure, refer to “Create a Rhythm Set
(Create Rhythm)” (p. 152).
Dividing a Sample into
Notes (Chop)
12. If you don’t want to execute Create Rhythm, press [F7
(Cancel)].
The chop function divides a sample waveform into separate notes.
*
The Create Rhythm function (p. 152) makes it easy to create a rhythm
set from a chopped sample.
*
You cannot execute this with more than one sample selected.
1. Press [SAMPLE EDIT] to access the Sample Edit screen.
2. Press [F3 (Sample Modify)] to access the Sample Modify
window.
157
Editing a Sample
10. If you don’t want to execute Create Rhythm, press [F7
(Cancel)].
Automatically Dividing a Sample
(Auto Chop)
You will return to the Sample Edit screen.
Here’s how you can automatically specify the points at which the
sample is to be divided, and then divide the sample.
Auditioning the Divided Samples
After dividing the sample, you can press the pads to audition each of
1. From step 3 of p. 157, press [F6 (Auto Chop)].
The Auto Chop sub-window will appear.
the divided samples.
From the sample nearest to the start point, the samples will be
played by pads [1], [2],...[16]
2. Either turn the VALUE dial or use [INC] [DEC] to select the
method by which the sample is to be divided.
•
Chop Type
Moving a Dividing Point
Specify how the sample will be divided.
Value
1. Press
or
to move the cursor to “Point No.”
Level:
Beat:
Divide according to volume.
Divide at beats based on the BPM (p. 150) of the
sample.
2. Turn VALUE dial to select the point that you want to move.
In order from the start point, the points are numbered 1, 2,...15.
Divide x: Divide into ‘x’ number of equal lengths.
3. Press
.
3. Press
.
4. Turn VALUE dial to move the dividing point.
4. Either turn the VALUE dial or use [INC] [DEC] to set the
value.
Deleting a Dividing Point
•
•
•
Level (If Chop Type is Level)
Level at which the sample is to be divided. Lower settings of
this value will cause the sample to be divided more finely.
1. Press
or
to move the cursor to “Point No.”
2. Turn VALUE dial to select the point that you want to delete.
Value:
1–10
Beat (If Chop Type is Beat)
3. Press [F5 (Clear Point)].
The dividing point will be deleted.
Beat interval at which the sample is to be divided.
Value:
1/32, 1/16T, 1/16, 1/8T, 1/8, 1/4T, 1/4, 1/2, 1/1, 2/
1
Joining Two or More
Samples (Combine)
can combine as many as sixteen samples. You can also place silent
Times (If Chop Type is Divide x)
Number of samples into which the sample is to be divided
Value:
2–16
5. Press [F8 (Exec)].
settings, and the points will be specified. A maximum of 15
division points will be set (16 regions).
To cancel, press [F7 (Cancel)].
1. Press [SAMPLE EDIT] to access the Sample Edit screen.
2. Press [F3 (Sample Modify)] to access the Sample Modify
window.
6. Audition the sample as described in the section
“Automatically Dividing a Sample (Auto Chop)” (p. 158)
If you want to re-make settings, press [F7 (Cancel)], and move
or delete the point “Moving a Dividing Point” (p. 158).
3. Press [F7 (Combine)].
fig.15-022_50
7. Press [F8 (Exec)].
A message will ask you for confirmation.
8. To execute the division, press [F8 (Exec)].
*
To cancel, press [F7 (Cancel)].
When you execute Auto Chop, a message will ask you whether
you want to execute Create Rhythm.
9. If you want to execute Create Rhythm, press [F8 (Exec)].
For the rest of the procedure, refer to “Create a Rhythm Set
(Create Rhythm)” (p. 152).
*
The divided samples will be added to the sample list.
158
Editing a Sample
4. Either turn the VALUE dial or use [INC][DEC] to set the
4. Press [WRITE].
value.
The Write Menu screen will appear. Make sure that “Sample” is
highlighted.
•
•
1–16: The sample or silence to be combined
TYPE
fig.15-023_50
Value
Sample: sample, Time: silent region (specified as time), Beat:
silent region (specified as a note value)
BANK (Bank that contains the sample)
Value U: user, C: card
•
*
This will be displayed only if TYPE is set to Sample.
PRM (Sample number, or the duration/note value of the silent
region)
•
Value:
1–10000 ms (if TYPE is set to Time), note value: 1/
32, 1/16T, 1/16, 1/8T, 1/8, 1/4T, 1/4, 1/2, 1/1, 2/1
(if TYPE is set to Beat)
5. Press [F3 (Sample)] or [ENTER].
fig.15-024_50
The note value is based on the BPM of the sample immediately
before the silent region.
*
If there is no sample immediately before the silent region, the current
BPM will be used.
5. Use [CURSOR] to select a parameter and repeat step 4.
You can press [F6 (Preview)] to audition the selected sample.
6. Press [F6 (Exec)].
A message will ask you for confirmation.
7. To execute, press [F8 (Exec)].
*
To cancel, press [F7 (Cancel)].
If you have selected more than one sample, a message will ask
you to confirm the writing operation. Samples will be written
into the identical number corresponding to each bank of the
you want to write the samples, press [F8 (Exec)]. If you decide
to cancel, press [F7 (Cancel)].
Saving a Sample
A newly loaded sample, as well as any changes you’ve made in the
settings for a sample will be lost as soon as you turn off the power. If
you want to keep such data, you must save it as follows.
6. Assign a name to the sample.
1. Press [SAMPLE EDIT].
2. Press [F1 (Sample List)].
For details on assigning names, refer to “Assigning a Name”
Samples displayed as “NEW” or “EDIT” have not yet been
saved.
(p. 36)
7. When you have finished inputting the name, press [F8 (Write)].
A screen will appear allowing you to select the write-
destination sample.
3. Select the sample that you want to save.
If you want to select two or more samples, press [F5 (Mark Set)]
to add a check mark (✔) to the samples that you want to select.
To remove the check mark, press [F4 (Mark Clear)].
8. Turn the VALUE dial, or use [INC][DEC] or [F2 (User)][F3
(Card)] to select the write destination and sample number.
The write destination can be either the Fantom-X’s internal user
memory (User), or a memory card (Card).
If you hold down [SHIFT] and press [F5 (Mark Set All)], a check
mark will be added to all samples of the selected bank. If you
hold down [SHIFT] and press [F4 (Mark Clr All)], check marks
will be removed from all selected samples.
9. Press [F8 (Write)].
The edit screen for the selected sample will appear.
A message will ask you for confirmation.
You can press [F8 (Preview)] to audition the selected sample.
Never switch off the Fantom-X while data is being saved.
10. Press [F8 (Exec)] to execute the save operation.
*
To cancel the operation, press [F7 (Cancel)].
You can't save by overwriting another sample.
Stereo samples must be saved to two consecutive sample
numbers.
•
•
159
Using the Pads
The pads of the Fantom-X function in the same way as the keyboard,
and can also be used to play RPS and rhythm patterns. You can add
dynamics to the sound by varying the force with which you strike
the pads.
Using the Roll Function to
Play Sounds
You can use the Roll function to play a “roll” (repeated notes at brief
Using the Hold Function to
Sustain a Sound
You can use the Hold function to make the sound continue even
after you take your finger off the pad. This is useful when you want
a sound such as a looped (repeating) phrase to play continuously.
intervals) as long as you continue holding the pad.
1. Hold down [ROLL] and press a pad.
*
*
If you press only [ROLL], a roll will continue sounding on all 16 pads.
If you press only [ROLL], the Roll function will be turned on for all
sixteen pads.
fig.16-002
To play other sounds while holding one sound
1. Hold down a pad and press [HOLD].
fig.16-001
In this state, a roll will be played as long as you hold down a
pad.
2. Take your hand off the pad, and the sound will stop.
The [HOLD] and the pad will blink.
*
The resolution of the roll is set by the Roll Resolution parameter (p.
162), which is displayed while you hold down [PAD SETTING].
Hold will be turned on, and the sample will continue sounding
even when you take your finger off the pad. In this state,
pressing another pad will cause its sample to sound only as
long as you continue pressing that pad.
*
*
If you selected “Multi Velo” in Pad Setting Quick Setup, that setting
will be used (p. 161).
2. When you once again press the blinking [PAD] or [HOLD],
the sound will stop.
The Roll function will not work in the following cases:
When you have made settings so that a pattern is played when
you press a pad
To hold two or more samples
•
•
1. Press [HOLD] so the pad is lighted.
When RPS is on (p. 203)
2. Press a pad.
press another pad in this state, its sample will also continue
sounding in the same way.
This cannot be used to switch images via V-Link.
3. The sound will stop when you press a lit pad. When you
press [HOLD], all samples will stop pad sounding.
The Hold function will not work in the following cases:
•
•
•
When RPS is on (p. 203)
When the Tone Env Mode parameter (p. 87) is set to “NO-SUS”
When the One Shot Mode parameter (p. 88) is on
160
Using the Pads
Settings You Can Make for Each
Pad
Making Settings for the
Pads (Pad Setting)
Here you can make various settings for playing the pads; e.g., the
note number that each pad will send to the sound generator section,
the pad sensitivity, and the aftertouch sensitivity.
First, select the pad for which you want to make settings. When you
strike a pad, its parameters will appear. Alternatively, you can move
the cursor to “Pad Number” in the screen, and select the pad you
want to edit.
1. Press [PAD SETTING].
The Pad Setting screen will appear.
fig.16-003.e
•
•
Note (Pad Note)
Specifies the note number transmitted by the selected pad.
Patch/Rhythm Set Group
Patch/Rhythm Set Number
Velocity (Pad Velocity)
Patch/
Rhythm Set Type
Specifies the strength of the sound when you strike the pad.
With the “COMMON” setting, the Pad Common Sens (the
overall velocity sensitivity setting for all pads) will be used.
With a setting of “1–127,” the sound generator will be played
with that velocity value.
Pad Part
Value:
COMMON, 1–127
Settings that Apply to All Pads
Quick Setup
2. Press
parameter.
or
to move the cursor to the desired
This lets you make basic pad settings. For the greatest efficiency, use
Quick Setup to choose the settings that are closest to what you have
in mind. Then make the necessary changes for each pad.
3. Turn the VALUE dial or use [INC] [DEC] to make pad
settings.
1. In the Pad Setting screen, press [F7 (Quick Setup)].
The Quick Setup window will appear.
Specify the Currently Used Sound
Generator
*
This won’t work if the Rhythm Pattern function is turned on. In order
to make these settings, you’ll need to press [RHYTHM] to turn off the
Rhythm Pattern function.
You can specify the current sound generator mode (Patch or
Performance) from this screen.
2. Move the cursor and make settings.
•
Template Set
•
Pad Part
Value
Specifies the Part that will be played by the pad. This parameter
is available only in Performance mode.
Value: 1–16
Note:
The sixteen consecutive note numbers starting at
the Base Note will be automatically assigned to
the pads.
Rhythm:
The note numbers will be arranged in the most
suitable way for playing a rhythm set.
*
If you make this setting, an indication of “PAD” will appear below the
Part number in the Performance Layer and Mixer screens.
Multi Velo: “Multi Velocity” is a special setting that assigns
the very same note number to each of the sixteen
pads—but with differing velocities. This is
convenient if you need precise control of the
velocity while you play.
•
Patch/Rhythm Set Type
Specifies whether Patch or Rhythm Set settings will be used for
the pad part.
Value: Patch, Rhythm
•
Base Note (Pad Base Note)
•
•
Patch/Rhythm Set Group
Make this setting if you’ve selected Note or Multi Velo as the
Template Set setting.
Specifies the patch or rhythm set group.
Value:
USER, PR-A–H, GM, CARD, (XP-A–D)
If you’ve selected Note, this specifies the location where the
consecutive note numbers will begin (i.e., the lowest note).
If you’ve specified Multi Velo, this specifies the note number
that all pads will play.
Patch/Rhythm Set Number
Selects the patch or rhythm set number.
Value:
C-1–G9
161
Using the Pads
Setting the Velocity for All Sixteen Pads at
Once
Writing the Pad Settings
Use this when you want to specify a common velocity for all sixteen
pads. However if the pad velocity setting (of each pad) is set to other
than Common, those settings will be used.
You can save one set of settings as System settings for Patch mode.
Press [F8 (System Write)] to save the settings.
•
Pad Common Velo (Pad Common Velocity)
If you make settings in Performance mode, the pad settings will also
be saved when you save the performance. This means that in
Performance mode, you can have separate pad settings for each
performance.
For all sixteen pads, this specifies the velocity (loudness) that is
produced when you strike a pad. With the “REAL” setting,
you’ll be able to produce dynamics by varying your striking
force. With a setting of “1–127,” the pads will produce the
specified velocity value regardless of your actual striking force.
For details on how to save a performance, refer to“Saving a
Performance You’ve Created (Write)” (p. 120).
Value:
REAL, 1–127
Adjusting the Pad Sensitivity
Mode
Parameter
Write procedure
•
Pad Sens (Pad Sensitivity)
Specifies the relation between your striking force and the
velocity that is produced.
Performance
mode
Pad Common Velo
Pad Sens
Aftertouch Sens
Roll Resolution
Pad settings other
than the above
Press [F8 (System
Write)]
* Save as System pa-
rameters
Press [WRITE].
* Saved as perfor-
mance parameters.
Value
LIGHT:
It will be easy to produce the maximum velocity
without having to strike very hard.
Patch mode
All pad settings
Press [F8 (System
Write)].
* Saved as System pa-
rameter.
MEDIUM: This is the standard pad sensitivity setting.
HEAVY: You will have to strike quite strongly to produce the
maximum velocity.
Adjusting the Aftertouch Sensitivity
•
Aftertouch Sens (Aftertouch Sensitivity)
Exchanging the Sound of Two
Pads (Pad Exchange)
“Aftertouch” means additional pressure that you apply on a
pad after striking it. This setting adjusts the aftertouch
sensitivity. Higher values make it easier to apply aftertouch.
Normally you will leave this at a setting of “100.”
Here’s how to exchange the sound of two selected pads.
*
This setting exchanges the note numbers transmitted by the pads. This
means that even if you execute this function, there’s no need to make a
similar change for the sound generator settings.
Value:
0–100
Settings for the ROLL Button
•
Roll Resolution
1. Press [F6 (Pad Exchg)].
Specifies the rapidity of the repeated strikes when you use a
pad to play a roll.
2. Select the number of a pad you want to exchange.
Use the VALUE dial or [INC][DEC], or strike a pad directly to
Value:
,
,
,
,
,
,
,
make your selection.
fig.16-004e
3. Press [F8 (EXEC)] to execute.
*
If you decide to cancel, press [F7 (Cancel)].
162
Using the Pads
Assigning a Pattern to a
Pad (RPS Function)
The Fantom-X lets you assign a previously recorded phrase to a pad
as a pattern, and play it by pressing that pad. For details, refer to
(“Playing a Phrase at the Touch of a Finger (RPS Function)” (p.
203).
Using the Pads to Play
Rhythms
The Fantom-X lets you assign rhythm patterns and/or rhythm
sounds to the pads and play them by pressing the pads. For details,
refer to “Playing Rhythms” (p. 135).
163
Playing Back a Song
This chapter explains how you can use the Fantom-X’s sequencer to
play back a song.
3. Press [PLAY] to start playback.
When the song finishes playing, it will stop automatically. If
you want to stop playback midway through the song, press
[STOP].
When you play back a song, we recommend that you use the
sound generator in Performance mode. In Performance mode,
up to sixteen different sounds can be played separately by the
sixteen parts, making this mode ideal for playing songs that are
multi-instrument ensembles of drums, bass, piano, etc.
If you have interrupted song playback, “+” may be displayed at
the right of the measure number. This indicates that the song is
stopped in mid measure.
There will be no sound if samples have not been loaded for the
patches used in the song. You must load the necessary samples
beforehand (p. 202).
Playing a Song Immediately
(Quick Play)
The Fantom-X is able to play a song from user memory and memory
card immediately, without first loading the song into Temporary
Area. This is called the Quick Play function.
Playing Back Songs
Quick Play can be used with MRC Pro songs (extension:.SVQ) and
Standard MIDI Files (extension:.MID).
Consecutively (Chain Play)
The Chain Play function lets you consecutively play back (Quick
1. Press [SONG EDIT].
Play) songs on user memory and memory card.
The Song Play screen appears.
fig.17-001
1. Press [MENU] to access the Menu window.
2. Use
[ENTER].
or
to select “Chain Play,” and then select
The Chain Play screen appears.
fig.17-003_50
2. Press [F1 (Song List)].
Turn the VALUE dial or press [INC] [DEC] to select the song
that you want to play.
fig.17-002_50
3. Press [F1 (User)] if you want to choose from user memory,
or press [F2 (Card)] if you want to choose from memory
card.
You cannot combine USER songs and CARD songs.
By holding down [SHIFT] and pressing
or
you can
jump to the beginning or end of the song list.
If you want to perform Chain Play repeatedly, press [F7 (Repeat
All)] to light it into red. If you press [F6 (Auto Step)] to light it
into red, playback will ends, and the next song will begin
playing automatically.
•
•
[F1 (User)]:
[F2 (Card)]:
Songs in user memory
Songs on a memory card
*
By pressing
or
in the above screen, you can specify the type of
songs that will be displayed. If various types of songs are saved
together, it will be easier to find the desired song if you restrict the
displayed file types in this way.
•
•
•
•
VIEW ALL:
SVQ ONLY:
SMF:
all songs will be displayed
only SVQ files will be displayed
only Standard MIDI Files will be displayed
only MRC files will be displayed
MRC:
164
Playing Back a Song
4. Press [PLAY] to start Chain Play.
Starting from the song of step 1. If you want to stop playback
before it is finished, press [STOP].
Playing Back Correctly from the
Middle of the Song (MIDI Update)
When you play back from the middle of a song, for example after
fast-forward or rewind, the correct patch may not be selected, or the
pitch may be incorrect. This is because the MIDI messages in the area
that you skipped have not been transmitted to the sound generator.
In such cases, you can use the MIDI Update function. When you
perform MIDI Update, the MIDI messages (other than Note
messages) from the beginning of the song until the location to which
you moved will be transmitted to the sound generator, ensuring that
the sound generator will be in the correct state for the resumption of
playback.
If you want to begin playback from midway through the chain,
use
or
to move to the desired step, and then press
[PLAY].
5. When you are finished with Chain Play, press [STOP].
Chain Play cannot be started or stopped by a Start or Stop
message from an external MIDI device. Nor will MIDI
Continue, Song Position Pointer, Song Select, or Clock messages
be received.
1. Make sure that song playback is stopped.
Various Playback Methods
It is not possible to perform MIDI Update while the song is
playing.
Fast-Forward and Rewind During
Playback
2. Hold down [SHIFT] and press [PLAY].
The display will indicate “MIDI Update...” while processing
takes place, and when finished, will indicate “Completed!”
Fast-forward, rewind, and jump can be performed during playback,
as well as while stopped. Use the following procedures for each
operation.
Fast-forward:
Press [FWD].
Continuous fast-forward: Press and hold [FWD].
If you want to silence the playback of a specific instrument, you can
mute the phrase track that contains the sequencer data for that
instrument.
Rapid fast-forward:
Rewind:
Press [FWD] and then press [BWD].
Press [BWD].
Continuous rewind:
Rapid rewind:
Press and hold [BWD].
Press [BWD] and then press [FWD].
Jump to the previous locate position:
Hold down [SHIFT] and press [BWD].
Jump to the next locate position:
Hold down [SHIFT] and press [FWD].
Jump to the beginning of the song:
Press [RESET].
For details on the procedure, refer to “Silencing the Playback
of a Track (Mute)” (p. 178)
A certain amount of time may be required for fast-forward,
rewind, or jump during Quick Play.
•
Song playback will be interrupted if you jump to the beginning
or end of the song while the song is playing.
165
Playing Back a Song
Changing the Playback Tempo of a
Song
Playing a Song Back at a Fixed
The tempo at which a song will play back is recorded on its tempo
playback. The tempo at which the song actually plays is called the
playback tempo.
If the tempo changes while a song is being played back, this is
because those tempo changes have been recorded in the Tempo
track. If you want to override these tempo changes and play back at
a fixed tempo, you can mute the Tempo track.
The playback tempo is a temporary setting. It will be lost if you
switch to another song or turn off the power. If you want the
song to always play back at this tempo, you must re-save the
song to disk (p. 198).
For details on this operation, refer to “Silencing the Playback
of a Track (Mute)” (p. 178).
Playing Back a S-MRC Format
Song
1. Press [TEMPO].
The Tempo window appears.
fig.17-004_50
the MC-50 in the same way as MRC Pro songs or Standard MIDI
Files. However, S-MRC format songs cannot be Quick Played. You
must first load them into Temporary Area and convert them to MRC
Pro song format before playing them.
2. Turn the VALUE dial or press [INC]/[DEC] to set the
For details on the procedure, refer to “Loading a Song (Load)”
playback tempo.
(p. 201).
•
If you press [F7 (Click)] to light it into red, a click will sound at
the specified tempo. This will switch on/off each time you press
the button.
Playing Back a Song Repeatedly
(Loop Play)
•
By pressing [F6 (Tap)] you can set the tempo to the timing at
which you press the button (Tap Tempo). Press the button three
or more times at quarter-note intervals of the desired tempo.
Use the Loop function when you want to repeatedly play back an
entire song or just a specified portion of a song.
3. When you have finished making settings, press [F8
(Close)].
1. Press [SONG EDIT].
2. Press [F4 (Loop)].
Using a Controller to Change the Playback
Tempo
The Loop window appears.
according to the region and the number of times specified in the
Loop window. To turn off the Loop switch, press [F7 (Loop)]
once again.
Since tempo control is assigned to the realtime control knob of
the Fantom-X, it’s easy to change the playback tempo of the
song.
fig.11-003
For details on making settings in the Loop window, refer to
“Specifying the Area of a Song that will Repeat (Loop
Points)” (p. 179).
Tempo
1. Press the REALTIME CONTROL button so the ARP/
4. When you have finished making settings, press [F8 (Close)]
RHY indicator lights.
to close the Loop window.
2. Play back the song, and turn the realtime control knob.
You are also free to assign the Tempo Control function to
the following controllers. For details on this setting, refer to
the pages that discuss each controller.
•
D Beam controller (p. 122)
166
Playing Back a Song
Using the D Beam Controller to
Start/Stop Song Playback
You can start/stop song playback by passing your hand over the D
Beam controller.
1. Select the song that you want to play back (p. 164).
2. Hold down [SHIFT] and press D BEAM [ASSIGNABLE].
The D Beam Assignable screen appears.
fig.17-006_50
3. Use [CURSOR] to move the cursor to “Type.”
4. Turn the VALUE dial or press [INC]/[DEC] to set this to
“START/STOP.”
5. Press D BEAM [ASSIGNABLE] to turn on the D Beam
controller.
6. When you pass your hand across the D Beam controller,
song playback will start. When you pass your hand across
it once again, playback will stop.
You can also start/stop song playback by using a pedal
connected to the PEDAL CONTROL jack (p. 226).
167
Recording Songs
This chapter explains the procedure for using the Fantom-X’s
sequencer to record a song.
With the factory settings, demo song data will automatically be
loaded into Temporary Area when the Fantom-X is powered
up. Here’s how to change this setting so that this automatic load
does not occur (i.e., the song memory will remain empty).
Before you begin this procedure, put the sound generator in
Performance mode. Normally, when recording or playing back
a song, you will put the sound generator in Performance
the specified MIDI channel will be heard when you record
while playing the keyboard of the Fantom-X, and that when the
song is played back, the parts can independently play up to 16
different sounds. Thus, Performance mode is suitable for
recording and playing back a song that uses an ensemble of
multiple instruments, such as drums, bass, and piano.
1. Press [MENU].
2. Press
[ENTER].
or
to select “System,” and then press
3. Press [F1 (⇑)] or [F2 (⇓)] to select “Startup.”
4. Press [CURSOR] to select “Load Demo Song at
Startup,” and turn the VALUE dial, or press [INC]/[DEC]
to set it to “OFF.”
In Performance mode, we recommend that you leave the
keyboard switches (p. 101) turned off (unchecked). If any
keyboard switches are on (checked), parts other than the current
part will also sound when you play the keyboard; you probably
don't want this to occur while you're creating a song.
Select the Sound to be Used for
Recording
Two Recording Methods
Before you record a song, select the sound that you want to use for
recording. Select the recording method that is appropriate for your
situation.
You can use one of two methods of recording: realtime recording or
step recording. Select the method that is appropriate for your
situation.
Performance
Select a Performance when you want to record an ensemble
performance using multiple instruments. When recording a song, we
recommend that you normally select a Performance.
Realtime Recording (p. 170)
Realtime recording is the recording method in which your keyboard
playing and controller operations are recorded just as you perform
them.
Patch/Rhythm set
Select a patch or rhythm set if you want to use a single patch or
rhythm set to record your playing.
Step Recording (p. 174)
Step recording is the recording method in which you can input notes
and rests one by one. This method is suitable for inputting drums or
bass with precise timing. In addition to using notes, you can also
create a song by putting patterns together.
Erasing the Song/Pattern from
Temporary Song (Song Clear)
When you record a song, the sequencer data is temporarily recorded
in Temporary Area. If you want to record a new song, you must
erase any existing sequencer data from Temporary Song.
Before You Record a New
Song
If Temporary Song contains an important song that you want to
card (p. 198).
Overview of the Recording Process
The work flow for recording a new song is as follows.
1. Press [SONG EDIT] to access the Song Play screen.
2. Clear the Temporary Song
2. Press [F3 (Song Clear)].
The Song Clear window appears.
3. Specify the time signature of the song (p. 169)
4. Set the tempo (p. 169)
3. Press [F8 (Exec)] to execute the operation.
When the operation has been completed, the display will briefly
indicate “Completed!”
5. Use realtime recording (p. 170) or step recording (p. 174) to
record
To cancel, press [F7 (Cancel)].
6. Use track edit (p. 180) or micro edit (p. 192) to edit the song
7. Save the song to user memory or memory card (p. 198)
168
Recording Songs
Specifying the Time Signature of a
Pattern
Specify the Time Signature
Each pattern has a Pattern Beat setting that manages the time
signature of that pattern. The pattern beat acts as a guide when the
pattern is played or recorded, and is handled independently of the
time signature of the song (i.e., the time signature recorded in the
beat track).
Before you record a new song, you must specify the time signature.
However, a time signature of 4/4 is automatically specified when
you perform the Song Initialize operation or when the power is
turned on, so you will need to make this setting only if you want to
record a new song in a different time signature.
The pattern beat is normally set to a time signature of 4/4, but you
can change this setting when the song has a time signature other
than 4/4, or when you want to record a pattern with a time signature
different than that of the song.
1. Press [SONG EDIT] to access the Song Play screen.
2. Press [F8 (Micro Edit)].
The Microscope screen appears.
Only one pattern beat setting can be specified at the beginning of
each pattern. This means that it is not possible to change time
signatures midway through a pattern.
3. Press [F7 (Trk/Ch)].
The Trc/Ch Select window appears.
4. Press
or
to move the cursor to “Track.”
1. Press [SONG EDIT] to access the Song Play screen.
5. Select “BEAT” (beat track).
2. Press [F2 (Ptn)] to light it into red.
The Microscope screen for the beat track appears.
The Pattern Play screen appears.
fig.18-001_50
3. Turn the VALUE dial or press [INC][DEC] to select the pattern.
4. Press [F5 (Ptn Beat)].
fig.18-002_50
5. Move the cursor, and set the time signature.
Setting the tempo
6. Move the cursor to “Beat Change,” and specify the time
Set the tempo at which the song is to be recorded.
signature.
fig.17-004_50
If you want to change time signatures midway through the
song, refer to “Changing the Time Signature Midway
Through the Song” (p. 196).
7. Press [EXIT] to return to the previous screen.
If you are recording to a phrase track, see “Recording Your
2. Turn the VALUE dial or press [INC][DEC] to set the
Performance as You Play It (Realtime Recording)” (p. 170).
playback tempo.
•
If you press [F7 (Click)] to light it into red, a click will sound at
the specified tempo. This will switch on/off each time you press
the button.
•
By pressing [F6 (Tap)] you can set the tempo to the timing at
which you press the button (Tap Tempo). Press the button three
or more times at quarter-note intervals of the desired tempo.
3. When you have finished making settings, press [F8
(Close)].
169
Recording Songs
Value
MIX:
Mix-recording will be carried out. Normally, you will
Recording Your
record using this method. If a performance has already been
recorded on the recording-destination track, your newly recorded
performance will be added to the existing performance without
erasing it. By using this in conjunction with Loop-recording, you can
record repeatedly over a specified area without erasing the
previously recorded performance. For example, this is a convenient
drum -> snare drum -> hi-hat, etc.
Performance as You Play It
(Realtime Recording)
Realtime Recording is the recording method in which your keyboard
playing and controller operations are recorded just as you perform
REPLACE:
Replace-recording will be carried out. If a
performance has already been recorded on the
recording-destination track, it will be erased as
you record your new performance. Use this
when you want to re-record.
Basic Operation for Realtime
Recording
•
Count In
Select how recording is to begin.
1. Make sure that the preparations for recording have been
completed as described in “Before You Record a New
Song” (p. 168).
Value
OFF:
Recording will begin immediately when you
press [PLAY].
1 MEAS:
When you press [PLAY], a count (playback) will
begin one measure before the recording-start
location, and recording will begin when you
reach the recording-start location.
If you want to record into an existing song, load the desired
song into Temporary Song (p. 177). Then press [FWD] or [BWD]
to specify the measure at which you want to begin recording.
The measure at which recording will begin is indicated by the
“M=” in the upper part of each PLAY screen.
2 MEAS:
When you press [PLAY], a count (playback) will
begin two measures before the recording-start
location, and recording will begin when you
reach the recording-start location.
2. Press [REC].
The [REC] indicator will blink, and the Realtime Rec Standby
WAIT NOTE: As an alternative to pressing [PLAY], you can
play the keyboard, strike a pad, or press the
Hold pedal to start recording.
window appears.
fig.18-003_50
4. When you are finished making settings in the Realtime Rec
Standby window, press [PLAY] or [F8 (Start)].
The Realtime Rec Standby window will close, the [REC]
indicator will change from blinking to lit, and recording will
begin.
appear.
fig.18-004_50
This window lets you set various parameters for realtime
recording.
If you want to record a pattern, press [F2 (Ptn)] in the Song Edit
screen so it lights red, and then press [REC].
In this window you can perform the following operations.
•
•
•
Specify the punch-in/out points (Punch In p. 171)
Realtime Erase (Erase p. 173)
Use [CURSOR] to move the cursor to each parameter, and
turn the VALUE dial or press [INC]/[DEC] to make the setting.
Rehearsal function (Rehearsal p. 173)
For details on these operations, refer to the appropriate page.
To close the Realtime Recording window, press [F8 (Close)] or
[PLAY]. To open it once again, press [PLAY].
•
Rec Track
Specify the phrase track or pattern on which you want to record.
*
You can also make settings so that the phrase track of the same number
as the current part will be selected automatically. This is convenient
when you are recording just one part on each track. For details on how
to make this setting, refer to p. 234.
5. When you are finished recording, press [STOP].
The [REC] indicator will go dark.
If you are not satisfied with the realtime recording you just
made, you can press [MENU], and from the Menu window that
appears, select “Undo/Redo” to return to the state prior to
recording (Undo/Redo). After executing Undo, you can use
Redo to revert to the previous state. After executing Undo, you
can execute Redo by performing the above procedure the above
procedure once again.
Value:
TRK 1–TRK 16,
PTN001–PTN100 (* when recording on a pattern)
•
Rec Mode (Recording Mode)
Select how recording is to take place.
170
Recording Songs
press a pedal or button, playback will switch to
record mode, and will switch back to play
mode when you press the pedal or button once
again. By pressing the pedal or button, you can
toggle between record and play modes.
Song (Tempo Recording)
If you want the tempo to change during the song, you can record
those tempo changes in the Tempo track. If tempo changes have
already been recorded in the tempo track, they will be rewritten.
Set the following recording parameters in addition to the basic
Start Point
Specify the measure and beat at which loop recording or auto punch-
in recording is to begin. It is not possible to specify the Tick.
settings described in step 3 of “Basic Operation for Realtime
End Point
Recording” (p. 170).
Specify the measure and beat at which loop recording or auto punch-
in recording is to Stop. It is not possible to specify the Tick.
Tempo Rec Sw (Tempo Recording Switch)
Specify whether tempo changes will be recorded (ON), or not (OFF).
Value: OFF, ON
The minimum loop length is four quarter notes.
You will be able to use realtime control knob ([
movements to control the tempo easily (p. 140).
])
Using Auto Punch-In Recording
1. In the Realtime Rec Standby window, set the Loop/Punch
parameter to “AUTO PUNCH.”
Loop Recording and Punch-In
Recording
2. Set the Start Point/End Point parameters to the desired
punch points.
You can record repeatedly over a specified area (Loop recording), or
re-record just that area (Punch-in recording).
3. Move to a measure earlier than the specified Start Point,
and press [PLAY].
Set the following recording parameters in addition to the basic
settings described in step 3 of “Basic Operation for Realtime
Recording” (p. 142).
The song will begin playing. Recording will begin at the
location specified by the Start Point parameter. Playback will
resume at the location specified by the End Point parameter.
4. Press [STOP] to stop playback.
Loop/Punch
Specify how loop recording or punch-in recording is to take place.
Using Manual Punch-In Recording
Value
OFF:
Loop recording or punch-in recording will
not occur.
If you want to use a pedal connected to the PEDAL CONTROL
jack to specify the area for recording, you must first set the
Pedal 1 or 2 Assign parameter to “PUNCH I/O” (p. 226).
LOOP (POINT):
LOOP (1 MEAS):
LOOP (2 MEAS):
LOOP (4 MEAS):
LOOP (8 MEAS):
LOOP (16 MEAS):
LOOP SONG ALL:
AUTO PUNCH:
Recording takes place repeatedly, according
to the loop point settings.
The one-measure area starting at the record-
start measure will be recorded repeatedly.
The two-measure area starting at the record-
start measure will be recorded repeatedly.
The four-measure area starting at the record-
start measure will be recorded repeatedly.
The eight-measure area starting at the record-
start measure will be recorded repeatedly.
The sixteen-measure area starting at the record-
start measure will be recorded repeatedly.
The entire song from beginning to end will
be recorded repeatedly.
Auto punch-in recording will be performed.
You must pre-specify the area (punch points)
in which recording is to take place. This is
convenient when you want to re-record over a
mistake. The song will play back when you
begin recording. When you reach the punch-
in point, playback will switch to record mode.
Manual punch-in recording will be performed.
Recording takes place (erasing the existing
data) in the area that you specify by pressing a
pedal or button. This is convenient when you
want to re-record more than one location in
which you made a mistake. The song will play
back when you begin recording. When you
1. In the Realtime Rec Standby window, set the Loop/Punch
parameter to “MANUAL PUNCH.”
2. Press [PLAY].
Song playback will begin, and the Realtime Recording window
will appear.
fig.18-004_50
3. At the point where you want to begin recording, press [F5
(Punch In)] or step on the pedal.
Playback will switch to record mode.
4. At the point where you want to stop recording, once again
press [F5 (PUNCH OUT)] or step on the pedal.
You will return to playback mode.
MANUAL PUNCH:
5. Press [STOP] to stop playback.
171
Recording Songs
Rate (Shuffle Quantize Rate)
The Quantize function automatically corrects inaccuracies in the
timing of your keyboard or pad performance, aligning the notes to
accurate timing intervals. During realtime recording, you can
quantize while you record.
degree to which the backbeat will be separated from the downbeat
specified by the Shuffle Resolution parameter. With a setting of
“50%,” the backbeat will be exactly between adjacent downbeats.
With a setting of “0%,” the backbeat will be moved to the same
timing as the preceding downbeat. With a setting of “100%,” the
backbeat will be moved to the same timing as the following
downbeat.
Set the following recording parameters in addition to the basic
settings described in step 3 of “Basic Operation for Realtime
Recording” (p. 170).
Value: 0–100
Input Quantize
Selecting the Sequencer Data that
will Be Recorded (Recording Select)
Specify whether to quantize while recording.
Value
When you use realtime recording, all of your sequencer data will
normally be recorded. If you want to avoid recording a specific type
of data, you can turn its Recording Select setting “OFF.”
OFF:
Quantize will not be applied while recording.
Grid Quantize will be applied while recording. Use
this when you want the timing to be accurate, such
as when recording drums or bass.
GRID:
1. Press [REC].
fig.18-005.e
2. Press [F7 (Rec Select)].
The Recording Select window appears.
Grid quantize with Resolution = ꢀ
fig.18-007_50
SHUFFLE:
Shuffle Quantize will be applied while recording.
Use this when you want to give the rhythm a
“shuffle” or “swing” character.
fig.18-006.e
3. Use
or
to select the sequencer data (MIDI
messages) that will be recorded.
Shuffle quantize with Rate = 75%
Note:
Note messages. These MIDI messages
represent notes.
Grid Resolution
Poly Aftertouch:
Polyphonic aftertouch. These MIDI
messages apply aftertouch to individual
keys.
Make this setting when you are using Grid Quantize. Specify the
quantization interval in terms of a note value. Select the shortest note
value that will occur in the range to which Grid Quantize will be
applied.
Control Change:
Control change messages. These MIDI
messages apply various effects such as
modulation or expression.
Value:
,
,
,
,
,
,
Program Change:
Program change messages. These MIDI
messages select sounds.
Strength (Grid Quantize Strength)
Channel Aftertouch:
Channel aftertouch messages. These
MIDI messages apply aftertouch to an
entire MIDI channel.
Make this setting when you are using Grid Quantize. It specifies the
degree to which notes will be adjusted toward the timing intervals
specified by the Grid Resolution parameter. With a setting of
“100%,” the notes will be corrected precisely to the timing of the
Grid Resolution parameter. As you lower this setting, the note
timing will be corrected to a lesser extent, and with a setting of “0%”
the timing will not be adjusted at all.
Pitch Bend:
Pitch bend messages. These MIDI
messages change the pitch.
System Exclusive:
System exclusive messages. These MIDI
messages are used to make settings
unique to the Fantom-X, such as sound
parameters.
Value: 0–100
Shuffle Resolution
When you are using Shuffle Quantize, make this setting to specify
the note value used for quantization.
Value:
,
172
Recording Songs
4. Turn the VALUE dial or press [INC]/[DEC] to add a check
mark.
Recording Arpeggios Aligned to
the Measures of the Sequencer
The message will be recorded if you assign a check mark (✔),
and will not be recorded if you remove the check mark.
If you press [F6 (All Off)], no sequencer data will be recorded.
If you press [F7 (All On)], all of the sequencer data will be
recorded.
When recording arpeggios in real time, you can synchronize the
arpeggio with the sequencer start/stop timing.
For details, refer to “Arpeggio/Rhythm Sync Switch” (p. 227).
5. Press [F8 (Close)] to close the Recording Select window.
Auditioning Sounds or Phrases
Function)
Erasing Unwanted Data While You
Record (Realtime Erase)
Realtime Erase is a function that erases unwanted data during
realtime recording. This is particularly convenient during loop
The Rehearsal function lets you temporarily suspend recording
during realtime recording. This is convenient when you want to
audition the sound that you will use next, or to practice the phrase
that you will record next.
Realtime Erase can be executed only if the Recording Mode is
set to “MIX.”
1. Begin realtime recording (p. 170).
The Realtime Recording window appears.
fig.18-004_50
You can also erase the data of a specific channel.
1. Begin realtime recording (p. 170).
The Realtime Recording window appears.
fig.18-004_50
2. Press [F7 (Rehearsal)] or [REC].
The [REC] indicator will blink, indicating that you are in
rehearsal mode. In this state, nothing will be recorded when
you play the keyboard.
3. To return to record mode, press [F7 (Rehearsal)] or [REC]
2. Press [F6 (Erase)].
once again.
The Realtime Erase window appears.
fig.18-008_50
3. Erase unwanted data.
To erase all data (except for Pattern Call messages), press [F7
(Erase All)]. Data will be erased for as long as you hold down
the button.
To erase notes of a specific key, hold down that key. Data for
that note will be erased for as long as you hold down that key.
To erase notes of a specific key range, hold down the top and
bottom keys of that range. Data for that range will be erased for
as long as you hold down those keys.
4. Press [F8 (Close)] to close the Realtime Erase window.
You will return to the normal recording state.
*
You can also erase the data of a specific channel.
173
Recording Songs
4. Press [F8 (Note)] or [PLAY].
The [REC] indicator will light, and the Step Rec (Note) screen
Inputting Data One Step at
a Time (Step Recording)
appears.
fig.18-010_50
addition to inputting notes, this method can also be used to create a
song by joining patterns.
Inputting Notes and Rests
1. Make sure that the preparations for recording have been
performed as described in “Before You Record a New
Song” (p. 168).
5. Specify the note that you want to input. Use
or
to
select the desired parameter.
If you will be recording into an existing song, load the desired
song into Temporary Song (p. 177). Then use [FWD] or [BWD]
to specify the measure at which you want to start recording.
The recording-start measure is indicated by “M=” at the top of
each PLAY screen.
•
Note Type
Specify the length of the notes that you want to input, in terms
of a note value. The length of the note value indicates the length
from one note-on to the next note-on.
Value:
,
,
,
,
,
,
,
,
,
,
,
,
2. Press [REC], and then [F6 (Step Rec)].
,
,
,
,
,
The [REC] indicator will blink, and the Step Recording Standby
•
Gate Time
window appears.
fig.18-009_50
Specify the proportion of the gate time relative to the Note
Type. The gate time is the length between note-on and note-off.
Specify a lower value if you want the notes to be played
staccato, or a higher value if you want the notes to be played
tenuto, or as a slur. Normally, you will set this to about “80%.”
Value: 1–100%
3. Make settings for step recording. Use [CURSOR] to move
the cursor to the desired parameter, and turn the VALUE
dial or press [INC]/[DEC] to set it.
•
Input Velo
Specify the strength with which the note will be played. If you
want this to be the strength with which you actually pressed the
key, select “REAL.” Otherwise, use settings of p (piano)=60, mf
(mezzo forte)=90, or f (forte)=120 as general guidelines.
Value: 1–127
•
Rec Tracks
Specify the phrase track or pattern on which you want to
record.
*
You can also make settings so that the phrase track of the same number
as the current part will be selected automatically. This is convenient
when you are recording just one part on each track. For details on how
to make this setting, refer to p. 234.
6. Turn the VALUE dial or press [INC]/[DEC] to make the
setting.
7. Press [F7 (⇐)] or [F8 (⇒)] to move to the desired input
location, and press a note on the keyboard or a pad.
When you press a key or a pad, the input position will advance
by the value of the Note Type you specified. The velocities are
Value:
TRK 1–TRK 16,
PTN001–PTN100 (* when recording on a pattern)
•
Rec Mode (Recording Mode)
Select how recording is to take place.
Value
displayed as a bar graph.
fig.18-011_50
MIX:
Mix-recording will be carried out. Normally, you
will record using this method. If a performance has
already been recorded on the recording-destination
track, your newly recorded performance will be
added to the existing performance without erasing
it.
REPLACE:Replace-recording will be carried out. If a
performance has already been recorded on the recording-
destination track, it will be erased as you record your new
performance. Use this when you want to re-record.
Start Point
•
You can use the function buttons ([F1][F2][F3][F4][F5]) to
perform the following operations.
Specify the location (measure-beat-tick) at which recording will
begin.
174
Recording Songs
•
•
Step Back
Moving the display region
Cancel the previously input note.
Pressing
or
will move the displayed region of notes
Tie
upward or downward.
Extend the length of the previously input note by the current
setting.
•
Rest
The Relation between Note Value Length
and Gate Time
Inputs a rest. First set the Note Type parameter to a length that
is the same as the rest you want to input, and then press [F3
(Rest)].
The relation between the length of the note value and the gate
time is shown below. Since the Fantom-X’s sequencer uses a
TPQN (Ticks Per Quarter Note; i.e., resolution) of 480, a quarter
note gate time is 480 ticks.
•
•
Zoom In
Narrow the range of keys shown in the display. Use this when
you want to view certain notes at greater magnification.
Zoom Out
Note
Gate time
Expand the range of notes shown in the display. Use this when
you want to see which notes have been input.
30
40
45
8. Repeat the above steps to continue inputting.
60
80
The previous value of each parameter is remembered. This
means that if you want to use the same settings as the
previously input note, there is no need to change the settings.
Once you have set the Gate Time parameter and Input Velocity
parameter, it is not normally necessary to change them, so all
you have to do is set the Step Time parameter and specify the
pitch (note) of each note.
90
120
160
180
240
320
360
480
640
720
960
The note will not be finalized as long as you hold down the key.
This means that you will be able to modify the various
parameters of the note (Step Time, Gate Ratio, Velocity).
1920
3840
9. When you are finished step recording, press [STOP].
The [REC] indicator will go dark.
If you are not happy with the results of the previous step
recording, you can press [MENU], and from the Menu window
that appears, select “Undo/Redo” to return to the state prior to
recording (Undo/Redo).After executing Undo, you can use
Redo to revert to the previous state. After executing Undo, you
can execute Redo by performing the above procedure the above
procedure once again.
The gate time that is recorded in step recording will be the
original gate time value multiplied by the value of the Gate
Ratio parameter. For example, if the Gate Ratio parameter
is set to “80%,” inputting a quarter note will mean that the
gate time is 480 x 0.8=384.
Inputting a Chord
Press the chord. The cursor will move to the next step when you
release all keys or pads.
Moving the input location
•
•
•
•
Pressing [F8 (⇒)] will move the input location forward by the
current Note Type value.
Pressing [F7 (⇐)] will move the input location backward by the
current Note Type value.
Hold down [SHIFT] and press [F8 (⇒)] will advance the input
location by one measure.
Hold down [SHIFT] and press [F7 (⇐)] will return the input
location by one measure.
175
Recording Songs
4. Press [F7 (Ptn Call)].
Assigning a Pattern to a Phrase
Track
5. Turn the VALUE dial or press [INC]/[DEC] to select the
pattern number (1–100) that you want to assign to the
phrase track.
The pattern name of the selected pattern is displayed in
“Pattern.” “Length” shows the number of measures in the
pattern.
You can create a song by combining previously recorded patterns.
This is done using step recording to assign patterns to a phrase track.
However, please be aware that the patterns themselves are not
placed in the phrase track. Rather, Pattern Call messages are
placed in the phrase track to specify which pattern should be played
back. This means that if you later modify the contents of a pattern,
the song playback will also be affected.
6. Press [F8 (Put Ptn)].
A Pattern Call message for the pattern selected by the Pattern
parameter will be recorded. You will advance by the length of
the measures in that pattern, and will be ready to input the next
pattern.
beat track. If the pattern beat and the beat track have different
settings, the length of the measures will not match, and the
playback may become incorrectly aligned. If this occurs, re-
specify the time signature of the beat track (p. 169).
If you input the wrong pattern, you can press [BWD] or [F1
(Step Back)] to delete the previously input Pattern Call message.
7. Repeat the above steps to assign additional patterns.
8. When you are finished with step recording, press [EXIT] or
1. Make sure that the preparations for recording have been
performed as described in “Before You Record a New
Song” (p. 168).
[STOP].
The [REC] indicator will go dark.
2. Press [REC], and then [F6 (Step Rec)].
If you are not satisfied with the step recording that you just
performed, press [MENU], and from the Menu window that
appears, select “Undo/Redo” to return to the state prior to
recording (Undo/Redo).After executing Undo, you can use
Redo to revert to the previous state. After executing Undo, you
can execute Redo by performing the above procedure the above
procedure once again.
The [REC] indicator will blink, and the Step Rec Standby
window appears.
fig.18-009_50
3. Make settings for step recording. Use [CURSOR] to move
the cursor to the desired parameter, and turn the VALUE
dial or press [INC]/[DEC] to set it.
•
Rec Track
Specify the phrase track or pattern on which you want to
record. “TRK” will appear if you press [F1 (Song List)], and
“PTN” will appear if you press [F2 (PTN)].
Value:
AUTO, TRK 1–TRK 16
•
Rec Mode (Recording Mode)
Select how recording is to take place.
Value
MIX:
Mix-recording will be carried out. Normally, you
will record using this method. If a performance has
already been recorded on the recording-destination
track, your newly recorded performance will be
added to the existing performance without erasing
it.
REPLACE:Replace-recording will be carried out. If a
performance has already been recorded on the
recording-destination track, it will be erased as you
record your new performance. Use this when you
want to re-record.
•
Start Point
Specify the location (measure-beat-tick) at which recording will
begin.
176
Editing Songs
This chapter explains the procedure for editing songs.
6. Press [F8 (Exec)].
When the song has finished loading, the performance data of
the loaded song will be displayed in the Song Edit screen.
Loading the Song You Want
to Edit
*
You can also load a song by pressing [SAVE/LOAD] (p. 201).
fig.19-002.e
Indicates the name of the currently
When you edit a song, you’re modifying a song that’s already
saved to user memory or memory card, you have to first load it into
the Temporary Area.
selected song, the measure location,
the time signature, and the sequencer status.
Track number
Output destination
of each track
Measure
number
Status of each track
Indicates Loop Play
and Loop Recording
on/off (LOOP).
Indicates the song’s
playback tempo.
The Temporary Song will be lost if you turn power off or load
another song into Temporary Area. If Temporary Area contains
a song you wish to keep, you must save that song to user
memory or memory card (p. 198).
Measures
containing
sequencer data
Measures
containing no
sequencer data
1. Press [SONG EDIT].
The Song Edit screen appears.
fig.17-001.eps_50
If you play back the song while the Song Edit screen is displayed,
the screen will scroll in keeping with the song playback location.
2. Press [F1 (Song List)].
The Song List screen appears.
fig.19-001_50
*
By pressing
or
in the above screen, you can specify the type of
songs that will be displayed. If various types of songs are saved
together, it will be easier to find the desired song if you restrict the
displayed file types in this way.
•
•
•
•
VIEW ALL: all songs will be displayed
SVQ ONLY: only SVQ files will be displayed
SMF: only Standard MIDI Files will be displayed
MRC: only MRC files will be displayed
3. Press [F1 (User)] or [F2 (Card)] to select the loading
destination.
4. Use
or
to select the song that you want to edit.
5. Press [F8 (Load)].
A Message will ask you for confirmation.
177
Editing Songs
3. By turning the VALUE dial or by pressing [INC]/[DEC], set
the value.
Viewing the data within a track
The Fantom-X can record data for multiple MIDI channels in a single
track. From the Song Edit screen, press [F6 (Track View)] to see
which channel(s) of data are found in each track.
OFF:
INT:
The track will not be sounded.
The track will be sounded by the Fantom-X’s
internal sound generator.
MIDI:
The track will be sounded by an external sound
generator connected to the MIDI OUT connector.
The track will be sounded by both the internal and
external sound generators.
This screen graphically shows the note data of each channel. The
height of the bar indicates the note pitch, and the length of the bar
indicates the duration.
BOTH:
Press [F6] once again to return to the previous screen.
fig.19-002a.e
Loading Individual Tracks/Patterns
of Song Data
If you have selected a song file (extension “.SVQ”) or Standard MIDI
File (extension “.MID”), you can load individual phrase tracks or
patterns.
1. After step 4 of “Loading the Song You Want to Edit,” press
[F7 (Load Track)].
The Load Track window appears.
2. Move the cursor to the left of “Source” (load source), and
select the track (TRK 1–16) or pattern (PTN001–100) that
you want to load.
Indicates the track
Indicates the patch
whose contents are
assigned to each part.
shown.
*
If you are loading from a Standard MIDI File, it is not possible to
select patterns (PTN001–100). Also, if you are loading from a Format
0 Standard MIDI File, this will be fixed at “TRK ALL,” and
individual tracks cannot be selected.
3. Move the cursor to the right of “Destination” (load
destination), and select the load-destination track (TRK 1–
16) or pattern (PTN001–100).
4. Press [F8 (Exec)] to execute the operation.
Silencing the Playback of a Track
(Mute)
Displays the data of each part.
Using Different Sound Generators
for Each Track
If you wish to silence specific track during playback, you can mute
the appropriate Phrase track containing that sequencer data.
1. Press [SONG EDIT] to access the Song Edit screen.
By specifying the output destination for each track, you can use a
variety of sound generators when playing back a song.
2. Use [CURSOR] to move the cursor for the track that you
want to silence.
fig.19-004
1. Press [SONG EDIT] to access the Song Edit screen.
2. Use [CURSOR] to move the cursor for the track whose
output destination you want to specify.
fig.19-003
Tracks in which no sequencer data has been recorded are
displayed as “—-.”
178
Editing Songs
3. Turn the VALUE dial or press [DEC] to select “MUTE.”
Moving to a Locate Position
Use the following procedure to change the song location to a Locate
Note that if you save a song with a Phrase track muted in the
Standard MIDI File format, that Phrase track’s data will not be
saved. If you save a song that has a muted Phrase track in the
MRC Pro song format, the mute status of the track will also be
saved.
Position.
1. Access the Locate window.
2. If [F7 (Set)] is lit red, press it to turn off the illumination.
3. Press [F3 (Jump1)] – [F6 (Jump4)].
You will move to the specified locate position.
If you set the tempo track (Tempo) “Status” to “MUTE,” the
tempo track will be muted. If tempo changes have been
recorded in a song, but you want to play the song at a fixed
tempo, you can mute the tempo track.
You can hold down [SHIFT] and press [BWD] to jump to the
preceding location position, or hold down [SHIFT] and press
[FWD] to jump to the next locate position.
Assigning Markers (Locate
Positions) to a Song
Specifying the Area of a Song that
will Repeat (Loop Points)
Markers can be assigned to any location in a song. These are called
Locate Positions. Normally, locations in a song are indicated as
“measure-beat-tick,” but a locate position is also displayed as an
absolute time of “hours:minutes:seconds:frames.”
When using Loop Play or Loop Recording, you can use the loop
points you specify here to specify the repeated area, as an alternative
to repeating the specified number of measures.
It is not possible to assign a locate position to a pattern.
It is not possible to assign a loop point to a pattern.
1. Press [SONG EDIT].
Assigning a Locate Position
Up to four locate positions can be assigned in each song.
2. Press [F5 (Loop / Locate)].
The Loop window appears.
fig.19-006_50
1. Press [SONG EDIT].
2. Press [F5 (Loop / Locate)].
The Loop window appears.
3. Press [F2 (Locate)].
The Locate window appears.
fig.19-005_50
3. Move the cursor to the desired parameter, and turn the
VALUE dial or press [INC]/[DEC] to make the setting.
•
Repeat
Select the number of repeats (1–99). If you want repetition to
continue until you press [STOP], set this to “INF.”
Start Point
•
Specify the location at which repetition is to begin.
4. Press [F7 (Set)]; then press [F3 (Set1) – [F6 (Set4)] to assign
the current location of the song as a locate position.
You can assign a locate position in this way even while listening
to the song play back.
If you press [F5 (Set Start)], the current location of the song will be
set as the starting location.
•
End Point
Specify the location at which repetition will end. The location
you specify here will not be included in the repeated area.
If you press [F6 (Set End)], the current location of the song will
be set as the ending location.
*
You can also adjust the locate position by moving the cursor to the
“measure” or “beat” value of the locate number and turning the
VALUE dial or pressing [INC]/[DEC] to set each value.
4. If you press [F7 (Loop)] to light it into red, looping will be
turned on.
179
Editing Songs
*
Quantize->p. 181
Editing Sequencer Data
Over the Specified Range
(Track Edit)
Erase->p. 183
Delete->p. 184
Copy->p. 184
Track Edit lets you edit areas of sequencer data that you specify.
Insert Measure->p. 185
Transpose->p. 185
Change Velocity->p. 186
Change Channel->p. 186
Change Duration->p. 187
Merge->p. 188
Basic Operation for Track Editing
1. Access the Song Edit screen, and then load the song you
want to edit (p. 177).
Extract->p. 188
Shift Clock->p. 189
Data Thin->p. 190
Exchange->p. 191
While editing a pattern, press [SONG EDIT] and then press [F2
(PTN)] to access the Pattern Edit screen.
fig.19-007.e
Indicates Loop Play and
Loop Recording
on/off (LOOP).
Indicates the song’s
playback tempo.
Indicates the name of the currently
selected song, the measure location,
the time signature, and the sequencer status.
Time Fit->p. 191
Truncate->p. 191
Measure number
For details on the setting windows of each track editing
function, refer to the following explanations of each function.
4. Set the parameters for each function. Use [CURSOR] to
move the cursor to the desired parameter, and turn the
VALUE dial or press [INC]/[DEC] to set the value. First
check the region that is to be affected by the editing
operation, and then make corrections if you want to change
it.
Measures
containing
sequencer data
Measures
containing no
sequencer data
5. Press [F8 (Exec)] to execute the operation.
When the operation is completed, the display will briefly
indicate “Completed!”
Current location
If you decide not to execute the operation, press [F7 (Cancel)].
If the Song Edit screen shows “QUICK PLAY,” the song has not
been loaded. If you want to edit this song, press [F8 (Load)] to
load the song.
•
If you are not satisfied with the results of executing the
function, you can press [MENU], and from the Menu window
that appears, select “Undo Track Edit” to return to the state
prior to executing the operation (Undo/Redo).After executing
Undo, you can use Redo to revert to the previous state. After
executing Undo, you can execute Redo by performing the above
procedure the above procedure once again.
*
Press [F7 (Temp Song)] to return to the temporary song display.
2. Press [SONG EDIT] and then press [F8 (Track Edit)].
The Track Edit window appears.
fig.19-008_50
180
Editing Songs
Quantize Type
Specifies the Quantize range.
Aligning a Song’s Timing
(Quantize)
Value
GRID:
Grid Quantize will be applied to recording. Since the
notes will be adjusted to the timing of the specified
note value, you can use this when you want drums
or bass (for example) to play in an accurate rhythm.
In the chapter “Recording Songs” (p. 168), we explained
Recording Quantize, which lets you quantize during realtime
recording. Alternatively, it is also possible to quantize a song that
has already been recorded.
fig.18-005.e
The Fantom-X has a Preview function that allows playing back the
results of a Quantize operation while you are still setting parameters
(before actual execution). This helps to make optimal Quantize
settings.
Grid quantize with Resolution = ꢀ
SHUFFLE:
Shuffle Quantize will be applied to recording. Use
this when you want to produce a “shuffle” or
“swing” rhythmic feel.
The Quantize operation will correct only the timing at which
notes were pressed (note-on) and released (note-off), and will
not correct any other sequencer data. This means that if you
record MIDI messages such as bend range or modulation along
with notes, quantization can cause the notes to go out of sync
with the MIDI messages, skewing timing. To avoid such
problems it is better to record non-keyboard data afterward,
fig.18-006.e
Shuffle quantize with Rate = 75%
using mix recording, etc.
fig.19-009_50
TEMPLATE: The Fantom-X provides 71 quantize templates.
These templates contain various quantize settings
for applying rhythmic ‘feels’ of many different
musical categories. Select the template you want for
quantization.
*
If your sequencer data notes are too far off from accurate time,
Template Quantize may not work that efficiently so you won’t achieve
the desired results. If this is the case, apply Grid Quantize to your
sequencer data first to lose timing mistakes.
For details on the settings, refer to “Basic Operation for Track
Editing” (p. 180)
Resolution (Grid Quantize Resolution)
This parameter is used when Grid Quantize is selected. Specifies
quantization time interval as a note value. Choose a Resolution that
matches the smallest note in the area you’re quantizing.
Track / Pattern
Sets the phrase track(s) or pattern that is to be quantized.
Value
Value:
,
,
,
,
,
,
TRK ALL:
Phrase tracks 1–16
Strength (Grid Quantize Strength)
TRK 1–TRK 16:
The specified phrase track
PTN001–PTN100: The specified pattern
This parameter is used when Grid Quantize is selected. This
parameter specifies a percentage of how note timing will be
corrected toward the timing interval that is specified by the
Resolution parameter. With a setting of “100%,” the note will move
all the way to the nearest timing interval of the Grid Resolution
setting. A setting of “0%” will not change note timing at all.
Ch / Part
Specifies the MIDI channel(s) of the notes to be quantized.
If you wish to quantize all notes, set this parameter to “ALL.” When
quantizing only the notes of a specific MIDI channel, select that
channel.
Resolution (Shuffle Quantize Resolution)
Value:
ALL, Ch1–Ch16
This parameter is used when Shuffle Quantize is selected. Specifies
quantization time interval as a note value.
Measure, For (Edit Range)
Sets the range of measures that are to be quantized. If you set “For”
to “ALL,” all measures will be specified.
Value:
,
181
Editing Songs
Rate (Shuffle Quantize Rate)
031
032
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
063
064
065
066
067
068
069
070
071
Reggae (dragging beats, light swing)
Reggae (dragging beats, heavy swing)
Reggae (pushing beats, small dynamics)
Reggae (pushing beats, large dynamics)
Reggae (pushing beats, light swing)
Reggae (pushing beats, heavy swing)
Pops (small dynamics)
Pops (large dynamics)
Pops (light swing)
Pops (heavy swing)
Pops (dragging beats, small dynamics)
Pops (dragging beats, large dynamics)
Pops (dragging beats, light swing)
Pops (dragging beats, heavy swing)
Pops (pushing beats, small dynamics)
Pops (pushing beats, large dynamics)
Pops (pushing beats, light swing)
Pops (pushing beats, heavy swing)
Rhumba (small dynamics)
This parameter is used when Shuffle Quantize is selected. Specifies
how far apart you want a down-beat specified by the Shuffle
Resolution parameter to be from the up-beat that immediately
follows. By shifting the timing of an up-beat, you can create a
“swing” feel. A setting of “50%” will place the timing of the up-beat
note at the exact mid point between the down-beat and the next
down-beat. A setting of “0%” will move the up-beat note to the same
timing as the previous down-beat. A setting of “100%” will move it
to the same timing as the following down-beat.
Value:
0–100%
fig.19-010.e
Original performance data
Rate= 25%
Rate= 50%
Rate= 75%
Rhumba (large dynamics)
Rhumba (light swing)
Rhumba (heavy swing)
Rate=100%
Rhumba (dragging beats, small dynamics)
Rhumba (dragging beats, large dynamics)
Rhumba (dragging beats, light swing)
Rhumba (dragging beats, heavy swing)
Rhumba (pushing beats, small dynamics)
Rhumba (pushing beats, large dynamics)
Rhumba (pushing beats, light swing)
Rhumba (pushing beats, heavy swing)
Samba (for Pandeiro, etc.)
Samba (for Surdo, Timbale)
Axe (for Caixa)
Axe (for Surdo)
Salsa (for Cascala)
Salsa (for Conga)
Up
beat
Up
beat
Up
beat
Up
beat
Quantize Template (Quantize Template)
Specifies the template you wish to use.
Here is a list of preset groove templates.
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
Dance (small dynamics)
Dance (large dynamics)
Dance (light swing)
Dance (heavy swing)
Dance (dragging beats, small dynamics)
Dance (dragging beats, large dynamics)
Dance (dragging beats, light swing)
Dance (dragging beats, heavy swing)
Dance (pushing beats, small dynamics)
Dance (pushing beats, large dynamics)
Dance (pushing beats, light swing)
Dance (pushing beats, heavy swing)
Fusion (small dynamics)
Triplets
Quintuplets
Sextuplets
Septuplets over two beats
Lagging triplets
*
*
The templates are designed for a 4/4 time signature. Applying them to
a performance of a different time signature may not produce the
desired result.
Fusion (large dynamics)
Fusion (light swing)
Fusion (heavy swing)
The style names shown here are only for your convenience; they are
not intended to imply that the templates are usable only for the named
style. You can certainly try them with other styles of music.
Fusion (dragging beats, small dynamics)
Fusion (dragging beats, large dynamics)
Fusion (dragging beats, light swing)
Fusion (dragging beats, heavy swing)
Fusion (pushing beats, small dynamics)
Fusion (pushing beats, large dynamics)
Fusion (pushing beats, light swing)
Fusion (pushing beats, heavy swing)
Reggae (small dynamics)
Reggae (large dynamics)
Reggae (light swing)
Reggae (heavy swing)
Reggae (dragging beats, small dynamics)
Reggae (dragging beats, large dynamics)
Timing (Quantize Timing)
This specifies how much a note will move toward the timing
interval of the template you pick. At a setting of 100%, the
note will be perfectly timed with the template. At a setting of
0%, the note will not move at all.
182
Editing Songs
Range Min, Range Max
Ch / Part
Specifies the range of note numbers to be quantized.
For example, if you want to quantize the range between C3 and C4,
set “Note Min” to “C3,” and set “Note Max” to “C4.”
You can also specify the key range by pressing keys on the
keyboard.
Selects the MIDI channel of the data to be erased.
When you want to erase all sequencer data, set this parameter to
“ALL.” To erase sequencer data of one specific MIDI channel only,
select that MIDI channel.
Value: ALL, Ch1–Ch16
If you set the Track parameter to “TEMPO,” or if the Status
parameter is set to “System Exclusive,” “Tune Request” or “Pattern
Call,” the Channel parameter will not be available.
Preview Function
The Preview function allows you to hear how quantizing will
work while you are still setting Quantize parameters (before
you execute operation). This is called the Preview function. If
you modify parameter values during preview playback, the
next preview playback will include those latest value changes.
Try various parameter settings to find the one that works best.
Measure, For (Edit Range)
Specifies the range of measures that are to be erased. If you set “For”
to “ALL,” all measures will be specified.
Status
Selects the type of data to be erased.
Value
Pattern Call events assigned to a phrase track or muted
phrase tracks cannot be previewed.
ALL
NOTE
Pressing [PLAY] when the Track Edit (Quantize) window is
displayed selects Preview mode. The two measures from the
current location of the song will play back repeatedly. The
preview start location can also be specified by pressing [FWD]
or [BWD]. To exit Preview mode, press [STOP].
Poly Aftertouch
Control Change
Program Change
Channel Aftertouch
Pitch Bend
System Exclusive
Tune Request
Pattern Call
Erasing Unwanted Performance
Data (Erase)
If the Track parameter is set to “TEMPO,” the Status parameter
will not be available.
This function erases all the sequencer data inside the specified area.
As the erased data is replaced by rests, the original measures will
Range Min, Range Max
remain.
fig.19-011_50
“PROG,” specify the range. Set “Range Min” to the lowest value of
the range, and “Range Max” to the highest value of the range.
To erase all notes or polyphonic aftertouch data, set “Range
Min” to “C -1” and “Range Max” to “G9.” To erase C4, set
“Range Min” and “Range Max” to “C4.” To erase C3 through
C4, set “Range Min” to “C 3” and “Range Max” to “C4.”
For details on the settings, refer to “Basic Operation for Track
•
To erase all controller numbers, set “Range Min” to “0” and
“Range Max” to “127.” To erase all program numbers, set
“Range Min” to “1” and “Range Max” to “128.” To erase
number 4, set “Range Min” and “Range Max” to “4.” To erase
numbers 3 through 14, set “Range Min” to “3” and “Range
Max” to “14.”
Editing” (p. 180)
Track / Pattern
Specifies the track(s) or pattern that is to be erased.
Value
ALL:
Phrase tracks 1–16, the beat track, and the tempo
track
TRK 1–TRK 16:
TEMPO:
The specified phrase track
Tempo track
PTN001–PTN100: The specified pattern
183
Editing Songs
Ch / Part
Selects the MIDI channel of the data to be copied.
When you want to copy all the sequencer data, set this parameter to
“ALL.” To copy only the sequencer data of a specific MIDI channel,
select the MIDI channel.
Deleting Unwanted Measures
(Delete)
This function deletes a specified area of sequencer data, and moves
fig.19-012_50
If you set the source track to “TEMPO,” or if the Status
parameter is set to “System Exclusive,” “Tune Request” or
“Pattern Call,” the Channel parameter will not be available.
Src Measure, For (Edit Range)
Specifies the range of copy-source measures. If you set “For” to
“ALL,” all measures will be specified.
For details on the settings, refer to “Basic Operation for Track
Editing” (p. 180)
Dst Track/ Pattern (Destination Track/Pattern)
Track / Pattern
Check/modify the copy-destination track or pattern.
Specifies the track(s) or pattern that is to be deleted.
Value
Value
ALL:
Phrase tracks 1–16, the beat track, and the tempo
ALL:
Phrase tracks 1–16, the beat track, and the tempo
track
track
TRK 1–TRK 16:
TEMPO:
The specified phrase track
TRK 1–TRK 16:
TEMPO:
The specified phrase track
Tempo track
Tempo track
PTN001–PTN100: The specified pattern
PTN001–PTN100: The specified pattern
If you set the source track to “ALL,” the destination track can be
set to either “ALL” or “PTN001–PTN100.” If you select
“PTN001–PTN100,” the data from the 16 phrase tracks will be
merged as it is copied.
Measure, For (Edit Range)
Specifies the range of measures that are to be deleted. If you set
“For” to “ALL,” all measures will be specified.
•
If “TEMPO” is selected as the source track, then only “Tempo”
can be selected for the destination track.
Copying Phrases (Copy)
This function copies a specified area of sequencer data. It is
convenient for repeating the same phrase several times. You can
copy patterns to a phrase track, or copy data from a phrase track to a
Dst Measure (Destination Measure)
Specifies the copy-destination measure.
If you want the copy destination to be right after the last measure of
a song, set this parameter to “END.”
pattern.
fig.19-013_50
Copy Mode
destination when copying.
Value
MIX:
Combines the data from the copy source with the
existing data in the copy destination.
REPLACE:
Musical data in the copy destination will be erased
(i.e., overwritten) when the copy takes place. Only
the sequencer data of the MIDI channels specified by
the Channel parameter will be overwritten, and data
of other MIDI channels will remain.
For details on the settings, refer to “Basic Operation for Track
Editing” (p. 180)
Copy Times
Specifies the number of times that the data will be copied to the copy
destination.
Src Track / Pattern (Source Track / Pattern)
Specifies the copy-source track(s) or pattern.
Value
ALL:
Phrase tracks 1–16, the beat track, and the tempo
track
TRK 1–TRK 16:
TEMPO:
The specified phrase track
Tempo track
PTN001–PTN100: The specified pattern
184
Editing Songs
Value
ALL:
Status
Phrase tracks 1–16, the beat track, and the tempo
Selects the type of data to be copied.
Value
track
TRK 1–TRK 16:
TEMPO:
The specified phrase track
Tempo track
ALL
NOTE
PTN001–PTN100: The specified pattern
Poly Aftertouch
Control Change
Program Change
Channel Aftertouch
Pitch Bend
Measure, For (Edit Range)
Specifies the measure location at which the blank measures are to be
inserted, and the number of blank measures to be inserted.
System Exclusive
Tune Request
Pattern Call
Beat
In general, the time signature of the measure immediately before
insertion will be used for the blank measures. To change the time
signature of the blank measures to be inserted, use the Beat
parameter.
If the source track is set to “TEMPO,” the Status parameter will
not be available.
Beat can be specified only when you have set the Track
parameter to “ALL.”
Range Min, Range Max
If you have selected “NOTE,” “P.AFT,” “C.C,” or “PROG” for the
Status parameter, specify the range. Set “Range Min” to the lowest
value of the range, and “Range Max” to the highest value of the
range.
Transpose the Key (Transpose)
To copy all notes or polyphonic aftertouch data, set “Range
Min” to “C-1” and “Range Max” to“G9.” To copy C4, set
“Range Min” and “Range Max” to “C4.” To copy C3 through
C4, set “Range Min” to “C3” and “Range Max” to “C4.”
This transposes the pitch of notes within a specified area, over a +/-
127 semitone range. Use this function to modulate from one key to
another in a song, or to transpose the entire song.
fig.19-015_50
•
To copy all controller numbers, set “Range Min” to “0” and
“Range Max” to “127.” To copy all program numbers, set
“Range Min” to “1” and “Range Max” to “128.” To copy
number 4, set “Range Min” and “Range Max” to “4.” To copy
numbers 3 through 14, set “Range Min” to “3” and “Range
Max” to “14.”
For details on the settings, refer to “Basic Operation for Track
Editing” (p. 180)
Inserting a Blank Measure (Insert)
Track / Pattern (Source Track)
This function inserts blank measures into a specified song position.
As you can set the time signature of the blank measures, this is
convenient when inserting a phrase having a different time signature
Sets the phrase track(s) or pattern that is to be transposed.
Value
ALL:
Phrase Tracks 1–16
in the middle of a song.
fig.19-014_50
TRK 1–TRK 16:
The specified phrase track
PTN001–PTN100: The specified pattern
Ch / Part
Specifies the MIDI channel(s) of the notes to be transposed.
Set this parameter to “ALL” for transposing all notes. When
transposing only the notes of specific MIDI channel(s), select the
MIDI channel(s) using this parameter.
For details on the settings, refer to “Basic Operation for Track
Editing” (p. 180)
Value: ALL, Ch1–Ch16
Track / Pattern (Source Track)
Measure, For (Edit Range)
Specifies the track(s) or pattern into which blank measures will be
inserted.
Sets the range of measures that are to be transposed. If you set “For”
to “ALL,” all measures will be specified.
185
Editing Songs
Range Min, Range Max
Ch / Part
Specifies the range of note numbers to be transposed. For example, if
you want to transpose notes in the range of C3 through C4, set
“Range Min” to “C3” and “Range Max” to “C4.” You can also
specify the key range by pressing keys on the keyboard.
Specifies the MIDI channel(s) of notes for which velocity will be
modified.
To modify velocity for all notes, set this parameter to “ALL.” When
modifying the velocity for only the notes of a specific MIDI channel,
select that MIDI channel using this parameter.
Bias
Value: ALL, Ch1–Ch16
Specifies the transpose amount in semitone steps. Set a “+” (positive)
value to raise the pitch, or a “-” (negative) value to lower the pitch. If
you do not want to transpose, set this to “0.”
Measure, For (Edit Range)
Specifies the range of measures whose velocity will be changed. If
you set “For” to “ALL,” all measures will be specified.
Value: -127– +127
Bias
If You Want to Lower the Bass Sound One
Octave...
Use this parameter to add a fixed bias amount to all velocities. If you
want to increase the velocity values by 10, set this to “+10.”
Value: -99– +99
If your bass is played one octave higher than the staff notation,
use the Transpose function to lower it one octave.
To lower the bass sound one octave, set the Range parameter to
“Lowest–Highest” for the bass part, and set the Bias parameter
to “-12.”
Magnify
Set this parameter if increases or decreases in velocity variations are
desired. For less velocity variation, use settings of “99%” or less. For
more velocity variation, set it to “101%” or greater. With a setting of
“100%,” velocity values do not change.
When You Want to Change Percussion
Sounds...
Value: 0–200%
You can also use the Transpose function to change percussion
sounds.
Range Min, Range Max
Suppose you want to change conga to tom. If the conga sound is
assigned to the D4 key, and the tom sound is assigned to the C3
key, set the Range parameter to “D4–D4” and the Bias
parameter to “-14.”
Specifies the range of note numbers for which velocity will be
modified. For example, if you want to modify the velocity of notes in
the range of C3 through C4, set “Range Min” to “C3” and “Range
Max” to “C4.” You can also specify the key range by pressing keys
on the keyboard.
Changing the MIDI Channel
(Change Channel)
Changing the Velocity (Volume)
(Change Velocity)
This function transfers the MIDI channel of a specified area of
This function modifies the keyboard playing dynamics (velocity) of a
sequencer data into a different MIDI channel.
fig.19-017_50
specified note area.
fig.19-016_50
For details on the settings, refer to “Basic Operation for Track
For details on the settings, refer to “Basic Operation for Track
Editing” (p. 180)
Editing” (p. 180)
Track / Pattern (Source Track)
Track / Pattern (Source Track)
Specifies the phrase track(s) or pattern in which the MIDI channel
Specifies the phrase track(s) or pattern whose velocity will be
will be changed.
changed.
Value
Value
ALL:
Phrase Tracks 1–16
ALL:
Phrase Tracks 1–16
TRK 1–TRK 16:
The specified phrase track
TRK 1–TRK 16:
The specified phrase track
PTN001–PTN100: The specified pattern
PTN001–PTN100: The specified pattern
186
Editing Songs
fig.19-018_50
Measure, For (Edit Range)
Specifies the range of measures in which the MIDI channel will be
changed. If you set “For” to “ALL,” all measures will be specified.
Status
Selects the type of data for which you wish to change the MIDI
channel.
Value
ALL
For details on the settings, refer to “Basic Operation for Track
NOTE
Editing” (p. 180)
Polyphonic Aftertouch
Control Change
Program Change
Channel Aftertouch
Pitch Bend
Track / Pattern (Source Track)
Specifies the phrase track(s) or pattern whose durations will be
changed.
Value
ALL:
Phrase Tracks 1–16
Range Min, Range Max
TRK 1–TRK 16:
The specified phrase track
If you have set the Status parameter to “NOTE,” “P.AFT,” “C.C,” or
“PROG,” you can specify the range of data. Set “Range Min” to the
lowest value of the range, and “Range Max” to the highest value of
the range.
PTN001–PTN100: The specified pattern
Ch / Part
Specifies the MIDI channel(s) of notes for which duration will be
modified.
If you wish to modify the duration for notes of all MIDI channels, set
this parameter to ALL. When changing the duration for notes of a
specific MIDI channel only, select that MIDI channel using this
parameter.
To change the MIDI channel of all notes or polyphonic
aftertouch data, set “Range Min” to “C -1” and “Range Max” to
“G9.” To change the MIDI channel of C4, set “Range Min” and
“Range Max” to “C4.” To change C3 through C4,” set “Range
Min” to “C3” and “Range Max” to “C4.”
Value: ALL, Ch1–Ch16
•
To change the MIDI channel of all controller numbers, set
“Range Min” to “0” and “Range Max” to “127.” To change the
MIDI channel of all program numbers, set “Range Min” to “1”
and “Range Max” to “128.” To change number 4, set “Range
Min” and “Range Max” to “4.” To change numbers 3 through
14, set “Range Min” to “3” and “Range Max” to “14.”
Measure, For (Edit Range)
Specifies the range of measures whose durations will be changed. If
you set “For” to “ALL,” all measures will be specified.
Bias
Set this parameter if you wish to increase or decrease all durations
by a fixed amount. If you want to extend all duration by 10, set this
to “+10.”
Src Channel, Dst Channel (MIDI Channel)
Set Src Channel to the MIDI channel that you want to change, and
set Dst Channel to the MIDI channel to which it will be changed.
If you have selected ALL for the source MIDI channel, the sequencer
data of all MIDI channels will be combined into the destination MIDI
channel.
Value: -4800– +4800
Magnify
Set this parameter if you wish to increase or decrease durations by a
specified ratio. When set to “100%,” no change is made. A value of
“101%” or higher increases the duration; values of “99%” or lower
decrease the duration. For example, to halve duration, set this
parameter to “50%.” To double durations, set this parameter to
“200%.”
Value: ALL, 1–16
It is not possible to select “ALL” for the destination MIDI
channel.
Value: 0–200%
Modifying the Length of Notes
(Change Duration)
Range Min, Range Max
Specifies the range of note numbers for which duration will be
modified. For example, if you want to change the duration of notes
in the range of C3 to C4, set “Range Min” to “C3” and “Range Min”
to “C4.” You can also specify the key range by pressing keys on the
keyboard.
This function modifies the duration (time from note-on to note-off)
of notes within a specified area. Depending on the setting, you can
also create staccato or tenuto.
187
Editing Songs
Combining Two Phrase Tracks or
Patterns into One (Merge)
Extracting and Moving a Part of
Sequencer Data (Extract)
track or pattern and moves it to the same Song position of another
phrase track or pattern. Additionally, just as with Standard MIDI
File Format 0, when sequencer data from multiple MIDI channels is
recorded on one track, you can also assign one MIDI channel to a
fig.19-019_50
single phrase track.
fig.19-020_50
For details on the settings, refer to “Basic Operation for Track
Editing” (p. 180)
Src Track / Src Pattern (Source Track)
Specifies the phrase track or pattern that is to be merged. After the
Merge operation has been executed, no sequencer data will remain
in this track.
For details on the settings, refer to “Basic Operation for Track
Value
Editing” (p. 180)
TRK 1–TRK 16:
The specified phrase track
PTN001–PTN100: The specified pattern
Src Track / Src Pattern (Source Track)
Specifies the phrase track or pattern from which the sequencer data
will be extracted. After Extract is executed, the selected sequencer
data no longer remains on this phrase track or pattern.
Value
Dst Track / Pattern (Destination Track/Pattern)
Specifies the merge-destination phrase track or pattern. After the
Merge operation has been executed, the sequencer data will be
combined into this track.
TRK 1–TRK 16:
The specified phrase track
Value
PTN001–PTN100: The specified pattern
TRK 1–TRK 16:
The specified phrase track
PTN001–PTN100: The specified pattern
Ch / Part
Selects the MIDI channel(s) of the data to be extracted.
To extract all sequencer data, set this parameter to ALL. To extract
just the sequencer data of a specific MIDI channel, select that MIDI
channel.
Value: ALL, Ch1–Ch16
If you set the Status parameter to “System Exclusive,” “Tune
Request” or “Pattern Call,” the Channel parameter will not be
available.
Measure, For (Edit Range)
Specifies the range of measures from which sequencer data will be
extracted. If you set “for” to “ALL,” all measures will be specified.
Dst Track / Pattern (Destination Track/Pattern)
Specifies the move-destination track or pattern.
Value
ALL:
According to its MIDI channel, the sequencer
data will be divided among phrase tracks 1–16.
The specified phrase track
TRK 1–TRK 16:
PTN001–PTN100: The specified pattern
188
Editing Songs
Extract Mode
Specifies whether you want to keep the sequencer data at the
Shifting Performance Data
destination.
Forward and Back (Shift Clock)
Value
This function shifts the timing of sequencer data backward or
forward in time within a specified area in steps of 1 tick. Slight shifts
of timing can speed up or drag performance.
MIX:
The data at the destination will combine with the
extracted data.
REPLACE:
The data at the destination will be erased and
replaced by the extracted data.
When this function is executed, data that would be moved to a
point before the beginning of the song will automatically shift
to the beginning of the song. If data would be moved to a point
past the end of the song, additional new measures will be
created automatically as needed. The time signature of the
newly created measures will be the same as that of the measure
If you select “REPLACE,” only the sequencer data on the MIDI
channel specified by the Channel parameter will be the object of
the operation. Sequencer data of all other MIDI channels will be
unaffected.
Status
immediately preceding.
fig.19-021_50
Selects the type of data to be extracted.
Value
ALL
NOTE
Poly Aftertouch
Control Change
Program Change
Channel Aftertouch
Pitch Bend
For details on the settings, refer to “Basic Operation for Track
System Exclusive
Tune Request
Pattern Call
Editing” (p. 180)
Track / Pattern (Source Track)
Specifies the track(s) or pattern whose sequencer data will be moved
Range Min, Range Max
in units of one tick.
If you set the Status parameter to “NOTE,” “P.AFT,” “C.C,” or
“PROG,” specify the range of data. Set “Range Min” to the lowest
value of the range, and “Range Max” to the highest value of the
range.
Value
ALL:
Phrase tracks 1–16, the beat track, and the tempo
track
TRK 1–TRK 16:
TEMPO:
The specified phrase track
Tempo track
To extract all notes or polyphonic aftertouch data, set “Range
Min” to “C -1,” and “Range Max” to “G9.” To extract C4, set
“Range Min” and “Range Max” to “C4.” To extract C3 through
C4, set “Range Min” to “C3” and “Range Max” to “C4.”
PTN001–PTN100: The specified pattern
Ch / Part
Selects the MIDI channel of the data to be shifted in time.
To shift ticks of all sequencer data, set this parameter to ALL. To
shift the sequencer data tick of just one specific MIDI channel, select
that MIDI channel.
•
To extract all controller numbers, set “Range Min” to “0” and
“Range Max” to “127.” To extract all program numbers, set
“Range Min” to “1” and “Range Max” to “128.” To extract
number 4, set “Range Min” and “Range Max” to “4.” To extract
numbers 3 through 14, set “Range Min” to “3” and “Range
Max” to “14.”
Value: ALL, Ch1–Ch16
If you set the Track parameter to “TEMPO,” or if the Status
parameter is set to “System Exclusive,” “Tune Request” or
“Pattern Call,” the Channel parameter will not be available.
Measure, For (Edit Range)
Specifies the range of measures in which the sequencer data will be
moved in units of one tick. If you set “For” to “ALL,” all measures
will be specified.
189
Editing Songs
Bias
Specify the amount (number of ticks) by which the sequencer data
Thinning Out the Sequencer Data
(Data Thin)
will be moved.
Value: -4800– +4800
Continuously variable controllers such as aftertouch, pitch bend, and
expression tend to create unexpectedly large amounts of data when
operated. Data Thin will strip out redundant data to increase the
Status
Selects the type of data to be shifted in time.
Value
amount of memory available for the sequencer.
fig.19-022_50
ALL
NOTE
Polyphonic Aftertouch
Control Change
Program Change
Channel Aftertouch
Pitch Bend
System Exclusive
Tune Request
For details on the settings, refer to “Basic Operation for Track
Pattern Call
Editing” (p. 180)
Track / Pattern (Source Track)
If the Track parameter is set to “TEMPO,” the Status parameter
will not be available.
Specifies the track(s) or pattern whose sequencer data will be
thinned.
Value
Range Min, Range Max
ALL:
Phrase tracks 1–16, the beat track, and the tempo
If you set the Status parameter to “NOTE,” “P.AFT,” “C.C,” or
“PROG,” specify the range of data. Set “Range Min” to the lowest
value of the range, and “Range Max” to the highest value of the
range.
track
TRK 1–TRK 16:
The specified phrase track
PTN001–PTN100: The specified pattern
Ch / Part
To shift all notes or polyphonic aftertouch data, set “Range
Min” to “C -1” and “Range Max” to “G9.” To shift C4, set
“Range Min” and “Range Max” to “C4.” To shift C3 through
C4, set “Range Min” to “C3” and “Range Max” to “C4.”
Selects MIDI channel of the data to be thinned.
To thin all sequencer data, set this parameter to ALL. To thin
sequencer data of just one specific MIDI channel, select that MIDI
channel.
•
To shift all controller numbers, set “Range Min” to “0” and
“Range Max” to “127.” To shift all program numbers, set
“Range Min” to “1” and “Range Max” to “128.” To shift number
4, set “Range Min” and “Range Max” to “4.” To shift numbers 3
through 14, set “Range Min” to “3” and “Range Max” to “14.”
Value: ALL, Ch1–Ch16
Measure, For (Edit Range)
Specifies the range of measures whose sequencer data will be
thinned. If you set “For” to “ALL,” all measures will be specified.
Data Thin Value
For thinning data which incorporates rapid changes, use higher
settings. If you don’t want to thin that much data even though it is
subject to rapid change, use lower settings.
Data Thin Time
If you are thinning data that changes gradually over time, use higher
settings. If you don’t want to thin that much data even though the
changes are gradual, use lower settings.
190
Editing Songs
Status
Measure, For (Edit Range)
Selects the type of data to be thinned.
Value
Measure the playback time, or check/modify the range of measures
that are to be adjusted. If you set “For” to “ALL,” all measures will
be specified.
ALL
Polyphonic Aftertouch
Control Change
Channel Aftertouch
Pitch Bend
Time H/M/S
The playback time will be displayed. From left to right, the time
display indicates “hours: minutes: seconds.”
Time Original H/M/S
Range Min, Range Max
The current playback time will be displayed.
If you set the Status parameter to “P.AFT” or “C.C,” specify the
range of data. Set “Range Min” to the lowest value of the range, and
“Range Max” to the highest value of the range.
Deleting Blank Measures
(Truncate)
To thin out all polyphonic aftertouch data, set “Range Min” to
“C -1” and “Range Max” to “G9.” To thin out C4, set “Range
Min” and “Range Max” to “C4.” To thin out C3 through C4, set
“Range Min” to “C3” and “Range Max” to “C4.”
Copying or merging may sometimes create blank measures at the
beginning of a phrase track or pattern. Truncate deletes silent
portions from the beginning of the specified phrase track to the first
note-on.
•
To thin out all controller numbers, set “Range Min” to “0” and
“Range Max” to “127.” To thin out number 4, set “Range Min”
and “Range Max” to “4.” To thin out numbers 3 through 14, set
“Range Min” to “3” and “Range Max” to “14.”
If other sequencer data (such as program changes or control
changes) is recorded between the beginning and the first note-
on of the specified phrase track, only the last data event of each
type will be placed before the note-on.
fig.19-025_50
Swapping Two Phrase Tracks or
Patterns (Exchange)
The phrase tracks or patterns will be exchanged in their entirety.
Value
TRK 1–TRK 16:
The specified phrase track
PTN001–PTN100: The specified pattern
fig.19-023_50
For details on the settings, refer to “Basic Operation for Track
Editing” (p. 180)
Track / Pattern (Source Track)
Specifies the phrase track or pattern from which blank measures will
be deleted.
For details on the settings, refer to “Basic Operation for Track
Value
Editing” (p. 180)
TRK 1–TRK 16:
The specified phrase track
PTN001–PTN100: The specified pattern
Adjusting the Song’s Playback
Time (Time Fit)
Below the Track parameter is displayed the location of the beginning
of the specified track, and the position of the first note-on.
This function calculates the playback time of a song or allows you to
modify the tempo track data so that the song will play back in a
specified time.
fig.19-024_50
For details on the settings, refer to “Basic Operation for Track
Editing” (p. 180)
191
Editing Songs
5. Move to the cursor to “Ch/Part,” and select the MIDI
channel of the sequencer data that you want to view.
Editing Individual Items of
Sequencer Data (Micro Edit)
6. Press [F8 (Close)] to close the screen.
7. Press
or
to select the performance data that you
Micro Edit lets you edit individual items of sequencer data recorded
want to edit.
in a song, such as MIDI messages and tempo data.
8. Press
or
to select the parameter that you want to
edit.
Editing Sequencer Data (Basic
9. Turn the VALUE dial or press [INC]/[DEC] to set the value.
Access the Microscope screen when you want to view the sequencer
data recorded in a song. Each line indicates the location (measure-
beat-tick) at which the sequencer data is recorded, and the data
recorded at that location.
When editing the Note Number of note or polyphonic
aftertouch data, or the On Velocity or Off Velocity of a note, you
can also specify the value by playing a key on the keyboard.
•
When you press [ENTER], the sequencer data currently shown
at the “ ” will be transmitted from the MIDI OUT connector.
In the case of a note message, the note will sound when you
press [ENTER].
1. Load the song that contains the sequencer data you want to
view/edit (p. 177).
2. Press [F8 (Micro Edit)].
The Microscope screen appears.
If you want to edit a system exclusive message, refer to
Press
or
to view sequencer data.
“Editing a System Exclusive Message,” below.
fig.19-026.e
Select the track or pattern
Displays the parameter data at the cursor location
MIDI channel
10. Repeat steps 3–6 to set each parameter you want to edit.
11. To close the Microscope screen, press [EXIT].
Editing a System Exclusive Message
1. Use
or
to move the cursor to the location of the
system exclusive message that you want to edit.
2. Press
.
The System Exclusive Edit window appears.
fig.19-027_50
Sequencer data
Location of the sequencer data (measure-beat-tick)
3. Press [F6] to switch the screen.
Each time you press [F6] you will switch between the two
screens.
3. Press
or
to move the cursor to the data that you
4. Press [F7 (Trk/Ch Select)] to move the cursor to “Track,”
and select the track or pattern whose sequencer data you
want to view/edit.
want to edit.
4. Turn the VALUE dial or press [INC]/[DEC] to edit the value.
If you want to add data between “F0:” and “:F7,” move the
cursor to that location and press [F3 (Insert)]. A value of “00”
will be inserted. Change this to the desired value.
To delete data, move the cursor to the relevant location and
press [F2 (Delete)].
TRK 1–TRK 16: The specified phrase track
TEMPO:
BEAT:
Tempo track
Beat track
PTN001–PTN100: The specified pattern (pattern mode only)
In order to make efficient use of screen space, display is
normally omitted for locations in which no sequencer data is
recorded.
For an explanation of each type of sequencer data, refer to
“Sequencer Data Handled by a Phrase Track/Pattern,”
below.
192
Editing Songs
5. When you are finished editing, press [F8 (Exec)] to finalize
the values of the system exclusive message.
To cancel, press [F7 (Cancel)].
Channel Aftertouch
This MIDI message applies aftertouch to an entire MIDI channel.
Value specifies the depth of the aftertouch.
System Exclusive messages
If you decide to discard the changes you made to the system
exclusive message and return to the Microscope screen, press
[EXIT].
These are MIDI messages used to make settings unique to the
Fantom-X, such as sound settings. Input the data between “F0” and
“F7.”
•
•
In the case of a Roland type IV system exclusive message, the
checksum can be calculated automatically when you finalize the
values. If you do not want to calculate the checksum
For details on system exclusive messages, refer to “MIDI
automatically, press [F1 (Auto Sum)] to turn off the light.
When you press [F4 (Test)], the system exclusive message you
are editing will be transmitted from the MIDI OUT connector.
Implementation” (p. 298).
Tune Request
This MIDI message causes an analog synthesizer to tune itself.
Ptn (Pattern Call message)
This is data that causes a pattern to play back. Use the Number
parameter to select the pattern number. The pattern name is shown
in parentheses ( ), and the location at which the pattern will finish
playing is shown at the right of the “->” symbol.
Sequencer Data Handled by a
Phrase Track/Pattern
Phrase tracks or patterns can record the following nine types of
sequencer data. The recorded location (measure-beat-tick) is
displayed at the far left of each data item, and the MIDI channel
number is displayed beside it.
If the pattern called by the Pattern Call message extends beyond
the last measure of the song, the pattern playback will be
interrupted at that point.
Note
•
Only one pattern can be played at a time by Pattern Call
messages in a given phrase track. This means that if a Pattern
Call message is recorded at a location before the previous
pattern has finished playing, the pattern that was playing will
be interrupted, and the next pattern will begin playing. If more
than one Pattern Call message is recorded at the same location,
the message that is displayed last in the Microscope screen will
be played.
These MIDI messages represent notes. From the left, the parameters
are Note Number, which indicates the name of the note; On Velocity,
which specifies the force with which the key is pressed; Duration,
which specifies the duration of the note; and Off Velocity, which
determines the speed with which the key is released.
Program Change
This MIDI message switches sounds. The program number (PC#)
selects the sound.
•
Although it is possible to record Pattern Call messages in a
pattern, they will not be played. If you want to place the data of
another pattern into a pattern, use Track Edit to copy the data.
Control Change
This MIDI message applies various effects such as modulation or
expression. The controller number (CC#) selects the function, and
Value specifies the depth of the effect.
Data Handled by the Tempo Track
The Tempo track records tempo data for the song.
Tempo Change
For the function corresponding to each controller number, refer
This data specifies the tempo. The song will play back according to
the “Value” of the tempo change.
to “MIDI Implementation” (p. 298).
Pitch Bend
The value displayed in “ =**” is the tempo at which the song will
actually play (the playback tempo), and can be changed only in the
PLAY screen of each mode.
This MIDI message changes the pitch. The value specifies the
amount of pitch change.
If the tempo change value differs from the playback tempo, this
means that the playback tempo has been changed temporarily. In
other words, since the tempo change value has not been rewritten,
this setting will be lost if you select another song or turn off the
power. If you want to play back at this tempo the next time as well,
you must re-save the song to disk. This will rewrite the tempo
change value so that it matches the playback tempo.
Polyphonic Aftertouch
This MIDI messages applies aftertouch to an individual note. From
the left, the parameters are Note Number which specifies the key,
and Value which specifies the depth of the aftertouch.
193
Editing Songs
4. Press [INC] or [DEC] to switch.
The message will be displayed if the check mark (✔) is
assigned, and will not be displayed if the check mark is
removed.
Data Handled by the Beat Track
The Beat track records time signature data.
Beat Change
If you press [F6 (ALL OFF)], none of the sequencer data will be
displayed.
This specifies the time signature (Beat).
If you press [F7 (ALL ON)], all of the sequencer data will be
displayed.
Viewing Sequencer Data (View)
5. Press [F8 (Close)] to close the View Select window.
Since a phrase track or pattern contains a large amount of sequencer
data, the display may be cluttered and difficult to read. For this
reason, the Fantom-X lets you specify the type(s) of sequencer data
that will be displayed in the screen. This is convenient when you
want to check or edit only a specific type of sequencer data.
track or pattern.
1. Access the Microscope screen.
2. Press [F8 (View)].
The View Select window appears.
fig.19-028_50
For details on the sequencer data that can be inserted, refer to
“Sequencer Data Handled by a Phrase Track/Pattern” (p.
193).
1. Access the Microscope screen for the track or pattern into
which you want to insert sequencer data (p. 192).
2. Press [F1 (CREATE)].
The Create Event window appears.
fig.19-029_50
3. Use
or
to select the sequencer data that will be
displayed.
Note:
Note messages. These MIDI messages
represent notes.
Poly Aftertouch:
Polyphonic aftertouch. These MIDI
messages apply aftertouch to individual
keys.
Control Change:
Control change messages. These MIDI
messages apply various effects such as
modulation or expression.
3. Press
inserted.
or
to select the sequencer data that will be
Program Change:
Program change messages. These MIDI
messages select sounds.
4. Press [F8 (Exec)] to insert the performance data.
5. The sequencer data that was inserted will have the default
Channel Aftertouch: Channel aftertouch messages. These
MIDI messages apply aftertouch to an
entire MIDI channel.
parameter values, so edit them as necessary.
If you are not satisfied with the results of executing this
operation, from the Song Edit screen, press [MENU], and from
the Menu window that appears, select “Undo/Redo” to return
to the state prior to execution (Undo/Redo).After executing
Undo, you can use Redo to revert to the previous state. After
executing Undo, you can execute Redo by performing the above
procedure the above procedure once again.
Pitch Bend:
Pitch bend messages. These MIDI
messages change the pitch.
System Exclusive: System exclusive messages. These MIDI
messages are used to make settings
unique to the Fantom-X, such as those
for the sound parameters.
Pattern Call:
Pattern Call messages. This data causes
a pattern to play back.
Tune Request:
This MIDI Message cause an analog
synthesizer to tune it self.
194
Editing Songs
4. Press
or
to move the cursor to the “measure,”
“beat,” and “tick” fields.
Erasing Sequencer Data (Erase)
5. Turn the VALUE dial or Press [INC]/[DEC] to specify the
If desired, you can erase just an individual event of sequencer data.
from the tempo track or beat track.
location to which the data will be moved.
6. Press [F8 (Exec)] to move the sequencer data.
If you are not satisfied with the results of executing this
operation, from the Song Edit screen, press [MENU], and from
the Menu window that appears, select “Undo/Redo” to return
to the state prior to execution (Undo).After executing Undo, you
can use Redo to revert to the previous state. After executing
Undo, you can execute Redo by performing the above
procedure the above procedure once again.
It is not possible to erase the tempo change located at the
beginning of the tempo track, the beat change located at the
beginning of the beat track, or the pattern beat.
1. Access the Microscope screen for the track or pattern from
which you want to erase sequencer data (p. 192).
2. Press
or
to move the cursor to the sequencer data
that you want to erase.
Copying Sequencer Data (Copy)
To erase a multiple consecutive data, hold down [SHIFT] and
Sequencer data can be copied to the desired location. This is
convenient when you want to use the same sequencer data at
multiple locations. Data recorded in the tempo track or beat track
can also be copied in this way.
press
or
to select the sequencer data.
3. Press [F2 (Erase)] to erase the sequencer data.
If you are not satisfied with the results of executing this
operation, from the Song Edit screen, press [MENU], and from
the Menu window that appears, select “Undo/Redo” to return
to the state prior to execution (Undo/Redo).After executing
Undo, you can use Redo to revert to the previous state. After
executing Undo, you can execute Redo by performing the above
procedure the above procedure once again.
1. Access the Microscope screen for the track or pattern
whose sequencer data you want to copy (p. 192).
2. Press
or
to move the cursor to the sequencer data
that you want to copy
3. Press [F3 (COPY)].
4. Press [F4 (PLACE)].
The Place Event window appears.
fig.19-031_50
Moving Sequencer Data (Move)
You can move an individual item of sequencer data to a different
moved in the same way.
5. Press
or
to move the cursor to the “measure,”
“beat,” and “tick” fields.
It is not possible to move the tempo change located at the
beginning of the tempo track, the beat change and key signature
located at the beginning of the beat track, or the pattern beat.
6. Turn the VALUE dial or Press [INC]/[DEC] to specify the
location to which the data will be copied.
1. Access the Microscope screen for the track or pattern
7. Press [F8 (Exec)] to paste the data.
whose data you want to move (p. 192).
2. Press
or
to move the cursor to the sequencer data
If you are not satisfied with the results of executing this
operation, from the Song Edit screen, press [MENU], and from
the Menu window that appears, select “Undo/Redo” to return
to the state prior to execution (Undo/Redo).After executing
Undo, you can use Redo to revert to the previous state. After
executing Undo, you can execute Redo by performing the above
procedure the above procedure once again.
that you want to move.
To move a multiple consecutive data, hold down [SHIFT] and
press
or
to select the sequencer data.
3. Press [F3 (Move)].
The Move Event window appears.
fig.19-030_50
195
Editing Songs
Through the Song
Changing the Time Signature
Midway Through the Song
If you want to change the tempo midway through the song, insert a
new Tempo Change into the tempo track. The song will play back at
inserted. However, if you want to create gradual tempo changes
such as ritardando or accelerando, it is more convenient to use
Tempo Recording (p. 171).
If you want to change the time signature midway through the song,
signature for measures following the inserted beat change.
It is not possible to change the time signature in the middle of a
measure. You must change the time signature at the beginning
of a measure.
If you want to make the entire song faster or slower, modify the
playback tempo in one of the PLAY screens.
•
If the time signature of the beat track differs from the pattern
beat (p. 169) setting, the setting of the beat track will be used.
For example, if a pattern with a 3/4 time signature is assigned
in the middle of a 4/4 song, the pattern will not be aligned
correctly with the other phrase tracks. To make this play back
measure that follows the last measure of the pattern.
1. Access the Microscope screen (p. 192).Press [F7 (Trk/Ch
Select)], select “TEMPO” to “Track.”
2. Press [F1 (Create)].
The Create Event window appears.
fig.19-032_50
If you want to change the time signature from a measure that is
later than the end of the song, or if it is ok to change the length
of the song, you will find it more convenient to use the track
edit Insert Measure function (p. 185).
1. Access the Microscope screen (p. 192).Press [F7 (Trk/Ch
Select)], select “BEAT” to “Track.”
2. Press [F1 (Create)].
The Create Event window appears.
fig.19-033_50
3. Press [F8 (Exec)].
The Create Position window will appear.
4. Use
or
to move the cursor to the “measure,” “beat,”
and “tick” fields,
5. Turn the VALUE dial or Press [INC]/[DEC] to specify the
location at which the data will be inserted.
6. Press [F8 (Exec)] to insert the tempo change data.
7. The inserted tempo change will have the default value, so
3. Press [F8 (Exec)].
modify it as necessary.
The Create Position window will appear.
If you are not satisfied with the results of executing this
operation, from the Song Edit screen, press [MENU], and from
the Menu window that appears, select “Undo/Redo” to return
to the state prior to execution (Undo/Redo).After executing
Undo, you can use Redo to revert to the previous state. After
executing Undo, you can execute Redo by performing the above
procedure the above procedure once again.
4. Use
or
to move the cursor to the “measure,” “beat,”
and “tick” fields,
5. Turn the VALUE dial or Press [INC]/[DEC] to specify the
location at which the data will be inserted.
6. Press [F8 (OK)] to insert the beat change data.
7. The inserted beat change will have the default values, so
edit it as necessary.
If you are not satisfied with the results of executing this
operation, from the Song Edit screen, press [MENU], and from
the Menu window that appears, select “Undo/Redo” to return
to the state prior to execution (Undo/Redo).After executing
Undo, you can use Redo to revert to the previous state. After
executing Undo, you can execute Redo by performing the above
procedure the above procedure once again.
196
Editing Songs
Assigning a Name to a
Song (Song Name)
You can assign a song name to a song, or edit the song name. This
song name is independent of the file name assigned when saving a
song to user memory or memory card. Although you are not
required to assign a song name, you can assign one using up to 15
memo that will help you organize your songs.
Some commercially available Standard MIDI Files contain
copyright data. It is not possible to assign or modify the song
name for such songs.
1. Access the Song Edit screen, and then load the song
whose song name you want to assign (p. 177).
2. Press [F4 (Song Name)].
The Song Name screen appears.
fig.19-034_50
3. Assign a song name to the song. (up to 15 characters).
For details on assigning names, refer to “Assigning a Name”
(p. 36)
4. After you have assigned a name, press [Write].
If you decide to cancel, press [F7 (Cancel)].
197
Songs you record are initially held in Temporary Area. A song in
Temporary Area will be lost when you turn off the power or when
Data saved together with a song
you load a different song. If you want to keep the song, you must
save it to user memory or a memory card.
The performances, patches, and system setup you are using at that
Conversely in order to edit a song (p. 177), you must first load it into
time are saved together with the sequencer data.
Temporary Area.
The performances and patches saved along with the song are special
data used to reproduce the song; they are separate from the user
performances and user patches.
Saving a Song (Save)
*
*
If you want to use these performances or patches in a different song, or
without reference to a song, you’ll need to save them in the user area.
Basic Procedure
Mastering Effect settings are not included in the data saved with a
song. In order to completely reproduce the way in which the song
played back at the time it was saved, you will also need to check the
mastering settings.
1. Press [SAVE/LOAD].
The Save/Load Menu screen will appear.
fig.20-001_50
Parameters included in System Setup
•
Sound generator mode (Patch/Performance) and Patch/
Performance numbers
•
•
MFX 1–3/Chorus/Reverb switch
The selection of whether Patch mode chorus/reverb will use the
sound settings of the keyboard or of the pads
Transpose and Octave Shift values
•
•
•
The selection of the function controlled by D Beam
All settings in the Arpeggio screen and the Arpeggio on/off
setting
2. Press [F1 (Save S+S)]–[F3 (Save AllSmpl)] to select the
•
•
•
All settings in the Rhythm Group screen and the Rhythm
Pattern on/off setting
format in which you want to save the song.
Save Song+Samples:
The Temporary Song will be saved
in MRC Pro song format. A file
name extension of “.SVQ” will
automatically be added to the song.
The song will include the data of the
temporary area. All samples in
sample memory will be saved.
The Temporary Song will be saved
in MRC Pro song format. A filename
extension of “.SVQ” will
All settings in the Chord Memory screen and the Chord
Memory on/off setting
The selection of whether the bender, modulation, D Beam, and
knobs will be used with the keyboard or with the pads
Save Song:
automatically be added. The song
will include the data of the
temporary area.
Save all Samples:
All samples in sample memory will
be saved.
Parameter
Function
Song
ALL-
buttons
Samples
Save Song+Samples
Save Song
Save all Samples
[F1]
[F2]
[F3]
✔
✔
–
✔
–
✔
✔: Saving is possible
198
Saving/Loading a song (Save/Load)
Saving a Song with Samples
(Save Song+Samples)
File Name and Song Name
MRC Pro songs and Standard MIDI Files have a song name in
addition to a file name. The file name is used to distinguish
between files, and must be assigned when you save a file. It will
help you manage songs if you use the file name to distinguish
between types of song, and use the song name to assign a title.
Use the Song Name screen to assign a song name (p. 197).
Here’s how to save the Temporary Song along with all samples in
sample memory and the current sound generator settings.
1. From the Save/Load Menu screen, press [F1 (Save S+S)].
The Song File Name screen will appear.
fig.20-002_50
If you assign a file name that is identical to a file name already
message of “File “****” Already Exists! Over Write OK?” will
appear, asking you for confirmation. If it is OK to overwrite the
existing file, press [F8 (OK)]. If you decide to cancel the Save
If you attempt to save data on a memory that was not formatted
by the Fantom-X, a message of “Unformatted!” (memory card
has not been formatted) will appear. Please format the memory
card on the Fantom-X (p. 224).
2. Assign a file name to the song (up to 8 characters). A file
name extension of “.SVQ” will automatically be added to
the song.
For details on assigning names, refer to “Assigning a Name”
Saving a Song (Save Song)
(p. 36)
Here’s how to save the Temporary Song with the current sound
generator settings.
Song file names may not contain lowercase characters or certain
symbols (“ * + , . / : ; < = > ? [ \ ] |).
3. After you have assigned a name, press [F8 (Write)].
The Song File Name screen will appear.
fig.20-003_50
2. Assign a file name to the song (up to 8 characters). A file
name extension of “.SVQ” will automatically be added to
the song.
For details on assigning names, refer to “Assigning a Name”
(p. 36)
Song file names may not contain lowercase characters or certain
symbols (“ * + , . / : ; < = > ? [ \ ] |).
3. After you have assigned a name, press [F8 (Write)].
4. Press [F1 (User)] (User memory) or [F2 (Card)] (Memory
card) to select the location where you want to save the
song.
fig.20-004_50
If you decide to cancel, press [F7 (Cancel)].
5. Press [F8 (Save)].
A screen will ask you for confirmation.
6. Press [F8 (Exec)] to execute.
*
When samples are saved, they will automatically be overwritten onto
the same numbers of the same bank in the sample list. The samples will
be saved with a file name of “smpl****.wav (aif)” in the “Roland/Smpl
folder” of user memory or memory card. The number of the file name
will correspond to the number in the sample list.
199
Saving/Loading a song (Save/Load)
4. Press [F1 (User)] (User memory) or [F2 (Card)] (Memory
card) to select the location where you want to save the
song.
Saving a Song as an SMF
File (Save as SMF)
If you decide to cancel, press [F7 (Cancel)].
5. Press [F8 (Save)].
A screen will ask you for confirmation.
If you decide to cancel, press [F7 (Cancel)].
1. From the Save/Load Menu screen, press [F4 (Save as
SMF)].
6. Press [F8 (Exec)] to execute.
The Save As SMF screen will appear.
2. Assign a file name to the song.
Even if you save your song using “Save,” it cannot be played
back by a sequencer other than the Fantom-X’s own sequencer.
If you want to play back your song on a sequencer other than
the Fantom-X’s sequencer, you must save the song as an SMF
file. Also at this time, you must record the appropriate bank
selects and program numbers so that the correct sounds will be
played.
For details on assigning names, refer to “Assigning a Name”
(p. 36)
Song file names may not contain lowercase characters or certain
symbols (“ * + , . / : ; < = > ? [ \ ] |).
The performance settings will be saved in the state they were in
when you executed Save. This means that if the performance
changed during the song, and you saved the song in that state
when you finished recording, the state in which recording
began will not be saved. In other words when you play back the
song from the beginning, it will begin with the performance
sounds that were being used at the point where you saved. If
you change the performance during the song, you must use the
Microscope screen etc. to insert the appropriate bank select and
program number at the beginning of the song to specify the
performance with which you began recording it (p. 192).
3. After you have assigned a name, press [F8 (Write)].
4. Press either [F1 (User)] (user memory) or [F2 (Card)]
(memory card) to select the save-destination.
fig.20-005_50
Saving Samples (Save All Samples)
Here’s how to save all samples from sample memory into user
memory or a memory card.
5. Press either [F5 (Format 0)] or [F6 (Format 1)] to select the
format for saving.
Format 0: Convert the song to a Format 0 Standard MIDI File
(all performance data is saved in one phrase track)
and save it to disk. An extension of “.MID” will be
added automatically.
1. From the Save/Load Menu screen, press [F3 (Save
AllSmpl)].
A screen will ask you for confirmation.
If you decide to cancel, press [F7 (Cancel)].
Format 1: Convert the song to a Format 1 Standard MIDI File
(performance data is saved in more than one phrase
track) and save it to disk. An extension of “.MID”
will be added automatically.
2. Press [F8 (Exec)] to execute.
*
When samples are saved, they will automatically be overwritten onto
the same number of the same bank in the sample list.
6. Press [F8 (Save As SMF)].
A screen will ask for confirmation.
7. Press [F8 (Exec)] to execute.
*
(Format 0)” or “Save SMF (Format 1).” The two cannot be
distinguished in this way.
When you save data in SMF format, the sound setup data will
not be saved. In order to ensure that the correct sounds are
played, you must record the appropriate bank select and
program numbers (p. 192).
200
Saving/Loading a song (Save/Load)
Loading a Song with Samples
(Load Song+Samples)
If you assign a file name that is identical to one already existing
in the user area or the memory card, a message of “File “****”
Already Exists! Over Write OK?” will ask you for confirmation
when you attempt to save the file. If it is OK to overwrite the
existing file, press [F8 (OK)]. If you decide not to save the file,
press [F7 (Cancel)].
Here’s how you can load a song into Temporary Area and all
samples into sample memory.
1. From the Save /Load Menu screen, press [F5 (Load S+S)].
fig.20-006_50
If you attempt to save data to a memory card that was not
formatted on the Fantom-X, a message of “Unformatted!” (the
memory card has not been formatted) will appear. Please
format the memory card on the Fantom-X (p. 224).
Loading a Song (Load)
Basic Procedure
*
By pressing
or
in the above screen, you can specify the type of
1. Press [SAVE/LOAD].
songs that will be displayed. If various types of songs are saved
together, it will be easier to find the desired song if you restrict the
displayed file types in this way.
The Save/Load Menu screen will appear.
fig.20-001_50
•
•
•
•
VIEW ALL: all songs will be displayed
SVQ ONLY: only SVQ files will be displayed
SMF: only Standard MIDI Files will be displayed
MRC: only MRC files will be displayed
2. Press either [F1 (User)] or [F2 (Card)] to select the load-
destination, and use to select a song.
If you decide to cancel, press [F7 (Cancel)].
3. Press [F8 (Load)].
A screen will ask you for confirmation.
2. Press [F5 (Load S+S)]–[F7 (Load AllSmpl)] to select the
format in which you want to load the song.
Load Song+Samples: Loads a song into Temporary Area. All
samples will be loaded into sample
4. Press [F8 (Exec)] to execute.
memory.
Load Song:
Loads a song into Temporary Area.
Load all Samples:
Loads all samples into sample memory.
Parameter
Function
buttons
Song
ALL-
Samples
Load Song+Samples
Load Song
Load all Samples
[F5]
[F6]
[F7]
✔
✔
–
✔
–
✔
✔: Loading is possible
*
A song saved on the Fantom-X (.SVQ) also includes the data for the
sound generator’s temporary area.
201
Saving/Loading a song (Save/Load)
Loading a song (Load Song)
Importing a WAV/AIFF File
(Import Audio)
Here’s how you can load a song into Temporary Area.
Here’s how you can load an audio file (WAV/AIFF) into sample
1. From the Save/Load Menu screen, press [F6 (Load Song)].
fig.20-007_50
memory as a sample.
In order for audio data to be imported, the data (WAV/AIFF)
must be in the following location of user memory or a memory
card.
/TMP/AUDIO_IMPORT folder
*
“/” indicates a directory level.
Use USB storage mode (p. 219) to place the files from the
computer in the above location. Alternatively, you can place the
data in a memory card and use a card reader.
*
By pressing
or
in the above screen, you can specify the type of
songs that will be displayed. If various types of songs are saved
together, it will be easier to find the desired song if you restrict the
displayed file types in this way.
1. Press [Save/Load].
•
•
•
•
VIEW ALL: all songs will be displayed
2. Press [F8 (Import Audio)].
SVQ ONLY: only SVQ files will be displayed
SMF: only Standard MIDI Files will be displayed
MRC: only MRC files will be displayed
3. Press [F1 (User)] or [F2 (Card)] to select the import-
destination area.
[F1 (User)]: Import from user memory.
2. Press either [F1 (User)] or [F2 (Card)] to select the load-
destination, and use to select a song.
[F2 (CARD)]: Import from a memory card.
4. Press
or
, then select the file that you want to
If you decide to cancel, press [F7 (Cancel)].
import.
3. Press [F8 (Load)].
If you want to select two or more samples, press [F5 (Mark Set)]
to add a check mark (✔) to the files that you want to select. To
remove the check mark, press [F4 (Mark Clear)].
A screen will ask you for confirmation.
4. Press [F8 (Exec)] to execute.
If you hold down [SHIFT] and press [F5 (Mark Set All)], a check
mark will be added to all files of the selected bank. If you hold
down [SHIFT] and press [F4 (Mark Clr All)], check marks will
be removed from all selected files.
Loading Samples (Load All
Samples)
5. Press [F8 (Import)].
Here’s how you can load all samples from user memory or memory
card into sample memory.
A message will ask you for confirmation.
*
To cancel, press [F7 (Cancel)].
1. From the Save/Load Menu screen, press [F7 (Load
AllSmpl)].
6. Press [F8 (Exec)].
The file will be imported, and the Sample List screen will
appear.
A screen will ask you for confirmation.
If you decide to cancel, press [F7 (Cancel)].
*
To cancel, press [F7 (Cancel)].
2. Press [F8 (Exec)] to execute.
The imported file will be added to the sample list as a sample.
This sample is temporary, and will be lost when you turn off the
power. If you want to keep it, press [WRITE] to save the data.
202
Playing a Phrase at the Touch of a Finger (RPS Function)
The RPS (Realtime Phrase Sequence) function lets you assign
patterns to the keyboard or Pad, and play a pattern by pressing a
Settings for the RPS Function
single note.
For example, a complex phrase that would be difficult to play live
You can assign a pattern to each note of the keyboard, and specify
can be assigned to a note of the keyboard, and played with one
how the pattern will be played. These settings are made
finger at the appropriate moment.
independently for each song, and will be saved when you save the
Since up to eight patterns can be playing at once, you can create
patterns for separate instruments such as drums, bass, and
keyboard, and combine them to create a new song. This performance
can also be recorded, allowing you to use it in a way similar to
song in MRC Pro song format.
In order to make RPS settings, you must first load a song into
Temporary Area.
phrase sampling.
fig.21-001.e
1. Holding down [SHIFT] and pressing [RPS].
The RPS Setup screen appears.
fig.21-002_50
Phrase track 16
Song
Phrase track 15
Phrase track 2
Phrase track 1
Pattern track
Pattern
1
Pattern
2
Pattern
99
Pattern
100
In this screen you can set various parameters related to the RPS
function.
2. Use [CURSOR] to move the cursor to each parameter, and
setting.
Before You Use the RPS
Pattern parameter, Playback Mode parameter, and Mute Group
parameter are set for each key. Although the Fantom-X6 has a
61-note keyboard and the Fantom-X7 has a 76-note keyboard,
you can also make settings for all keys in the range of E0 to G9.
Settings for the Trigger Quantize parameter and Velocity Sens
parameter are for the entire song.
Record a Pattern
Before you use the RPS function, you must record the desired phrase
in a pattern. For details on recording, refer to “Recording Your
Performance as You Play It (Realtime Recording)” (p. 170) or
“Inputting Data One Step at a Time (Step Recording)” (p. 174).
•
Trigger Quantize
This parameter specifies how pattern playback is to begin when
a key is pressed during song playback or recording.
Value
Only note messages should be recorded in a pattern. If a large
amount of MIDI data is recorded in a pattern, using RPS to play
back the pattern can cause notes to be delayed. MIDI messages
other than note messages should be recorded in a phrase track.
REAL:
The pattern will begin playing at the moment
you press the key.
BEAT:
If the song is being played or recorded, the
pattern will begin playing at the beginning of
the next beat if you press the key in the middle
of the beat.
MEASURE: If the song is being played or recorded, the
pattern will begin playing at the beginning of
the next measure if you press the key in the
middle of the measure.
203
Playing a Phrase at the Touch of a Finger (RPS Function)
•
Velocity Sens (Velocity Sensitivity)
Turn this “OFF” if you want the pattern to play back at the
volume at which it was recorded.
Using the RPS Function
While You Perform
Normally, when playing patterns individually, the song containing
the patterns must be loaded into Temporary Area. However, when
using the RPS function to play back patterns, you can use Quick
Play.
If you want to vary the pattern playback volume according to
the strength with which you pressed the key, select either
“LOW,” “MID,” or “HIGH.”
Value:
OFF, LOW, MID, HIGH
•
•
PAD Number
Specify the pad number to which the pattern is to be assigned.
You can also specify a pad directly by pressing it.
Keyboard Note
1. Make sure that the preparations for using the RPS function
have been made correctly.
Specify the key to which the pattern will be assigned. You can
also specify this by pressing a key on the keyboard.
KBD/PAD Pattern
2. Access the PLAY screen for the mode in which you want to
perform.
•
3. Press [RPS] so the button is lit.
Select the pattern number that will be assigned to the key/pad.
The name of the selected pattern will be displayed below the
pattern number.
The RPS function will be turned on, and you will be able to
perform using RPS.
fig.21-003
Select “OFF” for keys to which you do not want to assign a
pattern. If you select “STOP,” that key will be a Stop Trigger
key/pad that stops the currently playing patterns.
When assigning a number to a pad, simply press PAD and the
cursor will move to “Pattern.”
If you save the song in MRC Pro song format when the RPS
function is turned on, this state will also be saved. This means
that you will always be able to perform using RPS simply by
selecting that song.
Valid Settings:
STOP, OFF, PTN001–PTN100
•
KBD/PAD Playback Mode
Specify how the pattern will be played.
Value
4. Press [PLAY] to play back the song.
LOOP1:
The pattern will play back repeatedly as long as
the key is held down.
LOOP2:
The pattern will play back repeatedly. To stop
playback, press a Stop Trigger key or press the
same key once again.
You must play back the song if you want patterns to play back
in synchronization with the song, or if you want multiple
patterns to play in synchronization.
ONCE:
The pattern will play back once.
•
•
If the song is not playing, the pattern will begin playing the
instant you press the key, regardless of the Trigger Quantize
parameter setting.
•
KBD/PAD Mute Group
This function lets you prevent patterns of the same group from
sounding together. For example, a fill-in and bridge should
never be played at the same time, and to ensure that this does
not occur, you can set the fill-in and bridge to the same mute
group number.
The pattern will be played back according to the time signature
of the song (beat track). This means that if the phrase track
contains no sequencer data, the song will not play, and it will
not be possible to play back patterns in synchronization. In such
cases, you can insert several blank measures into a phrase track,
and play them as a loop.
Thirty-one mute groups can be specified. Select “OFF” if you do
not want to use a mute group for a pattern.
Value: OFF, 1–31
5. Press a key or pad to which a pattern is assigned, making
the pattern play.
3. When you are finished making settings, press [F8 (Exit)] to
If you want to stop playback midway through the pattern, press
the Stop Trigger key. Alternatively if the Playback Mode
parameter is set to “LOOP2,” you can stop the pattern playback
by pressing the same key once again.
return to the Song Play screen.
Up to eight patterns can play back simultaneously.
204
Playing a Phrase at the Touch of a Finger (RPS Function)
Recording a Performance Using
the RPS Function
A performance that uses the RPS function can be recorded in real
time in the same way as a conventional performance. This provides
an easy way to remix patterns and create a song.
If you use the RPS function during realtime recording, the
pattern performance will be recorded just as it occurs.
1. Make sure that preparations for the RPS function have been
made correctly.
2. Access the PLAY screen for the mode in which you want to
perform.
3. Press [RPS] to turn on the RPS function.
4. Press [REC].
The [REC] indicator will blink, and the Realtime Rec Standby
window appears. In this window you can make various settings
for realtime recording.
fig.18-003_50
5. Specify how recording is to take place.
For details on these settings, refer to “Recording Your
Performance as You Play It (Realtime Recording)” (p. 170).
6. Press [PLAY].
The Recording Standby window will close, the [REC] indicator
will change from blinking to lit, and recording will begin.
7. Press a key or pad to which a pattern is assigned.
The assigned patterns will be played back according to the keys
or pads you press, and their performances will be recorded.
If the Count In parameter is set to “WAIT NOTE” in the
Recording Standby window, recording will not begin even if
you press a key that is assigned to a pattern, or a key that is
assigned as a Stop Trigger key.
8. When you are finished recording, press [STOP].
The [REC] indicator will go dark.
205
This section explains the procedures and settings for applying effects
in each mode.
4. Press [F8 (Close)] to return to the previous screen.
When you return to the Play screen, the settings will be
displayed in the following area.
fig.22-003
For details of the Fantom-X’s onboard effects, refer to “About
the Onboard Effects” (p. 29).
Turning Effects On and Off
The Fantom-X’s onboard effects can be turned on/off as a whole.
Turn these settings OFF when you wish to listen to the unprocessed
sound as you create a sound, or when you wish to use external
effects processors instead of the built-in effects.
Effect ON/OFF settings are global Fantom-X settings. These
settings cannot be made for each Patch or Performance
individually.
Making Effect Settings
1. In the appropriate mode, select the sound to which you
1. Press [EFFECTS] to access the Effects screen.
want to apply effects.
fig.22-001_50
2. Press [EFFECTS] to access the Effects screen.
3. Press one of the [F1 (Routing)]–-[F7 (Mastering)] tabs to
select the effect that you want to edit.
*
You can also do this by pressing [MENU] from the Effect screen.
fig.22-001_50
2. Press [F8 (Effect Sw)].
The Effect Sw window appears.
fig.22-002_50
In Performance mode, each time you press the [F3 (MFX1/2/3)]
button, it will alternate between 1, 2, and 3. In Patch mode, each
time you press the [F3 (MFX1/2)] button, it will alternate
between 1 and 2.
4. Use [CURSOR] to move the cursor to the parameter you
wish to modify.
5. Turn the VALUE dial or press [INC]/[DEC] to get the value
you want.
3. Use [F1 (MFX1)]–[F6 (MASTER)] to turn each effect switch
on/off. The switch will turn on/off each time you press the
button.
6. Press [EXIT] to return to the previous screen.
*
You cannot edit the effect settings for patches of the GM group.
206
Adding Effects
Signal Flow Diagram and
Applying Effects in Patch
Mode
Parameters
fig.22-005
In Patch mode you can use two multi-effects (MFX1, MFX2), one
chorus, and one reverb. Multi-effect 1 (MFX1) will operate according
to the effect settings of the patch or rhythm set assigned to the
Keyboard part. Multi-effect 2 (MFX2) will operate according to the
effect settings of the patch or rhythm set assigned to the Pad part.
Chorus and reverb will both operate according to the settings of the
patch or rhythm set assigned to either the Keyboard part or the Pad
part.
1
19
20
2
3
8
11
7
9
10
13
4
12
16
15
14
Specifying How the Sound Will Be
Output (Routing)
5
6
18
17
Here you can make overall settings for effects, and the output
destination and level of each signal.
fig.22-004_50
1
Part Select
Select the part for which you want to make settings.
Value: KBD, PAD
Select the tone for which you want to make settings.
Value: 1–4
*
This parameter is Rhythm Key Select when a rhythm set is being
selected. You can select the rhythm tone (A0–C8) for which you want
to make settings.
For details on these settings, refer to “Making Effect Settings”
2
Patch Output Assign
(p. 206).
Specifies how the direct sound of each patch will be output.
Value:
MFX:
Output in stereo through multi-effects. You can also
apply chorus or reverb to the sound that passes
through multi-effects.
A, B:
1–4:
Output to the OUTPUT A (MIX) jack or OUTPUT B
jack in stereo without passing through multi-effects.
Output to the INDIVIDUAL 1–4 jacks in mono
without passing through multi-effects.
TONE:
Outputs according to the settings for each tone.
If you've made settings so that sounds are separately routed to
the INDIVIDUAL 1 jack and INDIVIDUAL 2 jack, but no plug
is actually inserted in the INDIVIDUAL 2 jack, the sounds
routed to INDIVIDUAL 1 and INDIVIDUAL 2 will be mixed
and output from the INDIVIDUAL 1 jack.
•
This parameter is Rhythm Output Assign when a rhythm set is
being selected. You can specifies for each rhythm set how the
direct sound will be output.
If the Mix/Parallel parameter is set to “MIX,” all sounds are
output from the OUTPUT A (MIX) jacks in stereo (p. 230).
207
Adding Effects
3
7
8
Tone Output Assign
MFX Type (Multi-Effects Type)
Specifies how the direct sound of each tone will be output.
Use this parameter to select from among the 78 available multi-
effects. For details on multi-effects parameters, refer to “Multi-
Effects Parameter” (p. 270).
Value:
MFX:
Output in stereo through multi-effects. You can also
apply chorus or reverb to the sound that passes
through multi-effects.
Value: 0 (Through)–78
MFX Output Level (Multi-Effects Output
A, B:
1–4:
Output to the OUTPUT A (MIX) jack or OUTPUT B
jack in stereo without passing through multi-effects.
Output to the INDIVIDUAL 1–4 jacks in mono
without passing through multi-effects.
Level)
Adjusts the volume of the sound that has passed through the
multi-effects.
Value: 0–127
2
If the Patch Output Assign (
) is set to anything other than
9
MFX Chorus Send Level (Multi-Effects
“TONE,” these settings will be ignored.
Chorus Send Level)
•
•
When the Structure Type parameter has a setting of Type “2”–
”10,” the outputs of tones 1 and 2 will be combined with tone 2,
and the outputs of tones 3 and 4 will be combined with tone 4.
For this reason, tone 1 will follow the settings of tone 2, and
tone 3 will follow the settings of tone 4 (p. 63).
Adjusts the amount of chorus for the sound that passes through
multi-effects. If you don’t want to add the Chorus effect, set it to
“0.”
Value: 0–127
If you've made settings so that sounds are separately routed to
the INDIVIDUAL 1 jack and INDIVIDUAL 2 jack, but no plug
is actually inserted in the INDIVIDUAL 2 jack, the sounds
routed to INDIVIDUAL 1 and INDIVIDUAL 2 will be mixed
and output from the INDIVIDUAL 1 jack.
10
MFX Reverb Send Level (Multi-Effects
Reverb Send Level)
Adjusts the amount of reverb for the sound that passes through
multi-effects. If you don’t want to add the Reverb effect, set it to
“0.”
Value: 0–127
If the Mix/Parallel parameter is set to “MIX,” all sounds are
output from the OUTPUT A (MIX) jacks in stereo (p. 230).
11
MFX Output Assign (Multi-Effects Output
Assign)
If you've set Tone Out Assign to “MFX,” set the MFX Output
Assign parameter ( 11 ) to specify the output destination of the
sound that has passed through the multi-effects.
Adjusts the output destination of the sound that has passed
through the multi-effects.
Value
•
•
Chorus and reverb are output in mono at all times.
A: Output to the OUTPUT A (MIX) jacks in stereo.
B: Output to the OUTPUT B jacks in stereo.
The output destination of the signal after passing through the
13
chorus is set with the Chorus Output Select (
15
) and the
Chorus Output Assign (
).
If the Mix/Parallel parameter is set to “MIX,” all sounds are
output from the OUTPUT A (MIX) jacks in stereo (p. 230).
•
The output destination of the signal after passing through the
18
reverb is set with the Reverb Output Assign (
).
12
Chorus Type
4
Selects either chorus or delay.
Tone Output Level
Value
Set the level of the signal that is sent to the output destination
0 (Off):
Neither chorus or delay is used.
2
3
specified by Output Assign (
Value: 0–127
,
).
1 (Chorus):Chorus is used.
2 (Delay): Delay is used.
3 (GM2 Chorus):General MIDI 2 chorus
5
6
Tone Chorus Send Level
Sets the level of the signal sent to chorus for each tone.
Value: 0–127
Tone Reverb Send Level
Sets the level of the signal sent to reverb for each tone.
Value: 0–127
208
Adding Effects
13
18
Chorus Output Select
Reverb Output Assign
Specifies how the sound routed through chorus will be output.
Specifies how the sound routed through reverb will be output.
Value
Value
MAIN:
REV:
M+R:
Output to the OUTPUT jacks in stereo.
Output to reverb in mono.
A: Output to the OUTPUT A (MIX) jacks in stereo.
B: Output to the OUTPUT B jacks in stereo.
Output to the OUTPUT jacks in stereo, and to reverb
in mono.
If the Mix/Parallel parameter is set to “MIX,” all sounds are
output from the OUTPUT A (MIX) jacks in stereo (p. 230).
When set to “MAIN” or “M+R,” the OUTPUT jack from which
19
20
Chorus Source
15
the sound is output is set in Chorus Output Assign (
).
Selects chorus parameter settings. If you want to use the
settings of the patch or rhythm set assigned to the Keyboard
part, select “KBD.” If you want to use the settings of the patch
or rhythm set assigned to the Pad part, select “PAD.”
Value: KBD, PAD
14
15
Chorus Level
Adjusts the volume of the sound that has passed through
chorus.
Value: 0–127
Reverb Source
Chorus Output Assign
Selects reverb parameter settings. If you want to use the settings
of the patch or rhythm set assigned to the Keyboard part, select
“KBD.” If you want to use the settings of the patch or rhythm
set assigned to the Pad part, select “PAD.”
Selects the pair of OUTPUT jacks to which the chorus sound is
13
routed when Chorus Output Select (
) is set to “MAIN” or
“M+R.”
Value
Value: KBD, PAD
A: Output to the OUTPUT A (MIX) jacks in stereo.
B: Output to the OUTPUT B jacks in stereo.
13
When Chorus Output Select (
will have no effect.
) is set to “REV,” this setting
16
Reverb Type
Selects the type of reverb.
Value
0 (Off):
Reverb is not used.
1 (Reverb):
2 (SRV Room):
Normal reverb
This reverb simulates typical room acoustic
reflections.
3 (SRV Hall):
4 (SRV Plate):
This reverb simulates typical concert hall
acoustic reflections.
This reverb simulates a reverb plate, a
popular type of artificial reverb unit that
derives its sound from the vibration of a
metallic plate. You can also achieve unusual
metallic-sounding reverbs using “SRV
Plate.”
5 (GM2 Reverb): General MIDI 2 reverb
17
Reverb Level
Adjusts the volume of the sound that has passed through
reverb.
Value: 0–127
209
Adding Effects
2
Part Output Assign
Applying Effects in
Performance Mode
In Performance mode you can use three multi-effects (MFX1, MFX2,
MFX3), one chorus, and one reverb. For each of the three multi-
effects, the chorus, and the reverb, you can specify whether it will
operate according to the effect settings of the performance, or
according to the effect settings of the patch or rhythm set assigned to
the part you specify. The three multi-effects can be used
Specifies for each part how the direct sound will be output.
Value
MFX:
Output in stereo through multi-effects. You can also
apply chorus or reverb to the sound that passes
through multi-effects.
A, B:
1–4:
Output to the OUTPUT A (MIX) jack or OUTPUT B
jack in stereo without passing through multi-effects.
Output to the INDIVIDUAL 1–4 jacks in mono
without passing through multi-effects.
The part’s output destination is determined by the
settings of the patch or rhythm set assigned to the
part.
independently, or you can connect two or three of them in series.
PAT:
Specifying How the Sound Will Be
Output (Routing)
If you've made settings so that sounds are separately routed to
the INDIVIDUAL 1 jack and INDIVIDUAL 2 jack, but no plug
is actually inserted in the INDIVIDUAL 2 jack, the sounds
routed to INDIVIDUAL 1 and INDIVIDUAL 2 will be mixed
and output from the INDIVIDUAL 1 jack.
Here you can make overall settings for effects, and the output
destination and level of each signal.
fig.22-006.eps_50
If the Mix/Parallel parameter is set to “MIX,” all sounds are
If you've set Tone Out Assign to “MFX,” set the MFX Output
Assign parameter ( 11 ) to specify the output destination of the
sound that has passed through the multi-effects.
•
•
Chorus and reverb are output in mono at all times.
The output destination of the signal after passing through the
For details on these settings, refer to “Making Effect Settings”
13
chorus is set with the Chorus Output Select (
15
) and the
(p. 206).
Chorus Output Assign (
The output destination of the signal after passing through the
18
).
•
Signal Flow Diagram and
Parameters
reverb is set with the reverb Output Assign (
).
3
Part Output MFX Select (Part Output Multi-
fig.22-007
Effects Select)
Of the three systems of multi-effects that can be used
simultaneously, specify which multi-effects will be used.
Value: 1–3(MFX-1–MFX-3)
19
1
21
20
11
11
11
8
8
9
2
3
10
10
10
7
7
7
9
4
Part Output Level
8
4
Set the level of the signal that is sent to the output destination
9
2
specified by Part Output Assign (
).
13
14
17
15
18
Value: 0–127
12
16
5
5
Part Chorus Send Level
6
Sets the level of the signal sent to chorus for each part.
Value: 0–127
1
Part Select
Select the part for which you want to make settings.
Value: 1–16
210
Adding Effects
6
12
13
Part Reverb Send Level
Chorus Type
Sets the level of the signal sent to reverb for each part.
Selects either chorus or delay.
Value: 0–127
Value
0 (Off):
Neither chorus or delay is used.
1 (Chorus):
2 (Delay):
Chorus is used.
Delay is used.
7
11
, settings can be made
For the following parameters
–
individually for three systems multi-effects (MFX1–MFX3).
3 (GM2 Chorus): General MIDI 2 chorus
7
8
MFX Type (Multi-Effects Type)
Chorus Output Select
Use this parameter to select from among the 78 available multi-
effects. For details on multi-effects parameters, refer to “Multi-
Effects Parameter” (p. 270).
Specifies how the sound routed through chorus will be output.
Value
MAIN:
REV:
M+R:
Output to the OUTPUT jacks in stereo.
Output to reverb in mono.
Value: 0 (Through)–78
Output to the OUTPUT jacks in stereo, and to reverb
in mono.
MFX Output Level (Multi-Effects Output
Level)
Adjusts the volume of the sound that has passed through the
When set to “MAIN” or “M+R,” the OUTPUT jack from which
multi-effects.
Value: 0–127
15
).
the sound is output is set in Chorus Output Assign (
9
MFX Chorus Send Level (Multi-Effects
14
15
Chorus Level
Chorus Send Level)
Adjusts the volume of the sound that has passed through
Adjusts the amount of chorus for the sound that passes through
chorus.
multi-effects. If you don’t want to add the Chorus effect, set it to
Value: 0–127
“0.”
Value: 0–127
Chorus Output Assign
Selects the pair of OUTPUT jacks to which the chorus sound is
10
MFX Reverb Send Level (Multi-Effects
13
routed when Chorus Output Select (
) is set to “MAIN” or
Reverb Send Level)
“M+R.”
Adjusts the amount of reverb for the sound that passes through
Value
multi-effects. If you don’t want to add the Reverb effect, set it to
A: Output to the OUTPUT A (MIX) jacks in stereo.
“0.”
B: Output to the OUTPUT B jacks in stereo.
Value: 0–127
11
MFX Output Assign (Multi-Effects Output
13
When Chorus Output Select (
will have no effect.
) is set to “REV,” this setting
Assign)
Adjusts the output destination of the sound that has passed
through the multi-effects.
If the Mix/Parallel parameter is set to “MIX,” all sounds are
output from the OUTPUT A (MIX) jacks in stereo (p. 230).
Value
A: Output to the OUTPUT A (MIX) jacks in stereo.
B: Output to the OUTPUT B jacks in stereo.
If the Mix/Parallel parameter is set to “MIX,” all sounds are
output from the OUTPUT A (MIX) jacks in stereo (p. 230).
For some settings of MFX Structure, the sound that passes
through the multi-effect will be sent to a different multi-effect,
and the MFX Output Assign setting will be ignored.
211
Adding Effects
16
20
Reverb Type
Chorus Source
Selects the type of reverb.
Selects the chorus parameter settings that will be used by the
performance. If you wish to use the performance settings, select
“PRF.” If you wish to use the settings of the patch/rhythm set
assigned to one of the parts, select the part number.
Value: PRF, P1–P16
Value
0 (Off):
Reverb is not used.
1 (Reverb):
2 (SRV Room):
Normal reverb
This reverb simulates typical room acoustic
reflections.
3 (SRV Hall):
4 (SRV Plate):
This reverb simulates typical concert hall
acoustic reflections.
When Patch or Rhythm Set Settings Are
Selected
This reverb simulates a reverb plate, a
popular type of artificial reverb unit that
derives its sound from the vibration of a
metallic plate. You can also achieve unusual
metallic-sounding reverbs using “SRV
Plate.”
When the patch or rhythm set’s chorus settings are selected,
those settings are shown in each of the performance’s chorus
setting screens, and the settings can be then be changed as well.
Changes to patch or rhythm set chorus parameter settings are
lost when another patch or rhythm set is selected. To keep the
modified settings, save the patch/rhythm set settings (p. 59, p.
86).
5 (GM2 Reverb): General MIDI 2 reverb
17
18
Reverb Level
Adjusts the volume of the sound that has passed through
21
Reverb Source
reverb.
Selects the reverb parameter settings that will be used by the
performance. If you wish to use the performance settings, select
“PRF.” If you wish to use the settings of the patch/rhythm set
assigned to one of the parts, select the part number.
Value: PRF, P1–P16
Value: 0–127
Reverb Output Assign
Specifies how the sound routed through reverb will be output.
Value
A: Output to the OUTPUT A (MIX) jacks in stereo.
B: Output to the OUTPUT B jacks in stereo.
Selected
19
MFX1–3 Source (Multi-Effects 1 Source)
When the patch or rhythm set’s reverb settings are selected,
those settings are shown in each of the performance’s reverb
setting screens, and the settings can be then be changed as well.
Changes to patch or rhythm set reverb parameter settings are
lost when another patch or rhythm set is selected. To keep the
modified settings, save the patch/rhythm set settings (p. 59, p.
86).
Selects the multi-effects parameter settings that will be used by
the performance. If you wish to use the performance settings,
select “PRF.” If you wish to use the settings of the patch/
rhythm set assigned to one of the parts, select the part number.
Value: PRF, P1–P16
When Patch or Rhythm Set Settings Are
Selected
When the patch or rhythm set’s multi-effects settings are
selected, those settings are shown in each of the performance’s
multi-effects setting screens, and the settings can be then be
changed as well. Changes to patch or rhythm set multi-effects
parameter settings are lost when another patch or rhythm set is
selected. To keep the modified settings, save the patch/rhythm
set settings (p. 59, p. 86).
212
Adding Effects
Making Multi-Effects
Settings (MFX1–3)
Making Multi-Effects
Settings (MFX Control)
fig.22-009_50
Here we will explain how to make multi-effects settings in
Performance mode.
fig.22-008_50
For details on these settings, refer to “Making Effect Settings”
Each time you press the [F3 (MFX1/2/3)] button, it will
alternate between 1, 2, and 3.
Source 1–4 (Multi-Effects Control Source 1–4)
For details on these settings, refer to “Making Effect Settings”
(p. 206)
with the multi-effects control.
Value
Type (Multi-Effects Type)
Multi-effects control will not be used.
Controller numbers 1–31, 33–95
effects. For details on multi-effects parameters, refer to “Multi-
Effects Parameter” (p. 270).
CC01–31, 33–95:
For more information about Control Change messages, please
Value:
00 THROUGH– 78 SYNPATHETHIC RESONANCE
In this setting screen, you can edit the parameters of
the multi-effects that is selected by the Multi-effects
Type setting. For details on the parameters that can
be edited, refer to “Multi-Effects Parameter” (p.
270).
refer to “MIDI Implementation” (p. 298).
PITCH BEND:
AFTERTOUCH:
Pitch Bend
SYS CTRL1–SYS CTRL4: MIDI messages used as common multi-
effects controls.
If you want to use common controllers for the entire Fantom-X,
System Control 1–4 are set with the Sys Ctrl 1–4 Source
parameters (p. 233).
You can use the REALTIME CONTROL knobs to edit up to four
of the most important parameters, which have been pre-selected
for each type of multi-effect. The knobs shown in the screen
correspond to the Realtime Control knobs. When you enter the
MFX 1–3 screen, the indicator at the right of the Realtime
Control knobs will go out, and the Realtime Control knobs can
button located at the right of the Realtime Control knobs so the
indicator is lit, the knobs will control their original functions.
When you exit the MFX 1–3 screen, the indicator will
In patch/rhythm set mode, there are parameters that determine,
for each tone/rhythm tone, whether or not Pitch Bend,
Controller Number 11 (Expression) and Controller Number 64
(Hold 1) are received (p. 79). When these settings are “ON,” and
the MIDI messages are received, then when any change is made
in the settings of the desired parameter, the Pitch Bend,
Expression, and Hold1 settings also change simultaneously. If
you want to change the targeted parameters only, then set these
to “OFF.”
automatically return to its previous lit state.
Parameters marked by
can be selected as a multi-effect
control destination parameter (p. 214).
•
There are parameters that determine whether or not specific
MIDI messages are received for each MIDI channel (p. 79).
When using the multi-effects control, confirm that any MIDI
messages used for the multi-effects control will be received. If
the Fantom-X is set up such that reception of MIDI messages is
disabled, then the multi-effects control will not function.
In Patch mode, the Keyboard part can use MFX1 and the Pad
part can use MFX2.
213
Adding Effects
Destination 1–4 (Multi-Effects Control
Destination 1–4)
Multi-Effects Control
Sets the multi-effects parameters to be controlled with the multi-
effects control. The multi-effects parameters available for control will
depend on the multi-effects type. For details, refer to “Multi-Effects
Parameter” (p. 270).
If you wanted to change the volume of multi-effects sounds, the
delay time of Delay, and the like, using an external MIDI device,
you would need to send System Exclusive messages-MIDI
messages designed exclusively for the Fantom-X. However,
System Exclusive messages tend to be complicated, and the
amount of data that needs to be transmitted can get quite large.
multi-effects parameters have been designed so they accept the
use of Control Change (or other) MIDI messages for the
purpose of making changes in their values. For example, you
can use the Pitch Bend lever to change the amount of distortion,
or use the keyboard’s touch to change the delay time of Delay.
The parameters that can be changed are predetermined for each
type of multi-effect; among the parameters described in “Multi-
Effects Parameter” (p. 270), these are indicated by a “#.”
In the multi-effect setting screen, a “c” symbol will be shown at
the left of the parameter.
Sens 1–4 (Multi-Effects Control Sensitivity 1–4)
Sets the amount of the multi-effects control’s effect that is applied.
To make an increase in the currently selected value (to get higher
values, move to the right, increase rates, and so on), select a positive
value; to make a decrease in the currently selected value (to get
lower values, move to the left, decrease rates, and so on), select a
negative value. For either positive or negative settings, greater
absolute values will allow greater amounts of change. Set this to “0”
if you don't want to apply the effect.
Value: -63–+63
MFX Control Channel (Multi-Effects Control
Channel)
The function that allows you use MIDI messages to make these
changes in realtime to the multi-effects parameters is called the
Multi-effects Control. Up to four multi-effects controls can be
used in a single patch/rhythm set/performance.
This determines the channel that will be used for reception when
using the Multi-effects Control to modify multi-effects parameters in
real time, when the MFX1–3 Source parameter (p. 212) is set to
“PRF.” Set this to “OFF” when the Multi-effects Control is not being
used.
When the multi-effects control is used, you can select the
amount of control (Sens parameter) applied, the parameter
selected (Destination parameter), and the MIDI message used
(Source parameter).
Value: 1–16, OFF
*
This parameter is not found in Patch mode.
By using the Matrix Control instead of the Multi-effects
Control, you can also change the parameters of some
popular multi-effects in realtime (p. 80).
214
Adding Effects
Specifying the multi-effect
structure (MFX Structure)
Making Chorus Settings
(Chorus)
Here’s how to specify how MFX 1–3 will be connected.
Here we will explain how to make chorus settings in Performance
mode. The procedure is the same when making settings in Patch
*
This parameter is not found in Patch mode.
mode.
fig.22-010_50
fig.22-011_50
For details on these settings, refer to “Making Effect Settings”
For details on these settings, refer to “Making Effect Settings”
(p. 206)
(p. 206)
Structure Type
Type (Chorus Type)
Specify how MFX1–3 will be connected.
Selects either chorus or delay.
Value: Type 01–Type 16
Value
MFX1–3 TYPE
0 OFF:
Chorus is used.
1 CHORUS:
2 DELAY:
Selects the multi-effect type of MFX1–3.
Delay is used.
Value: 0 (Through)–78
3 GM2 CHORUS: General MIDI 2 chorus
*
In this setting screen, you can edit the parameters of the chorus/delay
that is selected by the Chorus Type setting. For details on the
parameters that can be edited, refer to “Chorus Parameters” (p.
293).
If a number (
–
) is shown for a parameter in the screen, you
can use the corresponding Realtime Control knob (far left knob
is – far right knob is ) to adjust the value of that parameter.
When you enter the Chorus screen, the indicator at the right of
the Realtime Control knobs will go out, and the Realtime
Control knobs can be used to edit the Chorus parameters. If you
once again press the button located at the right of the Realtime
Control knobs so the indicator is lit, the knobs will control their
original functions. When you exit the Chorus screen, the
indicator will automatically return to its previous lit state.
215
Adding Effects
Making Reverb Settings
(Reverb)
Here we will explain how to make reverb settings in Performance
mode. The procedure is the same when making settings in Patch
mode.
fig.22-012_50
For details on these settings, refer to “Making Effect Settings”
(p. 206)
Type (Reverb Type)
Selects the type of Reverb.
Value
0 OFF:
Reverb is not used.
1 REVERB:
2 SRV ROOM:
Normal Reverb
This reverb simulates typical room acoustic
reflections.
3 SRV HALL:
4 SRV PLATE:
This reverb simulates typical concert hall
acoustic reflections.
This reverb simulates a reverb plate, a popular
type of artificial reverb unit that derives its
sound from the vibration of a metallic plate. You
can also achieve unusual metallic-sounding
reverbs using “SRV PLATE.”
5 GM2 REVERB: General MIDI 2 reverb
*
In this setting screen, you can edit the parameters of the reverb that is
selected by the Reverb Type setting. For details on the parameters that
can be edited, refer to “Reverb Parameters” (p. 294).
If a number (
–
) is shown for a parameter in the screen, you
can use the corresponding Realtime Control knob (far left knob
is – far right knob is ) to adjust the value of that parameter.
When you enter the Reverb screen, the indicator at the right of
the Realtime Control knobs will go out, and the Realtime
Control knobs can be used to edit the Reverb parameters. If you
once again press the button located at the right of the Realtime
Control knobs so the indicator is lit, the knobs will control their
original functions. When you exit the Reverb screen, the
indicator will automatically return to its previous lit state.
216
Adding Effects
ATTACK
Time from when the volume goes up the threshold level until the
compressor effect applies
Mastering Effect
This is a stereo compressor (limiter) that is applied to the final
output of the Fantom-X. It has independent high, mid, and low
ranges. Independently for the high-frequency, mid-frequency, and
low-frequency regions, this compresses any sounds that exceed the
specified level, making the volume more consistent. When mixing
down to MD, or DAT, or when you procedure your own original
audio CD, this lets you master at an optimized level.
Value: 0-100 ms
RELEASE
Time from when the volume falls below the threshold level until the
compressor effect no longer applies
Value: 50-5000 ms
THRESHOLD
*
Mastering effect settings apply to the entire Fantom-X. These settings
are not for individual patches or performances.
Volume level at which compression begins
Value: -36-0 dB
*
The mastering effect is applied to the sound that is output from the
OUTPUT A (MIX) jacks. It will not be applied to the sound that is
output from the OUTPUT B jacks.
RATIO
fig.22-013_50
Compression ratio
Value: 1.00:1-INF:1 (INF: infinity)
LEVEL
Output volume
Value: 0-24 dB
Split Frequency High
Frequency at which the high-frequency (HI) and mid-frequency
(MID) bands are split
Value: 2000-8000 Hz
Split Frequency Low
For details on these settings, refer to “Making Effect Settings”
Frequency at which the low-frequency (LO) and mid-frequency
(MID) bands are split
(p. 206)
Value: 200-800 Hz
Function Buttons
[F1]–[F5]
[F6 (User)]
Explanation
Recall preset settings for each type.
Recall saved user settings.
About THRESHOLD and RATIO
[F7 (System Write)]
Save the current settings as user set-
tings. Only one set of user settings
can be saved.
You can press this to open the Effect
Sw window and turn each effect
on/off. Turn [F6 (Mastering Sw)]
on/off to hear the result of the mas-
tering effect.
As shown in the diagram below, these parameters determine
how the volume is to be compressed.
fig.22-014.e
[F8 (Effect Sw]
1:1
RATIO
2:1
4:1
INF:1
THRESHOLD
Input Level
217
Connecting to Your Computer via USB (USB Mode)
Selecting MIDI Mode
About USB Functions
The Fantom-X has two modes of USB functionality: storage mode for
You must switch the Fantom-X to MIDI mode before you
connect the Fantom-X and your computer with a USB cable.
transferring files, and MIDI mode for sending and receiving MIDI
messages. You must switch between these two modes on the
Fantom-X; they cannot be used simultaneously.
If you've selected USB MIDI mode, nothing can be received
from the MIDI IN connector.
The USB mode (file transfer/MIDI communication) must be
switched before you connect the Fantom-X with your computer.
1. Press [MENU].
2. Press
[ENTER].
or
to select “System,” and then press
Each mode can be used with the following operating systems.
3. Press [F1 (⇑)] or [F2 (⇓)] to select “USB.”
Operating System
Windows XP/2000/Me or later
Windows 98/98SE
Mac OS 9 (9.04 or later)
Mac OS X
Storage Mode
MIDI Mode
The USB screen will appear.
√
√
√
√
√
not supported
√
√
4. Press
or
to select “USB Mode.”
5. Turn the VALUE dial or use [INC] [DEC] to select “MIDI.”
A confirmation dialog box will appear.
*
This may not work correctly with some types of computer.
6. To switch the USB mode, press [F8 (OK)]. If you decide not
to switch, press [F7 (Cancel)].
Switching the Storage Mode
and the MIDI Mode
MIDI mode will be selected.
7. Press
or
to select “USB MIDI-Thru.”
8. Turn the VALUE dial or use [INC] [DEC] to make settings for
USB-MIDI Thru Switch.
Selecting USB Storage Mode
This switch specifies whether MIDI messages received at the
USB connector or the MIDI IN connector will be retransmitted
not (OFF).
You must switch the Fantom-X to USB Storage mode before you
connect the Fantom-X and your computer with a USB cable.
1. Press [MENU].
9. If you want the Fantom-X to start up in MIDI mode the next
time it is powered up, press [F8 (System Write)] to save the
System settings.
2. Press
[ENTER].
or
to select “System,” and then press
3. Press [F1 (⇑)] or [F2 (⇓)] to select “USB.”
For details on operations in MIDI mode, refer to “Exchanging
The USB screen will appear.
MIDI Messages with Your Computer (MIDI Mode)” (p. 222).
4. Press
or
to select “USB Mode.”
5. Turn the VALUE dial or use [INC] [DEC] to select
“STORAGE.”
A confirmation dialog box will appear.
6. To switch the USB mode, press [F8 (OK)]. If you decide not
7. If you want the Fantom-X to start up in USB Storage mode
the next time it is powered up, press [F8 (System Write)] to
save the System settings.
For details on operations in USB Storage mode, refer to
“Transferring Files to or from Your Computer (Storage
Mode)” (p. 219).
218
Connecting to Your Computer via USB (USB Mode)
Specify the Connection-Destination
Transferring Files to or from
Your Computer (Storage Mode)
When the Fantom-X is connected to your computer, you can select
the area on the Fantom-X to which a connection is to be made; either
the internal user area or the memory card.
By connecting the Fantom-X with your computer via a USB cable,
you can transfer files from Internal user area or a memory card to
and from the hard disk or other media of your computer, in order to
back up your data.
1. Press [MENU].
2. Press
or
to select “USB,” and then press [ENTER].
You can use software on your computer to edit wave data you’ve
created on the Fantom-X. Conversely, wave data that you’ve created
on your computer can be used on the Fantom-X.
The USB screen will appear.
*
If USB is not set to Storage mode, a warning of “The USB is in MIDI
Mode!!” will appear when you press [ENTER] in step 2. Press [F8
(Exec)] if you want to switch to USB Storage mode (the USB settings
screen will appear). If you decide to cancel, press [F7 (Cancel)].
In this way, USB Storage mode lets you transfer files such as patch
and waves to or from a connected computer.
fig.23-001_50
Connect or disconnect the USB cable only when the Fantom-X is
powered-off. Never connect or disconnect the USB cable or turn
off the power while in USB mode or while data is being
transferred.
Connections
1. With the Fantom-X not connected, start up your computer.
2. Use a USB cable to connect the Fantom-X to your
computer.
3. Press [F3 (Internal)] or [F6 (Memory Card)] to connect with
your computer.
3. Turn on the power (POWER switch) of the Fantom-X.
[F3 (Internal)]: Connect to the user memory
[F6 (Memory Card)]: Connect to the memory card
*
To cancel the connection, press [Exit].
4. The display will differ as follows, depending on the
computer you’re using.
•
Windows Me/2000 users
A drive named “Removable disk” will be displayed within My
Computer.
Below that drive there will be folders named “ROLAND” and
“TMP.”
•
Macintosh, Windows XP users
A drive icon named “FANX USER” will appear on the desktop.
If a memory card is connected, the volume name of the memory
card will be displayed.
Below it will be folders named “ROLAND” and “TMP.”
219
Connecting to Your Computer via USB (USB Mode)
Canceling USB Communication
Cautions Regarding Folders and
Files
If you want to power off the Fantom-X when it is connected to your
computer in Storage mode, you must first cancel USB
communication on your computer as described here.
You must observe the following points when the Fantom-X is
connected to your computer via USB.
•
Don’t use your computer to move or delete folders within the
Fantom-X.
Windows Me/2000/XP Users
1. Use the device eject button shown in the taskbar at the
lower right of your computer screen to cancel the
connection with the Fantom-X.
•
Don’t use your computer to format or optimize the Fantom-X’s
user memory or memory card, or execute operations such as
Scan Disk.
Macintosh Users
1. Make sure that the Fantom-X drive icon is not on your desktop.
•
•
The Fantom-X can only handle filenames consisting of single-
byte alphanumeric characters.
Only the following types of files can be transferred between the
Fantom-X and your computer.
Examples of Using Storage Mode
Song files (.SVQ) (MRC PRO songs)
Standard MIDI Files
Importing Audio file (Import Audio)
Audio files (.WAV/AIFF)
Here’s how to import an audio file (WAV/AIFF).
Bitmap files (.BMP) (320 x 240 pixels)
Text file (.TXT)
•
To handle these files, use the appropriate method described
below.
In order to import a file, it must be located in the following
folder found on your computer.
•
Windows Me/2000 users
Song files, Stan-
dard MIDI Files
Place the files in the following folder.
ROLAND/SEQ/SNG
Removable disk/TMP/AUDIO_IMPORT folder
Macintosh, Windows XP users
•
Audio files
When placing the files from your computer,
place them in the following location.
TMP/AUDIO_IMPORT folder
FANS USER/TMP/AUDIO_IMPORT folder
*
“/” indicates a directory level.
Then import the audio files.
If you want to use your computer to read
samples that were written by the Fantom-X,
load the files from the ROLAND/SMPL
folder into your computer.
1. Press [Save/Load].
2. Press [F8 (Import Audio)].
BMP files
Text files
When placing the files from your computer,
place them in the following location.
TMP/BMP folder
3. Press [F1 (User)] or [F2 (Card)] to select the import-
destination area.
When placing the files from your computer,
place them in the following location.
TMP/TEXT folder
[F1 (User)]: Import from user memory.
[F2 (CARD)]: Import from a memory card.
Then import the text file.
4. Press
or
, then select the file that you want to import.
•
Do not use your USB-connected computer to delete or rewrite
any files placed in the ROLAND/SND folder.
If you want to select two or more samples, press [F5 (Mark Set)]
to add a check mark (✔) to the files that you want to select. To
remove the check mark, press [F4 (Mark Clear)].
If you hold down [SHIFT] and press [F5 (Mark Set All)], a check
mark will be added to all files of the selected bank. If you hold
down [SHIFT] and press [F4 (Mark Clr All)], check marks will
be removed from all selected files.
Exiting Storage Mode
Windows Me/2000/XP Users
1. In My Computer, right-click the “removable hard disk” icon
5. Press [F8 (Import Audio)].
and execute “Remove.”
A message will ask you for confirmation.
*
To cancel, press [F7 (Cancel)].
Macintosh Users
6. Press [F8 (Exec)].
1. Drag the Fantom-X drive icon into the trash.
The file will be imported, and the Sample List screen will appear.
*
To cancel, press [F7 (Cancel)].
The imported file will be added to the sample list as a sample.
This sample is temporary, and will be lost when you turn off the
power. If you want to keep it, press [WRITE] to save the data.
220
Connecting to Your Computer via USB (USB Mode)
Using a Bitmap File as a
Background in the Display
Displaying text memos in the Live
Setting screen (Import Text)
For example, you can import a favorite bitmap file into the Fantom-
You can create a text file on your computer and display it in the Live
Setting screen (p. 42). Since this lets you add a note to each bank, it’s
a convenient way to provide reminders, such as an explanation of
each screen.
X, and use it as a background in the display screen.
*
The only files that can be transferred between the Fantom-X and your
computer are bitmaps (320 x 240 pixels).
1. Create a text file on your computer, and save it with a
filename extension of “.TXT”.
In order to import a file, it must be located in the following
folder on your computer.
2. Place the text file you created in step 1 in the following
•
Windows Me/2000 users
location of the Fantom-X.
Removable disk/TMP/BMP folder
Macintosh, Windows XP users
FANS USER/TMP/BMP folder
•
•
Removable Disk/ROLAND/SNG folder
Macintosh users
•
FANX USER/ROLAND/SNG folder
*
“/” indicates a directory level.
*
“/” indicates the levels of the directory structure.
3. Execute Importing TEXT.
Importing a Bitmap File (Import BMP)
Here’s how to import a copied file and use it as the background in
For details on how to import, refer to “Importing a Text File
(Import Text)” (p. 43).
the Fantom-X’s display.
1. Press [MENU].
2. Press
[ENTER].
or
to select “System,” and then press
3. Press [F1 (⇑)] or [F2 (⇓)] to select “Background.”
fig.23-002_50
The Fantom-X has 16 pictures that can be displayed for the
background. When you import a file, it replaces the currently
selected picture.
4. Press [F7 (Import BMP)].
5. Press [F1 (User)] or [F2 (Card)] to select the import-
destination area (user memory or card).
6. Press
or
, then select the file that you want to
import.
7. Press [F8 (Import BMP)].
The file you want to import will be displayed.
*
To cancel, press [F7 (Cancel)].
8. Press [F8 (Exec)].
The file will be imported.
*
To cancel, press [F7 (Cancel)].
9. Press [EXIT].
221
Connecting to Your Computer via USB (USB Mode)
Exchanging MIDI Messages
What is the USB MIDI Driver?
with Your Computer
(MIDI Mode)
The USB MIDI Driver is a software which passes data between
the Fantom-X and the application (sequencer software, etc.) that
is running on the USB-connected computer.
The USB MIDI Driver sends data from the application to the
Fantom-X, and passes data from the Fantom-X to the
Driver Installation and Settings
application.
fig.23-001_50
In order to use the Fantom-X as a USB MIDI device from your
computer, you must first install the USB MIDI driver. The USB MIDI
driver is on the included “Fantom-X Driver CD-ROM.”
In order to use USB in MIDI mode, you must install the driver from
the included CD-ROM into your computer.
Application
The correct driver and the installation procedure will depend on
your system and on the other programs you are using. Be sure to
read the Readme file on the CD-ROM before installation.
USB connector
USB
Driver
Windows XP/2000
\Win2kXP\Readme_e.htm
Windows Me/98/98SE
USB cable
Computer
\Win98Me\Readme_e.htm
Mac OS 9 (9.04 or later)
\Fantom-X Driver OS9 (E)\Readme_e.htm
Mac OS X
USB connector
\Fantom-X Driver OSX (E)\Readme_e.htm
Caution when
disconnecting the USB cable
You must shut down your computer before disconnecting
the USB cable. Disconnecting the cable while your
computer’s power is on may destabilize its operation.
Fantom-X
222
File-Related Functions (File Utility)
Here you can perform a variety of operations related to the files
stored in the Fantom-X’s user memory, and on memory cards. You
Basic Procedure
1. Press [MENU].
can copy, delete, or move files, as well as format memory cards.
The folder structure of the user area and memory card is as follows.
fig.24-000
(User, Card)
2. Press
[ENTER].
The File Utility screen will appear.
or
to select “File Utility,” and then press
ROLAND
TMP
PNL
SEQ
fig.24-001_50
SNG
SMPL
SND
AUDIO_IMPORT
BMP
TEXT
You must observe the following points when managing files
with the Fantom-X connected to your computer via USB.
•
Don’t use your computer to move or delete folders within
the Fantom-X.
3. Press the function buttons to select the operation you want
to carry out.
•
Don’t use your computer to format or optimize the Fantom-
X’s user memory or memory card, or execute operations
such as Scan Disk.
[F1 (User)]:
[F2 (Card)]:
Select a file in user memory.
Select a file on the memory card.
[F3 (Card Format)]:Format (initialize) a memory card.
[F4 (Mark Clear)]: Remove check marks from the files. If you
hold down [SHIFT] and press [F4 (Mark Clr
All)], check marks will be removed from all
files.
•
•
The Fantom-X can only handle filenames consisting of
single-byte alphanumeric characters.
Don’t use your computer to delete or overwrite the files
located in the ROLAND/SND folder.
When copying files from your computer into the Fantom-X’s user
area or memory card, place them in the following folders.
[F5 (Mark Set)]:
If you want to select two or more files, add a
check mark (✔) to the files. If you hold down
[SHIFT] and press [F5 (Mark Set All)], check
marks will be added to all files.
Delete a selected file or files with check
marks.
Computer
SONG file (.SVQ)
(MRC PRO song)
Standard MIDI file
(SMF format 0, 1)
Audio file (WAV/AIFF)
Bitmap file
(320 x 240 pixels)
Text file (.TXT)
Fantom-X
ROLAND/SEQ/SNG
[F6 (Delete)]:
[F7 (Move)]:
[F8 (Copy)]:
ROLAND/SEQ/SNG
Move a file or files with check marks to a
different folder.
TMP/AUDIO_IMPORT folder
TMP/BMP
Copy a file or files with check marks to a
different folder.
TMP/TEXT
,
:
Select the folder.
Don’t place files of any other format in the user memory or memory
card.
,
:
Move between folder levels.
223
File-Related Functions (File Utility)
Copying a File (Copy)
Moving a File (Move)
Here’s how you can copy a file to a different folder.
Here’s how you can move a file to a different folder.
1. As described in the basic procedure, select the file that you
1. As described in the basic procedure, select the file that you
want to copy.
want to move.
[F1 (User)] [F2 (Card)]:
Select the memory
Select the folder
[F1 (User)] [F2 (Card)]:
Select the memory
Select the folder
,
:
,
:
,
:
Move between folder levels
,
:
Move between folder levels
2. Press [F8 (Copy)].
2. Press [F7 (Move)].
A screen will appear, allowing you to select the folder to which
the file is to be copied.
A screen will appear, allowing you to select the folder to which
the file is to be moved.
3. View the contents of the copy-destination folder.
3. View the contents of the move-destination folder.
[F1 (User)] [F2 (Card)]:
Select the memory
[F1 (User)] [F2 (Card)]:
Select the copy destination
,
:
Select the folder
,
:
Select the folder
,
:
Move between folder levels
,
:
Move between folder levels
4. To copy the file, press [F8 (Exec)].
To cancel, press [F7 (Cancel)].
4. To move the file, press [F8 (Exec)].
To cancel, press [F7 (Cancel)].
*
*
Deleting a File (Delete)
Here’s how you can delete an unwanted file from a folder.
Initializing a Memory Card
(Card Format)
Here’s how to initialize a memory card. When you execute the
Format operation, the contents of the memory card will be
completely erased.
1. As described in the basic procedure, select the file that you
want to delete.
[F1 (User)] [F2 (Card)]:
Select the memory
Select the folder
,
:
1. From the file Utility screen, press [F3 (Card Format)].
,
:
Move between folder levels
A message will ask you for confirmation.
2. Press [F6 (Delete)].
2. To format the card, press [F8 (Exec)].
A message will ask you for confirmation.
*
To cancel, press [F7 (Cancel)].
3. To delete the file, press [F8 (Exec)].
*
To cancel, press [F7 (Cancel)].
224
Settings Common to All Modes (System Function)
Settings that affect the entire operating environment of the Fantom-
X, such as tuning and MIDI message reception, are referred to as
Saving the System Settings
system functions. This section explains how to make settings for
the System functions and describes the functions of the different
(System Write)
System parameters.
Changes you make to the System function settings are only
temporary—they will be discarded as soon as the power is turned
How to Make System
off. If you want to keep any changes you’ve made in the system
settings, you must save them in internal system memory.
Function Settings
1. Press [MENU] to open the Menu window.
When you perform the save procedure, the data that previously
occupied the save destination will be lost. However, the factory
2. Press
[ENTER].
The System Setup screen appears.
or
to select “System,” and then press
setting data can be recovered by performing the Factory Reset
procedure.
fig.25-001_50
1. Change the system function settings, and press [F8
(System Write)].
fig.25-002_50
3. Press Function button [F3], [F4] to select the tab of the edit
group.
The display will indicate “System Write Completed!” The data
will be saved, and you’re returned to the System Setup screen.
•
•
[F3 (Setup)]
Set system parameters (p. 226).
[F4 (Info)]
View system information (p. 234).
4. The parameters are organized into several edit groups. Use
[F1 (⇑)][F2 (⇓)] to switch tabs.
5. Use [CURSOR] to move the cursor to the parameter you
wish to modify.
When the cursor is located at a parameter value, you can press
[ENTER] to access a window for setting the value.
•
When all the parameters cannot be shown within a single
settings screen, a scroll bar will be displayed at the right side of
the screen. In such cases, press
downward.
to scroll the screen
6. Turn the VALUE dial or press [INC]/[DEC] to get the value
you want.
7. Repeat steps 4–6 to set each System parameter you want to
edit.
8. To save the settings you modified, press [F8 (System
Write)] and perform the Write operation. If you do not want
to save, press [EXIT] to return to the previous screen.
225
Settings Common to All Modes (System Function)
LIVE SET DOWN:
LOOP:
Switches to the previous step within a Live
Setting list.
Parameters
Loop play On/Off
Control Pedal Polarity
This section explains what the different System parameters do, and
Selects the polarity of the pedal. On some pedals, the electrical signal
output by the pedal when it is pressed or released is the opposite of
other pedals. If your pedal has an effect opposite of what you expect,
set this parameter to “REVERSE.” If you are using a Roland pedal
(that has no polarity switch), set this parameter to “STANDARD.”
Value: STANDARD, REVERSE
also how these parameters are organized.
For details on these settings, refer to “How to Make System
Function Settings” (p. 225).
Hold Pedal Polarity
Pedal/D Beam
Select the polarity of the Hold pedal. On some pedals, the electrical
signal output by the pedal when it is pressed or released is the
opposite of other pedals. If your pedal has an effect opposite of what
you expect, set this parameter to “REVERSE.” If you are using a
Roland pedal (that has no polarity switch), set this parameter to
D Beam Sens (D Beam Sensitivity)
This sets the D Beam controller’s sensitivity. Increasing this value
will raise the sensitivity.
Value: 0–127
Range: STANDARD, REVERSE
This specifies the function of each pedal connected to the PEDAL
Continuous Hold Pedal
CONTROL jacks.
This setting determines whether the HOLD PEDAL jack will provide
support for half-pedaling (ON), or not (OFF). When this is set to
support use of half-pedaling techniques, you can then connect an
optional expression pedal (DP-8, etc.), and employ pedal work to
achieve even finer control in performances in which piano tones are
used.
Value
CC01–31, 33–95:
Controller numbers 1–31, 33–95
For details on control change messages, refer to “MIDI
Implementation” (p. 298).
BEND UP:
The pitch will rise in semitone steps
(maximum 4 octaves) each time you press
the pedal.
Value: OFF, ON
Keyboard
BEND DOWN:
The pitch will fall in semitone steps
(maximum 4 octaves) each time you press
the pedal.
Keyboard Velocity
AFTERTOUCH:
OCT UP:
Aftertouch
Specifies the velocity value that will be transmitted when you play
the keyboard. If you want actual keyboard velocity to be
transmitted, set this to “REAL.” If you want a fixed velocity value to
be transmitted regardless of how you play, specify the desired value
(1–127).
Each pedal press raises the key range in
octave steps (up to 3 octaves higher).
Each pedal press lowers the key range in
octave steps (up to 3 octaves lower).
The sequencer will start/stop.
Manual punch-in/out recording will start/
stop.
OCT DOWN:
Value: REAL, 1–127
START/STOP:
PUNCH IN/OUT:
Keyboard Sens (Keyboard Sensitivity)
Adjusts the keyboard’s touch.
TAP TEMPO:
Tap tempo (a tempo specified by the interval
at which you press the pedal).
The next sound number will be selected.
The previous sound number will be selected.
The favorite patch/performance of the next
number or bank will be selected.
The favorite patch/performance of the
previous number or bank will be selected.
Switches the Arpeggio/Rhythm function
on/off.
Value
LIGHT:
Light weight synthesizer keyboard like
Standard
PROG UP:
MEDIUM:
HEAVY:
PROG DOWN:
FAVORITE UP:
Acoustic piano simulation
Aftertouch Sens (Aftertouch Sensitivity)
FAVORITE DOWN:
ARP SW:
Specifies the Aftertouch sensitivity. Higher values will allow
Aftertouch to be applied more easily. Normally you will leave this at
“100.”
Value: 0–100%
RHY START/STOP:
CHORD SW:
Switch Rhythm pattern playback on/off.
Chord function on/off.
LIVE SET UP:
Switches to the next step within a Live
Setting list.
226
Settings Common to All Modes (System Function)
Arpeggio/Rhythm Sync Switch
Specifies whether the arpeggio or rhythm pattern will start/stop in
synchronization with the sequencer. This parameter does nothing if
the sequencer is stopped.
Sync/Temp
Sync Mode
Value
Specify the synchronization message that the Fantom-X’s sequencer
OFF:
ON:
Start/stop will not synchronize to the synthesizer.
While the sequencer is running, the arpeggio will
start at the beginning of the next measure. When you
stop the sequencer, the arpeggios will also stop.
will use for operation.
Value
MASTER:
The Fantom-X will be the master. Choose this setting
when using the Fantom-X by itself without
synchronizing to another device, or when you want
other MIDI devices to synchronize to the Fantom-X.
MMC Mode
When synchronizing the Fantom-X with a hard disk recorder, such
as one from the Roland VS series, specify which synchronization
signal the Fantom-X’s sequencer will use for operation.
Value
SLAVE-MIDI: The Fantom-X will be the slave. Choose this setting
when you want the Fantom-X to synchronize to
MIDI Clock messages received from another MIDI
device.
MASTER:
The Fantom-X will be the master. Use this setting
when you want other devices to follow the operation
of the Fantom-X.
SLAVE-MTC: The Fantom-X will be the slave. Choose this setting
when you want the Fantom-X to synchronize to
MTC (MIDI Time Code) received from an external
device.
SLAVE:
The Fantom-X will be the slave. Use this setting
when you want the Fantom-X to receive MMC
(MIDI Machine Control) from an external device and
operate accordingly.
REMOTE:
Use this setting when you wish an external MIDI
device to have remote start/stop control. The tempo
will be in accord with what has been set on the
Fantom-X.
MMC (MIDI Machine Control) is a specification that allows
MIDI messages to be used to control devices such as tape
recorders, VTR’s, and digital recording systems. Thirty-seven
MMC commands are available, including Stop and Play.
MIDI Clock and MTC
MIDI Clock and MTC (MIDI Time Code) are both messages
used for synchronization. Select either of them depending on
the application.
MMC Output (MMC Output Switch)
Turn this “ON” if you want to synchronize with a hard disk
recorder, such as one from the Roland VS series. When set “ON,”
MMC (MIDI Machine Control) related commands (Play, Stop and
Locate) will be transmitted.
MIDI Clock transmits and synchronizes operations to a
sequencer’s performance tempo, whereas MTC synchronizes
operations between devices based on an absolute time. Since
Roland VS Series workstations are hard disk recorders, they
cannot send MIDI Clock. Therefore, using a MTC is convenient
for synchronization of the hard disk recorder and the Fantom-X.
However, VS Series devices also feature specialized tracks for
recording MIDI Clock, so with the Fantom-X’s MIDI Clock
recorded in this manner, we have another synchronizing
technique in which the VS device appears to be sending MIDI
Clock (although it is actually playing back tracks to which MIDI
Clock has been recorded). However, since the tempo must be
recorded to the VS sync track beforehand, MTC is only
convenient in synchronizing with songs that do not contain
great amounts of tempo data.
Value: OFF, ON
MTC Sync Output (MTC Sync Output Switch)
Set this parameter ON when you want MTC (MIDI Time Code) to be
transmitted to an external MIDI device. If not, set it OFF.
Value: OFF, ON
MTC Frame Rate
Specify the MTC frame rate. Make sure that the same mode is set in
both master and slave devices.
Value
24:
25:
24 frames per second
25 frames per second
Sync Output (Sync Output Switch)
29N: 29 frames per second
Set this parameter ON when you want synchronization related MIDI
messages (MIDI Clock, Start, Continue, Stop, Song Position Pointer
and Song Select) to be transmitted to an external MIDI device. If not,
set it OFF.
29D: 29 frames per second
30:
30 frames per second
Value: OFF, ON
When synchronizing with a hard disk recorder such as the
Roland VS series, any frame rate is all right—as long as the
setting matches that of the Fantom-X. However, when
synchronizing operation with video devices such as video
decks, the video device’s frame rate is fixed, so the Fantom-X’s
setting must correspond to that frame rate.
Tempo Override
Specify whether the sequencer tempo will change (ON), or will not
change (OFF) when you switch performance.
Value: ON, OFF
227
Settings Common to All Modes (System Function)
MTC Error Level
Determines how often the reception status is checked when MTC is
being received from an external device. Stop synchronization if a
problem becomes apparent with the check.
Types of MTC
The types of MTC that can be selected by the Fantom-X are
shown below. Select the same frame rate as that set for the
external device. When not using a video device, then any frame
rate may be selected as long as the rates are the same on both
devices being synchronized.
Value: 0–10 (the checking interval will be longer for larger values)
In strict terms, the lower the numerical value set, the more
accurate the check is. However, playback may be stopped
overly frequently if too rigorous a check is made, and this soon
becomes inconvenient. By raising the Error Level setting, then
even if problems with the reception of MTC do occur,
synchronization can then continue as long as such problems
remain at a level that does not cause undue problems.
30:
This is 30 frames per second, non-drop format. This is
used by audio devices such as analog tape recorders,
and for NTSC format black and white video (used in
Japan and the U.S.).
29N: This is 29.97 frames per second, non-drop format. This
is used for NTSC format color video (used in Japan and
the U.S.).
29D: 29.97 frames per second drop format. This is used for
NTSC format color video (used in Japan and the U.S.).
Metronome
25:
25 frame per second frame rate. This is used for SECAM
or PAL format video, audio equipment, and film (used
in Europe and elsewhere).
Metronome Mode
Specifies when you want the metronome to sound.
*
If [F7 (Click)] in the Tempo window which appears when you press
[TEMPO] is lit in red, the metronome will always sound.
24:
24 frame per second frame rate. This is used for video,
audio devices, and film in the US.
Value
OFF:
Will not sound.
Non-Drop Format and Drop Format
PLAY ONLY: Will sound only during playback.
REC ONLY: Metronome will sound only for recording.
PLAY&REC: Metronome will sound for playback and recording.
ALWAYS: Metronome will always sound.
There are two types of format used by NTSC video cassette
recorders, non-drop and drop. Non-drop format features
continuous time code, whereas in drop format, which is used
for NTSC color video format, the first two frames of every
minute are dropped, except for those at ten-minute intervals. In
most video and audio production, since formats with
Metronome Level
continuous frames are easier to deal with, non-drop is generally
used. In contrast, in situations such as in broadcast, where the
time code must match actual clock time, drop is used.
You can adjust the volume of the metronome.
Value: 0–10
Metronome Sound
Selects the metronome sound.
MTC Offset Time Hour
Value
Coordinates the playback timing of the Fantom-X and the external
device in an hour units.
TYPE 1:
A conventional metronome sound will be heard. A
bell will sound on the first beat.
Clicks will sound.
Value: 00–23 hours
TYPE 2:
TYPE 3:
TYPE 4:
Beeps will sound.
MTC Offset Time Minute
Cowbell will sound.
Coordinates the playback timing of the Fantom-X and the external
device in a minute units.
Beat Indicator Mode
Value: 00–59 minutes
You can specify how the beat indicator on the panel will blink.
Value
MTC Offset Time Second
ALWAYS (always blinks at the specified tempo)
PLAY&REC (blinks only during playback and recording)
Coordinates the playback timing of the Fantom-X and the external
device in a second units.
Value: 00–59 seconds
MTC Offset Time Frame
Coordinates the playback timing of the Fantom-X and the external
device in a frame units.
Value: 00–29 frames
228
Settings Common to All Modes (System Function)
How Do I Adjust the Volume?
Sound
Local Switch
MASTER LEVEL adjusts the volume of both the OUTPUT A
jacks and the DIGITAL OUT jack. The front panel VOLUME
The Local Switch determines whether the internal sound generator is
disconnected (OFF) from the controller section (keyboard, Pad, pitch
bend/modulation lever, knobs, buttons, D Beam controller, pedal,
and so on); or not disconnected (ON). Normally this is left “ON,” but
if you wish to use the Fantom-X’s keyboard and controllers to
control only external sound modules, set it to “OFF.”
Value: OFF, ON
knob adjusts only the volume of the OUTPUT A jacks. Here’s an
explanation of what you need to adjust depending on the
output jacks you’re using.
fig.25-003_50
Sound Generator
(OUTPUT A
in the Routing screen)
Master Level
Using the Local Switch
When you're using the Fantom-X with external sequencer
software, leave the Local Switch turned off. Read the following
for details.
Volume knob
OUTPUT A (MIX)/PHONES
DIGITAL OUT
When using the OUTPUT A jacks: adjust
using the VOLUME knob
Connecting the Fantom-X to an external
sequencer
The front panel VOLUME knob controls the volume of the
OUTPUT A jacks. This means that if you’re outputting from the
OUTPUT A jacks, the simplest way is to leave the Master Level
fixed at 127 (the default setting), and use the VOLUME knob to
control the volume.
fig.25-003b_50
Local Off
Fantom-X
Keyboard
Fantom-X
Sound Generator
When using the DIGITAL OUT jack: adjust
using Master Level
Master Level controls both the OUTPUT A jacks and the
DIGITAL OUT jack. This means that if you’re outputting from
DIGITAL OUT, use Master Level to adjust the volume.
(External)
Sequencer
Typically, things are hooked up so the data travels as follows:
the Fantom-X's keyboard → your external sequencer software
→ the Fantom-X's sound generator. Normally, the Fantom-X's
keyboard section is internally connected to its sound generator
section; this internal connection is controlled by the Local
Switch. If you turn the Local Switch off, the Fantom-X's
keyboard and sound generator sections will be independent,
allowing you to use the connection described above with your
external sequencer software.
Adjusting the Master Level: method 1
1. In the Patch or Performance screen, hold down [SHIFT]
and press [F3 (Master Level)].
2. Turn the VALUE dial or use [DEC][INC] to adjust the
master level.
Adjusting the Master Level: method 2
With the factory settings, Master Level can be controlled by
REALTIME CONTROL “ASSIGNABLE” knob number 1 (p.
122). This makes it easy to adjust the level using the knob.
Master Tune
Adjusts the overall tuning of the Fantom-X. The display shows the
frequency of the A4 note (center A).
*
Value: 415.3–466.2 Hz
Master Level
Adjusts the volume of the entire Fantom-X.
The Master Level setting is temporary, and will be lost
when you turn off the power. If you want to keep the
Master Level setting you edited, save the master level in
the internal system memory. → “Saving the System
Value: 0–127
Settings (System Write)” (p. 225)
229
Settings Common to All Modes (System Function)
Output Gain
This adjusts the output gain from the Fantom-X’s Analog Out and
MIDI
Digital Out. When, for example, there are relatively few voices being
sounded, boosting the output gain can let you attain the most
Device ID (Device ID Number)
suitable output level for recording and other purposes.
When you want to transmit or receive System Exclusive messages,
Value: -12–+12
set this parameter to match the Device ID number of the other MIDI
device.
Mix/Parallel
Value: 17–32
Specifies how the sound of the entire Fantom-X will be output.
Value
Performance Control Channel
MIX: Set this to have the collective output of all sounds output from
the OUTPUT A (MIX) jacks. When you want to check the final
overall sound being output, set to MIX.
Performance Ctrl Ch selects the MIDI receive channel used during
switching of performances when MIDI messages (Program Change/
Bank Select) are sent from an external MIDI device. Set this to “OFF”
if performances are not to be switched from an external MIDI device.
Value: 1–16, OFF
Sounds which are set in the respective Output Assign to be
output from the INDIVIDUAL 3 jack are output from the left
OUTPUT A (MIX) jack; sounds which are set to be output from
the INDIVIDUAL 4 jack are output from the right OUTPUT A
(MIX) jack.
If only a program change is received, and if the Performance
Ctrl Ch parameter setting coincides with the MIDI receive
channel of a part, priority will be given to switching the
performance.
Sounds output from the PHONES jack are the same as those
output from the OUTPUT A (MIX) jacks. Therefore, any sounds
set with Output Assign to be output from the OUTPUT B jacks
is not output from the PHONES jack. Be sure to have any sound
you want to hear through the headphones set to “MIX.”
Kbd Patch Rx/Tx Ch (Keyboard Patch Receive/
Transmit Channel)
Specifies the channel used to transmit and receive MIDI messages
for the Keyboard part in Patch mode.
Value: 1–16
PARALLEL: Output according to each Output Assign settings.
Pad Patch Rx/Tx Ch (Pad Patch Receive/
Transmit Channel)
Master Key Shift
Shifts the overall pitch of the Fantom-X in semitone steps.
Specifies the channel used to transmit and receive MIDI messages
for the Pad part in Patch mode.
Value: -24– +24
Patch Remain (Patch Remain Switch)
Value: 1–16
Specifies whether currently sounding notes will continue sounding
when another patch or rhythm set is selected (ON), or not (OFF).
Also, when this is “ON,” changes produced by incoming MIDI
messages such as Volume or Pan (CC 5, 7, 10, 65, 68, 71–74, RPN 0, 1,
2, MONO ON, POLY ON), as well as tonal quality and volume
changes produced by the various controllers will be inherited.
Value: OFF, ON
Transmit Program Change (Transmit Program
Change Switch)
Specifies whether Program Change messages will be transmitted
(ON) or not (OFF).
Value: OFF, ON
Transmit Bank Select (Transmit Bank Select
Switch)
Effects settings change as soon as you switch to a new patch or
rhythm set, without being influenced by the Patch Remain
setting. Because of this, certain effects settings can cause notes
that were until then sounding to no longer be heard, even
though Patch Remain has been set to on.
Specifies whether Bank Select messages will be transmitted (ON) or
not (OFF).
Value: OFF, ON
Transmit Active Sensing (Transmit Active
Sensing Switch)
Specifies whether Active Sensing messages will be transmitted (ON)
or not (OFF).
Value: OFF, ON
Transmit Edit Data (Transmit Edit Data Switch)
Specify whether changes you make in the settings of a patch,
performance will be transmitted as system exclusive messages (ON),
or will not be transmitted (OFF).
Value: OFF, ON
230
Settings Common to All Modes (System Function)
Soft Through (Soft Through Switch)
Thru function re-transmits all messages received at the MIDI IN
USB
connector to the MIDI OUT connector without modifying them in
any way.
USB Mode
Value: OFF, ON
Selects the mode in which the USB connector will be used.
Value:
Remote Keyboard Sw (Remote Keyboard
Switch)
Storage: Storage mode. Select this if you want to transfer files.
MIDI:
MIDI mode. Select this if you want to exchange MIDI
messages with a sequencer or other program.
Set this parameter “ON” when you want to use an external MIDI
keyboard instead of the Fantom-X’s keyboard. In this case, the MIDI
transmit channel of the external MIDI keyboard can be set to any
channel. Normally you will leave this parameter “OFF.”
Value: OFF, ON
You must switch the USB Mode before you connect the Fantom-
X to your computer via the USB cable. If you change this setting
while the Fantom-X is connected, the computer may fail to
recognize it correctly.
Turn this “ON” when you want to control the Fantom-X from
an external MIDI device when performing with the Arpeggio or
RPS function.
For details on connections to your computer in each USB Mode,
refer to “Connections” (p. 219)
Receive Program Change (Receive Program
Change Switch)
USB-MIDI Thru Sw (USB-MIDI Thru Switch)
When USB Mode is set to “MIDI,” this switch specifies whether
MIDI messages received at the MIDI connector will be retransmitted
from the MIDI OUT connector (ON) or not (OFF).
Value: OFF, ON
Specifies whether Program Change messages will be received (ON)
or not (OFF).
Value: OFF, ON
Receive Bank Select (Receive Bank Select
Switch)
Specifies whether Bank Select messages will be received (ON) or not
(OFF).
Value: OFF, ON
Receive Exclusive (Receive System Exclusive
Switch)
Specifies whether System Exclusive messages will be received (ON)
or not (OFF).
Value: OFF, ON
Receive GM System On (Receive GM System
On Switch)
Specifies whether General MIDI System On messages will be
received (ON) or not (OFF).
Value: OFF, ON
Receive GM2 System On (Receive GM2 System
On Switch)
Specifies whether General MIDI 2 System On messages will be
received (ON) or not (OFF).
Value: OFF, ON
Receive GS Reset (Receive GS Reset Switch)
Specifies whether GS Reset messages will be received (ON) or not
(OFF).
Value: OFF, ON
231
Settings Common to All Modes (System Function)
Patch Scale Tune for C–B
Make scale tune settings for Patch mode.
Scale Tune
Value: -64– +63
Scale Tune Switch
Turn this on when you wish to use a tuning scale other than equal
temperament.
Preview
Value: OFF, ON
Preview Mode
One set of Scale Tune settings can be created in Patch mode. In
Performance mode, this can be set for each part of the performance
(p. 111).
SINGLE:
CHORD:
PHRASE:
The notes specified by Note Number 1–4 parameter
will sound successively one by one.
The notes specified by Note Number 1–4 parameter
will sound simultaneously.
In Patch mode, this is valid only for the keyboard part.
The Fantom-X allows you to play the keyboard using temperaments
other than equal temperament. The pitch is specified in one-cent
units relative to the equal tempered pitch.
The Phrase associated with the patch’s type/
category is played.
Preview 1–4 Note Number
Specify the pitch of the four notes that will sound when the Preview
Mode parameter is set to “SINGLE” or “CHORD.”
Value: C-1–G9
One-cent is 1/100th of a semitone.
•
The selected scale applies to MIDI messages received from an
external MIDI device.
If “PHRASE” is selected for the Preview Mode parameter, these
settings will have no effect.
Equal Temperament
This tuning divides the octave into 12 equal parts, and is the
most widely used method of temperament used in Western
music. The Fantom-X employs equal temperament when the
Scale Tune Switch is set to “OFF.”
Preview 1–4 Velocity
Specify the velocity of the four notes that will sound when the
Preview Mode parameter is set to “SINGLE” or “CHORD.”
Value: 0–127
Just Temperament (Tonic of C)
Compared with equal temperament, the principle triads sound
pure in this tuning. However, this effect is achieved only in one
key, and the triads will become ambiguous if you transpose.
If “PHRASE” is selected for the Preview Mode parameter, these
settings will have no effect.
Arabian Scale
In this scale, E and B are a quarter note lower and C#, F# and G#
are a quarter-note higher compared to equal temperament. The
intervals between G and B, C and E, F and G#, Bb and C#, and
Eb and F# have a natural third—the interval between a major
third and a minor third. On the Fantom-X, you can use Arabian
temperament in the three keys of G, C and F.
<Example>
Note name
Equal tem-
perament
Just Tem-
perament
(tonic C)
Arabian
Scale
C
C#
D
Eb
E
F
F#
G
G#
A
Bb
B
0
0
0
0
0
0
0
0
0
0
0
0
0
-8
-6
+45
-2
-12
-51
-8
+43
-4
+47
0
-10
-49
+4
+16
-14
-2
-10
+2
+14
-16
+14
-12
232
Settings Common to All Modes (System Function)
System Ctrl
Sampling
Sys Ctrl 1–4 Source
Default File Type
System Control Assign selects the MIDI message used as the System
Control.
Specifies the file format used when saving a sample.
Value: WAV, AIFF
Pre Sample Time
System Control
The length of sound preceding the moment at which sampling was
manually or automatically initiated that will be captured in the
sample. This lets you prevent the attack portion of the sound from
being omitted from the sample.
This function, which departs from previously used methods,
and instead allows you to use MIDI messages to change tone
settings in realtime, is called the Matrix Control (p. 80).
Similarly, the function allowing you to use MIDI messages to
change multi-effects settings in realtime is called the Multi-
effects Control (p. 214).
Value: 0–1000 ms
Trigger Level
Volume level at which sampling will begin when Auto Trig is ON
A setting of 0 is the minimum.
Normally, the Matrix Control is used for making patch settings,
and the Multi-effects Control for making settings to patches,
rhythm sets, and performances. However, if you do not need to
change the MIDI messages used for matrix control or multi-
effects control by each patch/rhythm set/performance, or if
you want to use a specific MIDI message for matrix control or
multi-effects control, you will want to make use of System
Control. In other words, you could call the System Controls
global Matrix Control/Multi-effects Control for the entire
Fantom-X.
Value: 0–7
Gap Time
Length of silence at which the sample will be divided
Whenever there is a silent region longer than the specified time, the
sample will be divided at that point, and the next sample number
will be assigned to the sound that follows. This parameter is valid
Value: 500, 1000, 1500, 2000 ms
Input Select
Value
Input source of the external input sound
Value
OFF:
The system control knob will not be used.
Controller numbers 1–31, 33–95
CC01–31, 33–95:
DIGITAL IN: DIGITAL INPUT jack
LINE-L-R:
LINE-L:
MIC:
INPUT jacks L/R (stereo)
INPUT jack L (mono)
For details on control change messages, refer to “MIDI
Implementation” (p. 298).
INPUT jack (mono, mic level)
PITCH BEND:
Pitch Bend
Aftertouch
AFTERTOUCH:
Trimming Switch
If this is turned on, the Start point and End point settings will be
automatically adjusted after sampling is performed, so any silent
portions at the beginning or end of the sampled sound are excluded.
Value: OFF, ON
Background
Background Picture
Select the file that is to be displayed as the screen background.
Skip Back Time
Value:1–16
Specifies how much earlier in time that you want sampling to take
place when you use Skip Back Sampling. If “OFF” selected, skip-
back sampling cannot be performed.
Screen Saver
Value: OFF, 5s–40s
Screen Saver Type
Select the type of screen saver.
Value: 1–16
Screen Saver Time
Set the time (minutes) until the screen saver begins working.
If this is OFF, the screen saver will not appear.
Value: OFF, 5–60 min.
233
Settings Common to All Modes (System Function)
Start up
System Information
Load Preset Samples at Startup
Specifies whether the preset samples will be loaded into memory at
power-on (ON) or not (OFF).
For details on the indicating, refer to “How to Make System
Function Settings” (p. 225).
Value: OFF, ON
Features
Load User Samples at Startup
Displays the main features of the Fantom-X.
Specifies whether the samples of the user area and memory card will
be loaded into memory at power-on (ON) or not (OFF).
Value: OFF, ON
Memory Info (Memory Information)
Displays the amount of memory installed.
SRX Info (SRX Information)
Load Demo Song at Startup
Displays the name of the wave expansion board that is installed.
Specifies whether the demo song will be loaded into the temporary
area when you power up the Fantom-X (ON), or will not be loaded
(OFF).
Version Info (Version Information)
Displays the version of the Fantom-X.
Rec Track Select (Recording Track Select)
This specifies whether track selection will be automatic or manual
when recording on the sequencer.
Value
Manual:
You’ll be able to select the track number manually. This
is convenient when you want to record a performance
that consists of more than one channel.
Auto:
The phrase track of the same number as the current part
will be selected automatically. This is convenient when
you want to record only one channel in a track.
Power Up Mode
This setting allows you to choose the mode that you want the
Fantom-X to be in when it is powered up.
Value
PATCH:
The Fantom-X will be in Patch mode when you
turn on the power.
PERFORMANCE: The Fantom-X will be in Performance mode
when you turn on the power.
234
Data Management Functions
Reset to Default Factory Settings (Factory Reset)
Fantom-X backup data must not be used to perform a Restore
Basic Procedure
into other models in the Fantom-X series (i.e., models other than
the Fantom-X6/X7/X8).
1. Press [MENU].
2. Press
or
to select “Utility.”
Restoring User Data that You
Backed Up (User Restore)
3. Press [ENTER].
The Utility menu screen will appear.
fig.26-001_50
Here’s how user data saved on a memory card by the User Backup
operation can be reloaded back into the user memory of the Fantom-X.
When you execute User Restore, the current contents of the user area
will be completely erased.
1. Into the slot, insert the memory card on which user data has
been saved.
2. In the Utility screen, press [F2 (User Restre)].
A message will ask you for confirmation.
3. To proceed with the restoration, press [F8 (Exec)].
4. Press [F1]–[F4] to select the operation that you want to
*
To cancel, press [F7 (Cancel)].
execute.
4. When the display indicates “Please Power Off,” turn the
•
•
•
•
[F1 (User Backup)]
power off, then on again.
Save user data to a memory card.
[F2 (User Restre)]
Load user data from a memory card.
[F3 (Factry Reset)]
If you have added files to the Fantom-X's internal memory (such
as the TMP folder) after executing the User Backup operation,
the "User Area Full!!" message may appear when you attempt to
execute the User Restore operation, and the Restore may not be
successful. If this occurs, delete the files you added after the
backup (p. 224), and then try the Restore operation again.
Restore the factory settings.
[F4 (Librarian)]
When you want to use the included Fantom-X Librarian
software, or when you want to receive system exclusive
messages from an external device to rewrite the user memory,
press [F4 (Librarian)] to put the Fantom-X in Librarian mode.
Factory Reset
*
For details on using Fantom-X Librarian, refer to “Using Fantom-X
Librarian” (p. 236).
(Factory Reset).
Backing Up User Data
(User Backup)
If there is important data you’ve created that’s stored in the
Fantom-X’s User memory, all such data is discarded when a
Factory Reset is performed (the data of the internal user
memory will be lost). If you want to keep the existing data,
save it on a memory card (p. 235) or save it via USB to your
computer (Using Fantom-X Librarian (p. 236)).
Here’s how all user data in the user area can be saved on a memory
card.
The following user data will be saved.
•
•
•
•
Performances
Patches
•
•
•
Rhythm Groups
Multisamples
Songs
•
•
•
Arpeggio styles
Chord forms
1. Press [MENU] to open the Menu window.
Rhythm sets
System settings
2. Press
[ENTER].
or
to select “Utility,” and then press
Rhythm Patterns • Samples
*
In order to execute User Backup, the memory card must have
approximately 32MB or more free area.
3. Press [F3 (Factry Reset)].
A message will ask confirmation.
1. Insert a memory card into the slot.
4. Press [F8 (Exec)] to execute the Factory Reset.
2. In the Utility screen, press [F1 (User Backup)].
*
To cancel, press [F7 (Cancel)].
A message will ask you for confirmation.
5. When the display indicates “Please Power Off,” turn the
3. To execute the backup, press [F8 (Exec)].
power off, then on again.
*
To cancel, press [F7 (Cancel)].
235
Using Fantom-X Editor
To help you take even greater advantage of its functionality, the
Fantom-X comes with Fantom-X Editor software. Fantom-X Editor
Using Fantom-X Librarian
Fantom-X Librarian is software that lets you manage libraries of
Fantom-X parameter data on your computer. It provides an efficient
way to manage patch, rhythm set, and performance data.
assigns parameters to sliders and knobs in the computer screen,
allowing you to work efficiently in a graphical editing environment.
Installing Fantom-X Editor
into Your Computer
In order to use the librarian included on the “Fantom-X Editor” CD-
ROM, you will need to put the Fantom-X in Librarian mode.
*
The same is true when you want to use a separately sold librarian.
1. Press [MENU].
2. Use or
Detailed instructions on installing the software can be found in the
online manual contained on the Fantom-X Editor CD-ROM.
•
•
Windows users
to select “Utility” and then press [ENTER].
In the Fantom-X Editor CD-ROM, open the Readme_E.txt.
Macintosh users
3. Press [F4 (Librarian)].
In the Fantom-X Editor CD-ROM, open the
Readme(English).txt.
fig.28-002_50
Making Connections
1. Make sure that the System USB setting is set to MIDI.
Refer to Selecting MIDI Mode (p. 218).
*
If it is set to Storage, you cannot use the editor via a USB connection.
2. In order to use Fantom-X Editor, use an USB cable (sold
separately) to connect the Fantom-X and your computer.
fig.28-001
Librarian mode will be selected. In Librarian mode, system
exclusive messages sent from an external MIDI device can
overwrite the settings in user memory. You will be unable to
operate the panel of the Fantom-X.
Fantom-X
4. Press [EXIT] or [F8 (EXIT)] to exit Librarian mode and return
to the normal state.
USB
USB
Windows
Macintosh
236
Using Fantom-X Editor
System Requirements (Mac OS)
Fantom-X Editor System
Requirements
•
•
•
•
Operating System
Mac OS (Classic) 8.6 and 9.x
Mac OS (X) 10.2 or later
CPU/Clock
System Requirements (Windows)
PowerPC G3 233 MHz or higher (Classic)
PowerPC G3 500 MHz or higher (Mac OS X)
Memory (RAM)
•
Operating System
Microsoft® Windows® XP
Microsoft® Windows® Me
Microsoft® Windows® 2000 Professional
Microsoft® Windows® 98
128 MB or more
256 MB or more (recommended)
Display/Colors
•
•
•
•
CPU/Clock
800 x 600 or higher/32,000 colors or more
1024 x 768 or higher (recommended)
Hard Disk
Pentium®/Celeron™ processor 400 MHz or higher
Pentium® III 500 MHz or higher (recommended)
Memory (RAM)
•
•
120 M bytes or more
128 M bytes or more
Others
256 M bytes or more (recommended)
Display/Colors
OMS 2.0 or later (Classic)
*
Apple and Macintosh are registered trademark of Apple Computer,
Inc.
800 x 600 or higher/65,536 colors (16 bit High Color) or more
1024 x 768 or higher (recommended)
Hard Disk
*
*
MacOS is a trademark of Apple Computer, Inc.
OMS is a registered trademark of Opcode Systems, Inc.
120 MB or more
204
*
Microsoft and Windows are registered trademarks of Microsoft
Corporation.
*
*
Windows® is known officially as: “Microsoft® Windows® operating
system.”
Pentium is a registered trademark of Intel Corporation.
237
About V-LINK
What is V-LINK?
Turning the V-LINK ON/OFF
1. In the left of the panel, press [V-LINK] so the indicator is
V-LINK (
) is a function that allows music and images to
lighted.
be performed together. By using MIDI to connect two or more V-LINK
compatible devices, you can easily enjoy performing a wide range of visual
effects that are linked to the expressive elements of a music performance.
(Examples)
The V-LINK setting will be on.
In this state, you can operate the Fantom-X to manipulate
images in sync with your performance.
By using the Fantom-X and Edirol DV-7PR together, you can:
•
•
•
•
Make Edirol DV-7PR playback settings remotely from the
Each mode will function as usual even if V-LINK is on.
Fantom-X.
2. Press [V-LINK] again.
Use the Fantom-X’s sequencer to enjoy synchronized music and
The V-LINK button will go out, and the V-LINK setting will be
off.
video.
Use the Fantom-X to switch the Edirol DV-7PR’s images (clips/
palettes).
Use the Fantom-X’s knobs to adjust the brightness or color of
the image.
*
In order to use V-LINK with the Fantom-X and Edirol DV-7PR, you will
need to make connections using an Edirol UM1/UM-1S (sold separately).
V-LINK Settings
1. Holding down [SHIFT] and pressing [V-LINK] to access the
Connection Examples
Use a UM-1 to connect the Fantom-X’s MIDI OUT connector to the
V-LINK SETUP screen.
DV-7PR’s remote jack.
2. Press [CURSOR] to move the cursor to a parameter, and
turn the VALUE dial or use [INC][DEC] to set the value.
fig.29-002_50
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.
fig.29-001.e
Fantom-X
MIDI OUT
*
Specify the Pad Mode by pressing [F1 (Clip)] or [F2 (Palett)].
3. If you want to keep your settings, press [F8 (System Write)].
Edirol UM-1
4. Press [F7 (Exit)] or [EXIT].
You’re returned to the previous screen.
REMOTE
Edirol DV-7PR
Projector
Display
238
About V-LINK
PAD MODE
Selects whether the pads will switch clips or palettes.
Value: CLIP, PALETT
V-LINK Parameters
Note Tx Ch
Press [F1 (Clip)]: switch clips
Press [F2 (Palett)]: switch palettes
Value:
1-16
MIDI channel that will switch Edirol DV-7PR clips/palettes and will
control dissolve time.
Local Sw
Specifies whether the internal sound generator is disconnected (OFF)
from the pads, or not (OFF).
Clip 1 Note No.
Procedure:
Value:
Press [F5 (Local Sw)].
OFF, ON
Pads 1–16 correspond to Edirol DV-7PR clips (or palettes). We
recommend that you press [PAD SETTING] to access the Pad setting
screen, and set to “Note,” using Quick Setup (p. 161) and set Clip1
Note No. to the same value as the “Pad Base Note” setting.
Clip filter
Value:
0(C-1)-127(G9)
(check boxes 1-32)
Clips that are checked can be switched. Enable/disable switching for
each clip
Dissolve Time
Control change number that controls the dissolve time (time over
which the image switches)
Value:
OFF, ON
Value:
OFF, CC1, CC5, CC7, CC10, CC11, CC71-74, CC91-
93, Channel Aftertouch
Using the Clip Filter
For example, suppose that of the rhythm set you input in the
part used for V-LINK (i.e., the part of the same number as the
Note Tx Channel), you want only the kick and snare to switch
clips. In this case, check only the clips that correspond to the
note numbers of the kick and snare. The clips will switch when
the kick or snare plays.
Ctrl Tx Ch
MIDI channel that will control the Edirol DV-7PR color Cb/Cr,
brightness, and video effect switching
Value:
1-16
Play Speed Ctrl
Range of video playback speed The three values are the playback
speeds (multiples of normal speed) at the left, center, and right
positions of the pitch bend.
Resetting the Image
Value:
0.0-1.0-2.0, 0.5-1.0-2.0, 0.0-1.0-4.0, 0.5-1.0-4.0, 0.0-1.0-
8.0, 0.5-1.0-8.0, 0.0-1.0-16.0, 0.5-1.0-16.0, 0.0-1.0-32.0,
0.5-1.0-32.0,0.0-2.0-4.0, 0.0-4.0-8.0, 0.0-8.0-16.0, 0.0-
16.0-32.0, -2.0-1.0-4.0, -6.0-1.0-8.0
Clip Reset
Turn off the image (solid black).
Procedure:
Press [F3 (Clip Reset)].
Color Cb Ctrl
All Reset
Control change number that controls the Cb color of the image
The effect applied to the image will be reset, and brightness, color
difference, etc. will all return to the default value.
Color Cr Ctrl
Procedure:
Press [F4 (All Reset)].
Control change number that controls the Cr color of the image
*
For details on clips/palettes, dissolve time, color difference signals (Cb/
Cr), refer to the Edirol DV-7PR manual.
Brightness Ctrl
Control change number that controls the brightness of the image
The Fantom-X does not support the Edirol DV-7PR’s dual
stream mode.
VFX1–4 Ctrl
Control change number that controls the video effect
*
VFX2–4 are not supported by the Edirol DV-7PR.
Fade Ctrl
Control change number that controls the output fade
Value:
OFF, CC1, CC5, CC7,CC10, CC11, CC71-74, CC91-
93, Channel Aftertouch
239
Installing the Wave Expansion Board
Up to four optional Wave Expansion Boards (SRX series; sold
separately) can be installed in the Fantom-X.
How to Install a Wave
Wave Expansion Boards store Wave data, patches, and rhythm sets,
Expansion Board
and by equipping the Fantom-X with these boards, you can greatly
expand your sound palette.
Install the Wave Expansion Boards after removing the panel cover.
Boards can be installed in the EXP A–EXP D slots. These slots
Cautions When Installing an
correspond with the Wave Expansion Board groups (XP-A–XP-D)
when the expansion Wave, patches, and rhythm sets are used.
Wave Expansion Board
1. Before installing the Wave Expansion Board, turn off the
901
power of the Fantom-X and all connected devices, and
disconnect all cables, including the Power cable, from the
Fantom-X.
•
To avoid the risk of damage to internal components that can be
caused by static electricity, please carefully observe the
following whenever you handle the board.
1
•
Before you touch the board, always first grasp a metal object
(such as a water pipe), so you are sure that any static
electricity you might have been carrying has been
discharged.
2. From the Fantom-X, remove only the screws shown in the
following diagram, and detach the cover. On the Fantom-
X6/X7, the cover is located on the bottom panel. On the
Fantom-X8, it is located on the front panel.
2
5
•
•
When handling the board, grasp it only by its edges. Avoid
touching any of the electronic components or connectors.
Save the bag in which the board was originally shipped, and
put the board back into it whenever you need to store or
transport it.
*
A hex wrench is included with the Fantom-X8. When removing
screws, you must use this hex wrench.
fig.30-002.e
Fantom-X6/X7 : bottom
Screws to be removed
•
•
Use a Phillips screwdriver that is suitable for the size of the
screw (a number 2 screwdriver, Fantom-X6/X7 only). If an
unsuitable screwdriver is used, the head of the screw may be
stripped.
To remove a screw, rotate the screwdriver counter-clockwise.
To tighten the screws, rotate the screwdriver clockwise.
fig.30-001.e
loosen
tighten
fig.30-003.e
Fantom-X8 : Front
Screws to be removed
•
•
•
When installing Wave Expansion Boards, remove only the
specified screws.
Be careful that the screws you remove do not drop into the
interior of the Fantom-X.
Do not leave the bottom cover removed. After installation of the
Wave Expansion Boards is complete, be sure to replace the
cover.
5mm Hexagonal Wrench
•
•
Be careful not to cut your hand on the opening for installing the
board.
Do not touch any of the printed circuit pathways or connection
terminals.
911
•
When turning the unit upside-down, get a bunch of newspapers
or magazines, and place them under the four corners or at both
ends to prevent damage to the buttons and controls. Also, you
should try to orient the unit so no buttons or controls get
damaged.
Do not touch any of the printed circuit pathways or connection
terminals.
912
•
Never use excessive force when installing a circuit board. If it
doesn’t fit properly on the first attempt, remove the board and
try again.
When turning the unit upside-down, handle with care to avoid
dropping it, or allowing it to fall or tip over.
913
•
When circuit board installation is complete, double-check your
work.
914
•
Always turn the unit off and unplug the power cord before
attempting installation of the circuit board (SRX series).
915
•
Install only the specified circuit board(s) (SRX series). Remove
only the specified screws.
240
Installing the Wave Expansion Board
fig.30-004
Expansion Boards
After installation of the Wave Expansion Boards has been
completed, check to confirm that the installed boards are being
recognized correctly.
3. There are four slots inside. As shown in the following
illustration, plug the connector of the Wave Expansion
Board into the connector of the relevant slot, and at the
same time insert the board holder through the hole of the
1. Turn on the power, as described in “Turning On the Power”
(p. 21).
2. Press [MENU] to open the Menu window.
Wave Expansion Board.
fig.30-005.e
3. Press
[ENTER].
or
to select “System,” and then press
Wave Expansion Board (SRX series)
4. Press [F4 (System Info)].
5. Press [F1 (⇑)] or [F2 (⇓)] to select “SRX Info.”
The System screen appears. Verify that the name of the installed
Wave Expansion Board is displayed.
fig.30-007_50
Board holder
Position them as shown
before you install the board.
Connector
If an indication of “NOT INSTALLED” appears for a slot in
which you installed a wave expansion board, it is possible that
the board is not being recognized correctly. Re-install the Wave
Expansion Board correctly.
If you install expansion boards of the same type, only one board
will be detected.
4. Use the Installation Tool supplied with the Wave Expansion
Board to turn the holders in the LOCK direction, so the
board will be fastened in place.
6. Press [EXIT] to exit the System Menu screen.
fig.30-006.e
LOCK
Installation tool
5. Use the screws that you removed in step 2 to fasten the
cover back in place.
241
Installation de la carte
d’expansion Wave
(French Language for Canadian Safety Standard)
Un maximum de trois cartes d’expansion Wave (quatre cartes SRX)
peuvent être installées dans le Fantom-X.
Installation d’une carte
d’expansion Wave
Avant d’installer la carte d’expansion Wave, retirez le panneau
inférieur. Les cartes peuvent être installées dans les emplacements
SRX-A– SRX-D. Ces fentes correspondent aux groupes de cartes
d’expansion Wave (XP-A– XP-D) lorsque l’expansion Wave, les
correctifs et rythmes sont utilisés.
Les cartes d’expansion Wave emmagasinent des données Wave,
correctifs et rythmes, et en ajoutant ces cartes au Fantom-X, il est
possible d’élargir considérablement la palette de sons.
Précautions à prendre lors
de l’installation d’une carte
d’expansion Wave
1. Avant d’installer la carte d’expansion Wave, coupez
l’alimentation du Fantom-X et de tous les appareils
branchés, et débranchez tous les câbles du Fantom-X, y
compris le câble d’alimentation.
901
•
Veuillez suivre attentivement les instructions suivantes quand
vous manipulez la carte afin d’éviter tout risque
2. Sur les modèles Fantom-X, retirer uniquement les vis
illustrées dans le schéma ci-dessous et retirer le couvercle.
Sur le modèle Fantom-X6/X7, le couvercle est situé sur le
panneau inférieur. Sur le modèle Fantom-X8, il est placé sur
le panneau avant.
d’endommagement des pièces internes par l’électricité statique.
1
•
Toujours toucher un objet métallique relié à la terre (comme
un tuyau par exemple) avant de manipuler la carte pour
vous décharger de l’électricité statique que vous auriez pu
accumuler.
*
Une clé hexagonale est fournie avec le Fantom-X8. Il faut utiliser cette
clé pour retirer les vis.
2
5
•
•
Lorsque vous manipulez la carte, la tenir par les côtés.
Évitez de toucher aux composants ou aux connecteurs.
Conservez le sachet d’origine dans lequel était la carte lors
de l’envoi et remettez la carte dedans si vous devez la ranger
ou la transporter.
fig.30-002.f
Fantom-X6/X7 : Panneau inférieur
Vis à enlever
•
•
Utilisez un tournevis de type Phillips de la taille adaptée à celle
des vis (tournevis numéro 2, Fantom-X6/X7 uniquement). Un
tournevis inadéquat peut endommager la tête de la vis.
Pour retirer une vis, tourner le tournevis dans le sens contraire
des aiguilles d’une montre. Pour serrer les vis, tourner le
tournevis dans le sens des aiguilles d’une montre.
fig.30-001.f
fig.30-003.f
desserrer
resserrer
Fantom-X8 : Panneau avant
Vis à enlever
•
•
•
•
Pour installer les cartes d’expansion Wave, retirer uniquement
les vis mentionnées.
Assurez-vous que les vis retirées ne tombent pas dans le
Fantom-X.
Clé hexagonale 5 mm
Ne pas laisser le panneau de protection avant detache. S’assurer
de l’avoir rattacher apres avoir installe le disque dur.
Faites attention de ne pas vous couper sur l’ouverture
d’installation de la carte.
911(F)
•
Ne pas toucher aux circuits imprimés ou aux connecteurs.
912(F)
•
Ne jamais forcer lors de l’installation de la carte de circuits
imprimés. Si la carte s’ajuste mal au premier essai, enlevez la
carte et recommencez l’installation.
Lorsque vous déposez le Fantom-X face vers le bas, placez des
piles de journaux ou de magazines sous les quatre coins (ou des
deux côtés) pour le soutenir. Ainsi, les boutons, manettes et
autres pièces ne seront pas endommagés.
913(F)
•
Quand l’installation de la carte de circuits imprimés est
terminée, revérifiez si tout est bien installé.
En plaçant l’appareil sens dessus dessous, manipulez-le avec
soin pour éviter de l’échapper, de le laisser tomber ou de se
renverser.
914(F)
•
Toujours éteindre et débrancher l’appareil avant de commencer
l’installation de la carte. (SRX series).
915(F)
•
N’installez que les cartes de circuits imprimes spécifiées (SRX
series). Enlevez seulement les vis indiquées.
242
Installation de la carte d’expansion Wave
fig.30-004
Vérification des cartes
installation
Lorsque l’installation des cartes d’extension audio est terminée,
procéder à une vérification pour s’assurer que l’ordinateur les
identifie correctement.
3. Il y a quatre emplacements à l’intérieur. Comme le montre
l’illustration ci-dessous, branchez le connecteur de la carte
d’expansion Wave dans la fente appropriée et, en même
temps, insérez le support de carte de circuits imprimés
1. Mettre sous tension de la façon décrite sous “Turning On
the Power” (p. 21).
dans l’ouverture de la carte d’expansion Wave.
fig.30-005.f
2. Appuyez sur la touche [MENU] pour ouvrir la fenêtre Menu.
3. Appuyer sur
ou sur
pour sélectionner “System” et
Carte d’extension Wave (serie SRX)
appuyer ensuite sur [ENTER].
4. Appuyer sur [F4 (System Info)].
5. Appuyer sur [F1 (⇑)] ou sur [F2 (⇓)] pour sélectionner “SRX
Info.”
L’écran System Edit s’affiche. Vérifiez que le nom de la carte
d’expansion Wave installeé s’est affiché.
fig.30-007_50
Support à carte
Avant l’installation,
orienter les supports à carte
tel qu’indiqué sur le schéma.
Connecteur
Si plusieurs cartes d’expansion du même type sont installées,
une seule sera détectée.
Si “NOT CONNECTED“ est affiché à côté du nom de la fente
dans laquelle la carte est installée, il est possible que la carte
d’extension audio installée ne soit pas reconnue correctement.
Réinstaller correctement la carte d’extension audio.
4. Utilisez l’outil d’installation fourni avec la carte d’expansion
Wave pour tourner les supports en position LOCK
(verrouillé) afin de retenir la carte en place.
fig.30-006.f
6. Appuyer sur [EXIT] pour quitter la fenêtre du menu du
système.
LOCK
Outil d’installation
5. Remettez le couvercle en place à l’aide des vis retirées à
l’étape 2.
243
Expanding the Memory
The Fantom-X comes with 32 MB of memory into which audio
samples can be loaded. However, in some cases, 32 MB of memory
How to Expand the Memory
will be insufficient for loading large amounts of data. In such a case,
you will have to add separately sold memory (DIMM). Memory can
be expanded up to 64/128/256/512 MB.
Install the memory module after removing the bottom panel cover.
1. Before expanding the memory, turn off the power of the
Fantom-X and all connected devices, and disconnect all
cables, including the Power cable, from the Fantom-X.
Before expanding the memory, consult with your retailer, the nearest
Roland Service Center, or an authorized Roland distributor.
2. From the Fantom-X, remove only the screws shown in the
following diagram, and detach the cover. On the Fantom-
X6/X7, the cover is located on the bottom panel. On the
Fantom-X8, it is located on the front panel. From the
Fantom-X, remove only the screws shown in the following
diagram, and detach the cover.
Precautions for Expanding
Memory
901
•
To avoid the risk of damage to internal components that can be
caused by static electricity, please carefully observe the
following whenever you handle the board.
*
A hex wrench is included with the Fantom-X8. When removing
screws, you must use this hex wrench.
1
•
Before you touch the board, always first grasp a metal object
(such as a water pipe), so you are sure that any static electricity
you might have been carrying has been discharged.
When handling the board, grasp it only by its edges. Avoid
touching any of the electronic components or connectors.
Save the bag in which the board was originally shipped, and
put the board back into it whenever you need to store or
transport it.
fig.30-002.e
Fantom-X6/X7 : bottom
Screws to be removed
2
5
•
•
•
•
Use a Phillips screwdriver that is suitable for the size of the
screw (a number 2 screwdriver, Fantom-X6/X7 only). If an
unsuitable screwdriver is used, the head of the screw may be
stripped.
f
Fantom-X8 : Panneau avant
To remove a screw, rotate the screwdriver counter-clockwise.
To tighten the screws, rotate the screwdriver clockwise.
Vis à enlever
loosen
tighten
Clé hexagonale 5 mm
•
•
•
•
•
•
•
•
Be careful that the screws you remove do not drop into the
interior of the Fantom-X.
Be careful not to cut your hand on the edge of the cover or the
opening edge while removing the cover.
Do not touch any of the printed circuit pathways or connection
terminals.
f
Never use excessive force when installing a circuit board. If it doesn’t
fit properly on the first attempt, remove the board and try again.
When circuit board installation is complete, double-check your
work.
Always turn the unit off and unplug the power cord before
attempting installation of the memory DIMM board.
Install only the specified memory DIMM board. Remove only
the specified screws.
3. Press outward the white clips at either end of the socket
should be in the downward position.
fig.31-003
When turning the unit upside-down, get a bunch of newspapers
or magazines, and place them under the four corners or at both
ends to prevent damage to the buttons and controls. Also, you
should try to orient the unit so no buttons or controls get
damaged.
•
•
When turning the unit upside-down, handle with care to avoid
dropping it, or allowing it to fall or tip over.
Do not leave the bottom cover removed. After installation of the
memory module is complete, be sure to replace the cover.
244
Expanding the Memory
4. Paying attention to the location of the notch on the memory
module and the orientation, insert it vertically within the
guides at either side of the socket.
Checking that memory is
installed correctly
fig.31-004
1. Turn on the power, as described in “Turning On the Power”
(p. 21).
2. Press [MENU] to open the Menu window.
3. Press
[ENTER].
or
to select “System,” and then press
4. Press [ENTER].
5. Press [F4 (System Info)].
6. Press [F1 (⇑)] or [F2 (⇓)] to select “SRX Info.”
Verify that the screen correctly shows the amount of memory
you installed.
fig.31-007_50
If you have difficulty inserting the memory module, try tilting it
a bit and inserting one end at a time.
5. Move the white clips upward, and press them until the
memory module is locked in place.
fig.31-005
7. Press [EXIT] to exit the System screen.
*
If the correct amount of memory is not shown, it is possible that the
memory is not being recognized properly. Turn off the power as
described in “Turning Off the Power” (p. 22), and re-install the
memory correctly.
6. Use the screws that you removed in step 2 to fasten the
cover back in place.
Specifications of the expansion memory
(DIMM) that can be used
Removing the Memory
Number of pins:
Speed:
168-pin
To remove the memory module, reverse the installation procedure.
100 MHz (PC100 CL=2)
133 MHz (PC133 CL=3)
3.3 V
1. Simultaneously press outward the white clips located at
either end of the socket.
fig.31-006
Voltage:
Capacity:
64/128/256/512 MB
38 mm or less
Board height:
The Fantom-X has been confirmed to work with standard
memory that meets the above specifications. However, we
cannot guarantee that all memory of these specifications will
work correctly. Please be aware that even with identical
specifications, differences in the design of the memory module
or the conditions of use may mean that a memory module may
not be usable.
2. Remove the memory module from the socket.
245
Ajouter de la mémoire
(French Language for Canadian Safety Standard)
Le Fantom-X est livré avec une mémoire de 32 Mo dans laquelle les
Installation du module de
échantillons audio peuvent être chargés. Toutefois, dans certains cas,
une mémoire de 32 Mo sera insuffisante pour charger de grandes
quantités de données. Il faudra alors ajouter des modules de
mémoire vendus séparément (DIMM). La mémoire est extensible
jusqu’à 64/128/256/512 Mo.
mémoire
Installez le module de mémoire après avoir retiré le couvercle
inférieur.
Avant d’ajouter de la mémoire, consulter le détaillant, le centre de
1. Avant d’installer la mémoire additionnelle, mettez hors
tension le Fantom-X et tous les périphériques connectés et
débranchez tous les câbles, y compris le câble
d’alimentation du Fantom-X.
service Roland le plus proche ou un distributeur autorisé Roland.
fig.French-CSA
Précautions à prendre lors
de l’ajout de mémoire
2. Sur les modèles Fantom-X, retirer uniquement les vis
illustrées dans le schéma ci-dessous et retirer le couvercle.
Sur le modèle Fantom-X6/X7, le couvercle est situé sur le
panneau inférieur. Sur le modèle Fantom-X8, il est placé sur
le panneau avant.
901 (F)
•
Veuillez suivre attentivement les instructions suivantes quand
vous manipulez la carte afin d’éviter tout risque
d’endommagement des pièces internes par l’électricité statique.
Toujours toucher un objet métallique relié à la terre (comme un
tuyau par exemple) avant de manipuler la carte pour vous
décharger de l’électricité statique que vous auriez pu accumuler.
Lorsque vous manipulez la carte, la tenir par les côtés. Évitez de
toucher aux composants ou aux connecteurs.
*
Une clé hexagonale est fournie avec le Fantom-X8. Il faut utiliser cette
clé pour retirer les vis.
1
•
fig.30-002.f
Fantom-X6/X7 : Panneau inférieur
Vis à enlever
2
5
•
•
•
Conservez le sachet d’origine dans lequel était la carte lors de l’envoi
et remettez la carte dedans si vous devez la ranger ou la transporter.
Utilisez un tournevis de type Phillips de la taille adaptée à celle
des vis (tournevis numéro 2, Fantom-X6/X7 uniquement). Un
tournevis inadéquat peut endommager la tête de la vis.
Pour retirer une vis, tourner le tournevis dans le sens contraire
des aiguilles d’une montre. Pour serrer les vis, tourner le
tournevis dans le sens des aiguilles d’une montre.
•
fig.30-003.f
fig.31-001.f
Fantom-X8 : Panneau avant
desserrer
resserrer
Vis à enlever
•
•
Assurez-vous que les vis que vous retirez ne tombent pas à
l’intérieur du Fantom-X.
Faites attention de ne pas vous couper sur le bord du couvercle
ou de l’ouverture lorsque vous retirez le couvercle.
Clé hexagonale 5 mm
•
911(F) Ne pas toucher aux circuits imprimés ou aux connecteurs.
912(F) Ne jamais forcer lors de l’installation de la carte de circuits
•
imprimés. Si la carte s’ajuste mal au premier essai, enlevez la
carte et recommencez l’installation.
•
913(F) Quand l’installation de la carte de circuits imprimés est
3. Appuyez sur les clips blancs à l’extrémité de la prise qui
terminée, revérifiez si tout est bien installé.
devraient être orientés vers le bas.
fig.31-003
914(F-Modified)
•
Avant de procéder à l’installation d’un module DIMM, il faut toujours
mettre l’unité hors tension et débrancher le câble d’alimentation.
915(F-Modified)
•
Installez uniquement le module DIMM spécifié. Retirez
uniquement les vis spécifiées.
928(F) Lorsque vous déposez le Fantom-X face vers le bas, placez des
•
piles de journaux ou de magazines sous les quatre coins (ou des
deux côtés) pour le soutenir. Ainsi, les boutons, manettes et
autres pièces ne seront pas endommagés.
•
929(F) En plaçant l’appareil sens dessus dessous, manipulez-le avec soin
pour éviter de l’échapper, de le laisser tomber ou de se renverser.
Une fois l’installation du module terminée, remettez le
couvercle en place.
•
246
Ajouter de la mémoire
4. Prenez bien note de l’emplacement et de l’orientation de
l’encoche du module de mémoire et insérez-le
Vérifier que la mémoire est
installée correctement
verticalement à l’intérieur des guides qui se trouvent de
chaque côté de la prise.
fig.31-004
1. Mettre sous tension de la façon décrite sous “Turning On
the Power” (p. 21).
2. Appuyez sur la touche [MENU] pour ouvrir la fenêtre Menu.
3. Appuyer sur
ou sur
pour sélectionner “System” et
appuyer ensuite sur [ENTER].
4. Appuyer sur [ENTER].
5. Appuyer sur [F4 (System Info)].
6. Appuyer sur [F1 (⇑)] ou sur [F2 (⇓)] pour sélectionner “SRX
Info.”
*
Si vous éprouvez de la difficulté à insérer le module de mémoire,
inclinez-le légèrement et insérez une extrémité à la fois.
S’assurer de lire dans la fenêtre la taille de la mémoire que vous
avez installée.
fig.31-007_50
5. Ramenez les clips blancs vers le haut et appuyez dessus
jusqu’à ce que le module de mémoire soit verrouillé en
place.
fig.31-005
7. Appuyer sur [EXIT] pour quitter la fenêtre du menu du
système.
*
Si la taille de la mémoire dans la fenêtre n’est pas exacte, il est possible
que la mémoire n’ait pas été détectée correctement. Éteindre tel que
décrit sous “Turning Off the Power” (p. 22), et réinstaller la
mémoire conformément aux instructions.
6. À l’aide des vis retirées à l’étape 2, remettez le couvercle en
place.
Retrait du module de mémoire
Spécifications des modules de mémoire
(DIMM) qui peuvent être utilisés
Pour retirer le module de mémoire, procédez à l’inverse de la
procédure d’installation.
Nombre de broches:
Vitesse:
168-pin
100 MHz (PC100 CL=2)
133 MHz (PC133 CL=3)
3.3 V
1. Appuyez simultanément, vers l’extérieur, sur les clips
blancs situés aux extrémités de la prise.
fig.31-006
Tension:
Capacité:
64/128/256/512 MB
38 mm ou moins
Hauteur de la carte:
Il a été confirmé que le Fantom-X fonctionne avec la mémoire
standard possédant les spécifications ci-dessus. Nous ne
pouvons toutefois pas certifier que toutes les mémoires
possédant ces spécifications fonctionneront correctement. Il faut
se rappeler que même si les spécifications sont identiques, des
différences dans la conception du module de mémoire ou les
conditions d’utilisation peuvent faire en sorte qu’il n’est pas
possible d’utiliser le module de mémoire.
2. Retirez le module de mémoire de la prise.
247
Using a Memory Card
The Fantom-X features a PC card slot, allowing you to use not only
PC card type memory cards, but also other types of media, such as
Installing the PC Card
CompactFlash and Smart Media, via the appropriate PC card
adaptor.
Protector
The Fantom-X provides a PC card protector to prevent theft of the
memory card. To install the PC card protector, use the following
procedure.
Before Using the Memory
Card
1. Use a screwdriver to remove both of the screws from the
Make sure that the correct side of the card is facing upward, and
bottom side of the PC CARD slot.
insert it into the Fantom-X's PC card slot. When you need to remove
the card, press the eject button located beside the card.
fig.31a-001
2. Insert the memory card into the PC CARD card slot.
3. Use the screws to fasten the PC card protector as shown
below.
fig.31a-002
Eject
Memory card
memory
card
Writing data to the card
PC card protector
Patches, rhythm sets, performances, samples, and song data can be
written to the card. For details on the writing procedure, refer to the
explanation for the corresponding parameters.
248
If the Fantom-X does not function in the way you expect, first check
the following points. If this does not resolve the problem, consult
your dealer or a nearby Roland Service Station.
•
messages (volume messages or expression messages) received
from an external MIDI device?
*
If any sort of message is being displayed on the screen during an
operation, refer to Error Messages (p. 296).
In the case of Performance mode, the value of volume messages
(Volume) and expression messages (Expression) can be viewed
Problems Concerning the Entire
Fantom-X
•
Have the samples been loaded correctly? (p. 201)
A specific Part does not sound
Check the following points.
The power does not turn on.
Make sure that the Fantom-X’s AC cord is connected correctly
to its power inlet and to the AC outlet (p. 19).
•
•
Has the volume level of the part been lowered?
Adjust the Level parameter to raise the volume of the part that
is not heard (p. 108).
Is the part being muted?
Issues Related to Sound
Set the Mute Switch parameter to “OFF” (p. 107).
Specific pitch ranges do not sound
Turning the VOLUME knob doesn’t change the volume.
Has a restricted range of notes been set?
If you’re using the DIGITAL OUT, the VOLUME knob will not
change the volume. Adjust the “Master Level” (p. 229).
If a specific range of notes does not sound, check the Key Range
settings for the Patch Tone, the Performance Part.
Tone Key Range
There is no sound.
•
•
Key Range Lower/Upper parameter (p. 65)
Part Key Range
Check the following points.
•
Is the power for connected amps and speakers turned on? Is the
volume turned all the way down?
Key Range Lower/Upper parameter (p. 111)
•
•
•
Is the VOLUME knob turned all the way down?
Have connections been made correctly?
The sound is distorted.
Can you hear sound through headphones?
If there is sound in the headphones, it is possible that the
connection cables are broken, or that your amp/mixer has
malfunctioned. Check your cables and amp/mixer system once
again.
•
Is an effect which distorts the sound being applied?
If the sound for a specific patch or part is distorted, lower the
volume level on that part.
•
•
volume level.
•
If you do not hear sound when you play the keyboard, check
whether the Local Switch is turned OFF.
Could the Output Gain be excessively high?
In “System,” check the “Sound” parameter.
Make sure that the Local Switch parameter is turned on (p. 229).
Turn on “Tone Switch.”
•
•
Pitch is incorrect.
The Part level settings may be too low.
Check the following points.
Access the Level parameter, and check the level of each part (p.
108).
•
•
Check the Master Tune parameter setting (p. 229).
Bend messages received from an external MIDI device?
•
Are the Effect settings correct?
Check the Effect settings ON or OFF, the Effect Balance or
Level. (p. 206)]
•
•
Are the settings for the output destination correct?
Check the various output assign settings (p. 108).
Is the Wave Expansion Board properly installed?
When selecting the settings that stipulate the use of EXP-A–D
waves, Patches, or Rhythm Sets, check that the specified Wave
Expansion Board is installed properly in the specified slot (p.
240, p. 242).
In the case of Performance mode, the value of Pitch Bend
messages (Pitch Bend) can be viewed in the Part Information
window (p. 106).
•
Have the Coarse Tune or Fine Tune parameters been set for
specific Parts?
Check the Coarse Tune parameter and Fine Tune parameter
settings (p. 109).
249
Troubleshooting
The sound is interrupted.
Even when I set the Pan for a Patch completely to one side,
sound still comes from the other channel...
Sounds will be interrupted if more than 128 voices are used
simultaneously.
The Fantom-X’s internal effects are in stereo, so if you have
one side, you will still be able to hear sounds of the effect
component from the other channel.
•
•
Reduce the number of Tones that you are using.
Increase the Voice Reserve setting for parts that must not drop
out. (p. 111)
Sometimes, when playing legato, the pitch won’t rise. Why is
this?
When I play the keyboard, notes do not stop.
Is the pedal polarity of the Hold Pedal reversed?
When the Legato Switch parameter (p. 77) is “ON,” and the
Check the Hold Pedal Polarity parameter setting (p. 226).
Legato Retrigger parameter (p. 77) is “OFF,” and you hold
down keys in the high register to play legato, the upper pitch
limit of the wave may be exceeded, so that the pitch does not
rise as far as you expect, but will stop rising at a certain point.
Additionally, if differing upper pitch limits are used for the
waves of a Patch that uses multiple tones, it may stop being
heard in MONO. When making large pitch changes, set the
Legato Retrigger parameter to “ON.”
When I press a pad, the sound does not stop sounding.
Could the [HOLD] pad be lit?
Press the [HOLD] pad once again so the light goes out.
The sound cuts off when I switch Patches in Patch mode...
Although you can apply a wide variety of multi-effects with the
type of multi-effects used.
The notes sound strange in the upper registers of the keyboard.
Sometimes when playing the keys in the upper part of the
In such instances, discrepancies between the sound being
produced and the multi-effects type can arise, which may result
in sounds being different than intended, so sounds produced
are in effect. In certain situations, such as when not using multi-
effects that have a great influence on the sound, remembering to
set Patch Remain parameter (p. 230) to “ON” allows you to
switch Patches without sounds being muted.
Fantom-X’s keyboard, the sound may stop, or the pitch may
stop rising; or with certain keys, there may be intermittent
noise. This occurs mainly when the Fantom-X’s upper pitch
limit is exceeded, so this issue doesn’t arise in the ranges
normally used. But, in any case, it does not indicate a
malfunction.
Although the same Patch is selected, it sounds different when I
listen to it in the Performance.
When switching Patches in Patch mode, the volume and other
parameters set with Control Changes end up being reset.
In Performance mode, the parameters of each part of the
Set Patch Remain parameter (p. 230) to “ON.” Even once they
performance can apply further modification to parameters such
as pan, octave, and filter, relative to the settings specified by the
patch. Thus, Patches in a Performance may sound different than
they do when heard in Patch mode. To return these settings to
their initial conditions, select the Patch after execute Factory
Reset Temporary for the Performance. (p. 235)
have switched Patches, Control Change messages that have
been received are carried forward, so even when switching a
Change volume message, the level remains unchanged.
If the Tone Delay time value is set to the note, then does the
Additionally, although a Patch may comprise tones created
with the use of the multi-effects, the multi-effects used in the
Performance may differ from the multi-effects selected by the
Patch. Check the multi-effect settings of the performance. Also
do the same for the Chorus and Reverb settings.
delay time not change beyond a fixed length when the tempo is
slowed down?
There is a maximum permissible value for the Delay Time
parameter (p. 75). So, if the time setting is specified in terms of a
note value, and the tempo is slowed down, this maximum
permissible value will be reached, and it cannot be increased
further. The upper time limit for each is the maximum value
that can be set other than the numerical value for the beat.
The volume level of the instrument connected to Fantom-X is
too low.
Could you be using a connection cable that contains a resistor?
Use a connection cable that does not contain a resistor
250
Troubleshooting
Multi-effect 43: TAP DELAY or other delay time value is set to
the note, and then the tempo is slowed down, does the delay
time not change beyond a fixed length?
Issues Related to Effects
Such Delay time settings have an upper limit, so if the upper
limit of a value set to the note is exceeded when the tempo is
retarded, that upper value cannot rise any further. The upper
time limit for each is the maximum value that can be set other
than the numerical value for the beat.
Effects not applied.
Check the following points.
•
The “MFX,” “CHO,” “REV” or “MASTER” effect switches
located in the upper part of the PLAY screen may have been
turned off.
Issues Related to Saving Data
Press [EFFECTS]/[F8 (Effect Sw)] to turn them on.
Are the various effect settings correct? (p. 206)
If the send level of each effect is set to 0, the effect will not be
applied. Check the settings.
•
•
The Performance sounds different than when it was written.
Check the following points.
•
Even with send levels to each effect set at 0, effects are not
applied if the Multi-effects Output Level, the Chorus Level, or
the Reverb Level is set to 0. Check each setting.
If Output Assign is set to other than “MFX,” the Multi-effects
sound will not be output.
•
performance, or if the temporary patch of the performance has
been modified by an external MIDI device, these patches must
also be saved.
•
•
If patches used by a performance have been edited when you
write that performance, the Fantom-X will display a message
asking whether you want to discard these patches. In such
cases, first save the patch (p. 59) or rhythm set (p. 86), and then
save the performance (p. 120) again.
If Output Assign is set to “PATCH” for each Part of the
Performance, the sound will be output according to the Output
Assign settings of the Patch (for each Tone) which is assigned to
those Parts. This means that if Output Assign for the Patch
(each Tone) is set to other than “MFX,” the Multi-effects sound
will not be output.
•
•
The Mastering Effect settings may have changed. (These
settings are not stored as part of a performance.)
The Modulation or other controller is always on.
Check the Matrix Controller settings. (p. 80)
Patches sound different than when written.
Check the following points.
The write operation cannot be used to save Patches as changed
in Patch mode using Control Change messages from an external
MIDI device.
The Fantom-X allows you to use the Matrix Control to control
Patches in real time. The Matrix Control functions as the control
source for the Control Change and other MIDI messages
received by the Fantom-X, and makes changes to the various
Patch parameters based on these messages.
Refer to MIDI Implementation (p. 298) for more on the Control
Change messages that are received.
Depending on these settings, the Fantom-X may be responding
to MIDI messages sent from external MIDI devices, and may
result the Patches sounding different than intended.
Raising the chorus or reverb send level for each part of a
performance still does not cause the effect to be applied
sufficiently.
•
The Mastering Effect settings may have changed. (These
settings are not stored as part of a patch.)
The Arpeggio and D Beam controller settings in the
Performance are different than those for the Patch.
Since the Fantom-X stores arpeggio and D Beam controller
Although you can make Send level settings to the Chorus and
settings for each performance, it will operate according to the
arpeggio and D Beam controller settings that were specified for
each performance.
Reverb for each individual Part in a Performance, these values
only set the upper limit of the Chorus and Reverb Send levels
for the Patch used. Accordingly, even when the value is set to
the maximum of 127, if the Send level is lowered in the Patch
being used, there will be no effect. In addition, different Patch
Chorus and Reverb Send level settings can be used according to
whether or not the multi-effects are used.
Using the Matrix Control or other such means to control the
LFO results in noise when the Pan is changed suddenly.
Lower the change in speed (LFO Rate).
Due to the specialized processing used for the Pan, which alters
the volume level in each of the left and right sides, sudden Pan
movements causing rapid changes in these levels creates large
changes in volume, and noise from this may be audible as a
result.
251
Troubleshooting
After using a MIDI sequencer to play a song, sounds stopped
Issues Related to Sequencer
playing, and no sound is played even when Program Changes
are sent.
Song data does not play back correctly
Check the following points.
It could be that a Bank Select in the song data that is not
specified by the Fantom-X was encountered in the song. No
sound is played if the tone group is not one designated by the
Fantom-X with Bank Select MSB/LSB. Note that if you omit the
Bank Select, and send only the Program Change, the tone in the
currently selected group that has the specified Program Change
number will play. Try reselecting the tone using the panel
controls. Furthermore, when selecting tones from an external
Program Change as a single set for reliable reproduction. First
sending the MSB and LSB (the order in which these are sent
does not matter), followed by the Program Change.
•
•
Has the Receive General MIDI/General MIDI 2 System On
Switch been turned ON?
Set the Rx GM System ON/Rx GM2 System ON parameter
(SYSTEM/MIDI) to “ON” (p. 231).
Are you trying to start playback from midway through the
song?
The beginning of a GM score song contains a General MIDI/
General MIDI 2 System On message. In some cases, a GM Score
cannot be played back correctly unless this message is received.
Are you trying to play song data designed for the GS Format?
When the Fantom-X receives a GS Reset message, the Fantom-X
data bearing the GS logo (GS music data). However, data
created exclusively for the Sound Canvas Series may not play
back properly on the Fantom-X.
•
For more about the relationship between the Bank Select MSB/
LSB and corresponding tone groups, refer to <Bank Select and
Program Change Correspondence Chart> (p. 330).
In some cases, you may be unable to hear any sound after
playing the last song that was faded-out. This may be because
the volume has been lowered by volume messages or
expression messages. Check the value of these messages, and
set them to appropriate values.
After recording, the song does not sound when I play it back.
Have the tracks been muted?
Defeat muting (p. 107).
Performances are sluggish, or have interruptions.
The tempo is different than the last time I played back the song.
Problems of sluggish and interrupted performances can crop up
If a song is played back after the tempo is changed, then the
very easily when the sequencer or sound generator used for the
performance has to handle heavy data loads.
new tempo is not saved unless the song is saved to the user
memory or memory card. Conversely, the previous tempo will
be erased when you save the song. When saving songs,
carefully check the current tempo.
Main causes and possible corrective measures are considered
below.
•
Are more than 128 voices playing simultaneously?
Reduce the number of voices. The composition of Fantom-X
Patches is such that up to eight Waves may be used for one
Patch. When using such Patches, even though only one sound
may be heard, it is actually eight sounds that are being played
simultaneously. In addition, with certain sounds like
continuous sounds with long releases, even though the actual
sound may not be audible to you, processing for playing the
sound is still underway, so in these cases as well, the
performance data can differ from the actual number of voices
being played.
Locate Positions set in song have disappeared.
Check the following points.
•
•
Was the disk saved in a format other than MRC-Pro format
(SMF 0 or 1)? Locate positions will be saved with the song data
only when saving in MRC-Pro format.
Are you using Quick Play? In order to use locate positions, the
song must be loaded into the Fantom-X.
Sound Device Tones Are Switched Arbitrarily
Use the Microscope (p. 192) to check the following points.
In the Part Information window you can check the number of
notes for which sound is actually being processed (p. 106).
Are you using a Patch that uses a lot of LFO?
•
•
Has an unneeded program change been input? Or are there
duplicate program changes?
•
Were any mistakes made in setting the data MIDI channels
when Program Change messages were input?
Try changing to a different Patch. LFO processing invariably
places a big load on the machine, so heavy use of the LFO slows
down processing for the Fantom-X overall, which can end up
having affecting the expression of sounds themselves.
Data supposed to be present does not appear in microscope.
Check the following points.
•
•
Are the wrong tracks selected?
In View Select (p. 194), is any data set not to be displayed?
252
Troubleshooting
•
Is the data concentrated at the beginning of the beats in the
sequence data?
Exclusive messages are not received.
Avoid overlapping data with the same timing by setting an
offset of 1–2 clocks instead. Data may easily become
concentrated at the beginning of the beats in the song data
when, for example, the song data is input using Step Recording,
or if the data is quantized after being input with a keyboard in
real time. Because of this, large amounts of data are sent to the
Fantom-X, and the processing for expressing sounds becomes
bogged down.
Check the following points.
•
•
Is the instrument set to receive Exclusive messages?
Set the Rx Exclusive parameter to “ON” (p. 231).
Does the Device ID number of the transmitting device match
the Device ID number of the Fantom-X?
Check the Device ID parameter (p. 230).
•
Are you attempting to write to the User area? Data can be
written to the User area only in Librarian mode.
•
•
Is there a Program Change at the point where the song
performance is sluggish?
I connected an external sequencer or MIDI keyboard to the
Change the position of the Program Change. When Program
Changes are inserted in songs, processing time for switching
patches increases, which may then cause the performance to
become sluggish.
MIDI IN connector, and attempted to play a Fantom-X rhythm
set, but there was no sound. Why?
Check to make sure that the MIDI Transmit channel of the
external MIDI device and the Fantom-X’s MIDI Receive channel
are matched. The MIDI Receive channel used by the Fantom-X
parameter (keyboard part) and Pad Patch RX/TX Channel
parameter (pad part). Rhythm Set performance data is generally
received on MIDI Channel 10.
Is there a System Exclusive message at the point where the song
performance is sluggish?
Move the location of the data. System Exclusive messages
contain large amounts of data, thus placing a heavy burden on
sequencers and sound modules. Try repositioning data and
changing System Exclusive messages to Control Changes for
any data for which Control Changes can be substituted.
Is there an Aftertouch or other such large Control Change at the
point where the song performance is sluggish?
Messages from MIDI IN are not being received.
•
Additionally, the MIDI IN connector cannot be used if USB
mode (p. 218) is set to MIDI. Set the USB mode to Storage.
Move the location of the data. If the data is no longer needed,
delete the data. In some cases, when using a keyboard that
features aftertouch to input data, you may end up inputting
huge amounts of data before realizing this is happening. Such
large amounts of data can place an excessive load on your
sequencer and sound module.
controls does not affect the sound.
not transmitted by the Thru function. If you are using such
sequencer software and want to record system exclusive
messages, turn on the following parameters.
In Patch Mode
You can use the Track Edit operation Data Thin (p. 190) to thin
out unwanted messages.
•
•
Local Switch parameter (p. 229).
In Performance Mode
Issues Related to MIDI and
External Devices
When the Bend Range for a Patch is increased (48), the pitch
No Sound from connected MIDI device.
Check the following points.
does not rise sufficiently, even when a MIDI Pitch Bend
message is received.
While Patch Bend Ranges can be set anywhere between 0 and
•
•
Is the instrument set to transmit MIDI messages?
In Patch Mode
48, when certain Waves in which the pitch is raised (in the +
direction) are used, the pitch may stop rising at a fixed point,
rather than continuing to go up. Although a value of 12 is
ensured for the upper limit of raised pitches, use caution when
setting the Bend Range above this figure.
Kbd Patch Rx/Tx Channel parameter (Keyboard part) (p. 230)
Pad Patch Rx/Tx Channel (Pad part) (p. 230)
In Performance Mode
•
KBD switch -> Performance Layer, Mixer screen/KBD
253
Troubleshooting
Sampled sound contains excessive noise or distortion
Check the following points.
Issues Related to Sampling
•
•
Is the input level appropriate? If the input level is too high, the
sampled sound will be distorted. If it is too low, noise will be
heard. When sampling, turn the LEVEL knob in the Sampling
Standby screen (p. 142) to adjust the level while watching the
level meter displayed in the upper part of the display. Adjust
the level so that the “CLIP” indication in the upper right of the
display does not appear.
External input sound cannot be heard/volume is too low
Check the following points.
•
•
Could [MIX IN] be unlit?
Press [MIX IN] so it is lit.
The level of the external input may be lowered.
When you sample, use the EXT SOURCE “VOLUME” knob to
adjust the level appropriately.
Are the effect settings appropriate?
Some types of effect may increase the level louder than the
original sample, or may intentionally distort the sound. Some
effects will also cause noise to be emphasized.
•
•
Hold down [SHIFT] and press [MIX IN] to access the Input
Setting screen, and check the Level settings.
The volume of the device connected to AUDIO INPUT may be
lowered.
Temporarily turn off effects, and check whether the sample
itself contains noise or distortion. Then adjust the effect settings
appropriately.
Adjust it to an appropriate level.
•
Are the audio cables connected correctly?
Check the connections.
•
Are multiple samples being played simultaneously?
Even if the level of each individual sample is appropriate,
simultaneously playing multiple samples may cause the overall
level to be excessively high, causing distortion. Lower the level
of each sample so that the sound is not distorted.
•
•
An audio cable may be broken.
Could you be using an audio cable with a built-in resistor?
Use a connection cable that does not contain a resistor (e.g.,
Roland PCS series).
External input sound is not stereo/is not monaural
Check the following points.
Issues Related to a Memory Card
Can’t select data from a memory card
Check the following points.
•
•
Stereo Switch parameter (p. 143) may be set to monaural
(stereo).
Could the Input Select parameter be set to “LINE IN L,” or
“Microphone”?
•
•
Is the memory card inserted correctly?
Turn off the power, remove the memory card, then re-insert the
memory card correctly.
Hold down [SHIFT] and press [MIX IN] to access the Input
Setting screen, and set “Input Select” to “LINE IN L/R.”
Is the memory card an appropriate type?
Mic sound is not output/is too weak
Check the following points.
The Fantom-X can use either PC card type memory cards, or
another type of memory card via a PC card adaptor.
I can’t use a memory card
•
Is the mic cable connected correctly?
Check the connection.
Is the memory card formatted?
•
•
The mic cable may be broken.
An unformatted floppy disk cannot be used. Perform the
Format procedure.
The input source may be set to something other than mic.
Hold down [SHIFT] and press [MIX IN] to access the Input
Setting screen, and set “Input Select” to “Microphone.”
The mic level may have been lowered.
•
•
When sampling, use the EXT SOURCE “LEVEL” knob to adjust
Can’t record a sample
Check the following points.
Is there enough memory capacity?
If there is insufficient sample memory, a message of “Sample
Memory Full!” will appear when you attempt to sample. (p.
147)
Erase unneeded samples to increase the amount of free space.
If there is still not enough, install additional memory (DIMM
modules). (p. 244, p. 246)
254
Patch Parameter
General Group (P.60)
Parameter
Value
Patch Name
* Specify when writing.
space, A–Z, a–z, 0–9, ! ” # $ % & ’ ( ) * + , - . / : ; < = > ?
@ [ \ ] ^ _ ` { | }
Patch Category
Patch Level
0–127
Patch Pan
Patch Priority
Octave Shift
L64–0–63R
LAST, LOUDEST
-3– +3
Patch Coarse Tune
Patch Fine Tune
Stretch Tune Depth
Analog Feel
-48– +48
-50– +50
OFF, 1–3
0–127
Analog Feel Depth
Cutoff Offset
-63– +63
-63– +63
-63– +63
-63– +63
-63– +63
Resonance Offset
Attack Time Offset
Release Time Offset
Velocity Sens Offset
Wave Group (P.62)
Parameter
Wave Group
Wave Bank
Value
INT, EXP, SAMP, MSAM
When the wave group is INT: A or B, EXP: A–D, When
the wave group is SAMP: PRST, USER, CARD, When
the wave group is MSAM: USER, CARD
Wave No. L (Mono)
Wave No. R
Wave Number L (Mono)
----, 1–1228 (The upper limit will depend on the wave
group.)
----, 1–1228 (The upper limit will depend on the wave
group.)
Wave Number R
Wave Gain
-6, 0, +6, +12
OFF, ON
OFF, ON
1–4
Wave Tempo Sync
FXM Switch
FXM Color
FXM Depth
0–16
TMT Group (P.63)
Parameter
Value
Structure Type 1 & 2, 3 & 4
Booster 1 & 2, 3 & 4
Key Fade Lower
Key Range Lower
Key Range Upper
Key Fade Upper
TMT Velocity Control
Velo Fade Lower
Velo Range Lower
Velo Range Upper
Velo Fade Upper
TMT Control Sw
1–10
0, +6, +12, +18
0–127
C-1–UPPER
LOWER–G9
0–127
OFF, ON, RANDOM, CYCLE
0–127
Booster Gain 1 & 2, 3 & 4
Keyboard Fade Width Lower
Keyboard Range Lower
Keyboard Range Upper
Keyboard Fade Width Upper
TMT Velocity Control Switch
Velocity Fade Width Lower
Velocity Range Lower
1–UPPER
LOWER–127
0–127
Velocity Range Upper
Velocity Fade Width Upper
TMT Control Switch
OFF, ON
255
Parameter List
Pitch Group (P.67)
Parameter
Value
Tone Coarse Tune
Tone Fine Tune
Random Pitch Depth
-48– +48
-50– +50
0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 20, 30, 40, 50, 60, 70, 80, 90, 100,
200, 300, 400, 500, 600, 700, 800, 900, 1000, 1100, 1200
Pitch Key Follow
-200, -190, -180, -170, -160, -150, -140, -130, -120, -110,
-100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20,
+30, +40, +50, +60, +70, +80, +90, +100, +110, +120, +130,
+140, +150, +160, +170, +180, +190, +200
Bend Range Up
Bend Range Down
P-Env V-Sens
P-Env T1 V-Sens
P-Env T4 V-Sens
P-Env Time KF
Pitch Bend Range Up
Pitch Bend Range Down
Pitch Envelope Velocity Sensitivity
Pitch Envelope Time 1 Velocity Sensitivity
Pitch Envelope Time 4 Velocity Sensitivity
Pitch Envelope Time Key Follow
0– +48
-48–0
-63– +63
-63– +63
-63– +63
-100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20,
+30, +40, +50, +60, +70, +80, +90, +100
Pitch Env Group (P.68)
Parameter
Value
-12– +12
0–127
P-Env Depth
Pitch Envelope Depth
P-Env Time1–4
P-Env Level0–4
Pitch Envelope Time 1–4
Pitch Envelope Level 0–4
-63– +63
TVF Group (P.69)
Parameter
Value
Filter Type
OFF, LPF BPF, HPF, PKG, LPF2, LPF3
Cutoff Frequency
Resonance
0–127
0–127
Cutoff Key Follow
Cutoff Frequency Key follow
-200, -190, -180, -170, -160, -150, -140, -130, -120, -110,
-100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20,
+30, +40, +50, +60, +70, +80, +90, +100, +110, +120, +130,
+140, +150, +160, +170, +180, +190, +200
Cutoff V-Curve
Cutoff V-Sens
Resonance V-Sens
F-Env V-Curve
F-Env V-Sens
Cutoff Frequency Velocity Curve
Cutoff Velocity Sensitivity
Resonance Velocity Sensitivity
FIXED, 1–7
-63– +63
-63– +63
FIXED, 1–7
-63– +63
-63– +63
-63– +63
TVF Envelope Velocity Curve
TVF Envelope Velocity Sensitivity
TVF Envelope Time 1 Velocity Sensitivity
TVF Envelope Time 4 Velocity Sensitivity
F-Env T1 V-Sens
F-Env T4 V-Sens
TVF Env Group (P.71)
Parameter
Value
F-Env Depth
TVF Envelope Depth
-63– +63
F-Env Time KF
TVF Envelope Time Key Follow
-100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20,
+30, +40, +50, +60, +70, +80, +90, +100
F-Env Time1–4
F-Env Level 0–4
TVF Envelope Time 1–4
TVF Envelope Level 0–4
0–127
0–127
TVA Group (P.71)
Parameter
Tone Level
Value
0–127
Level V-Curve
Level V-Sens
Bias Level
TVA Level Velocity Curve
TVA Level Velocity Sensitivity
FIXED, 1–7
-63– +63
-100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20,
+30, +40, +50, +60, +70, +80, +90, +100
Bias Position
C-1–G9
Bias Direction
Tone Pan
Pan Key follow
Random Pan Depth
Alter Pan Depth
LOWER, UPPER, LO&UP, ALL
L64–0–63R
-100– +100
0–63
Alternate Pan Depth
L63–0–63R
256
Parameter List
TVA Env Group (P.72)
Parameter
Value
A-Env T1 V-Sens
A-Env T4 V-Sens
A-Env Time KF
TVA Envelope Time 1 Velocity Sensitivity
TVA Envelope Time 4 Velocity Sensitivity
TVA Envelope Time Key Follow
-63– +63
-63– +63
-100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20,
+30, +40, +50, +60, +70, +80, +90, +100
A-Env Time1–4
A-Env Level1–3
TVA Envelope Time 1–4
TVA Envelope Level 1–3
0–127
0–127
Output Group (P.73)
Parameter
Value
Patch Out Assign
Tone Out Assign
Tone Out Level
Patch Output Assign
Tone Output Assign
MFX, A, B, 1–4, TONE
MFX, A, B, 1–4
0–127
Tone Chorus Send (Send Level
(Output=MFX))
Tone Chorus Send Level
0–127
Tone Reverb Send (Send Level
(Output=MFX))
Tone Chorus Send (Send Level
(Output=non MFX))
Tone Reverb Send (Send Level
(Output=non MFX))
Tone Reverb Send Level
Tone Chorus Send Level
Tone Reverb Send Level
0–127
0–127
0–127
LFO1/2 Group (P.74)
Parameter
Value
Waveform
LFO1/LFO2 Waveform
SIN, TRI, SAW-U, SAW-D, SQR, RND, BND-U, BND-D,
TRP S&H, CHAOS, VSIN, STEP
Rate
Rate Detune
Offset
Delay Time
Delay Time KF
LFO1/LFO2 Rate
LFO1/LFO2 Rate Detune
LFO1/LFO2 Offset
LFO1/LFO2 Delay Time
LFO1/LFO2 Delay Time Key Follow
0–127, Note
0–127
-100, -50, 0, +50, +100
0–127
-100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20,
+30, +40, +50, +60, +70, +80, +90, +100
Fade Mode
Fade Time
Key Trigger
Pitch Depth
TVF Depth
TVA Depth
Pan Depth
LFO1/LFO2 Fade Mode
LFO1/LFO2 Fade Time
LFO1/LFO2 Key Trigger
LFO1/LFO2 Pitch Depth
LFO1/LFO2 TVF Depth
LFO1/LFO2 TVA Depth
LFO1/LFO2 Pan Depth
ON <, ON >, OFF <, OFF >
0–127
OFF, ON
-63– +63
-63– +63
-63– +63
-63– +63
Step LFO Group (P.76)
Parameter
Value
Step Type
Step 1–16
LFO Step Type
LFO Step1–16
TYPE 1, TYPE 2
-36– +36
Solo/Porta Group (P.77)
Parameter
Value
Mono (Solo) /Poly
MONO (SOLO), POLY
Legato Switch
OFF, ON
Legato Retrigger
Portamento Switch
Portamento Mode
Portamento Type
Portamento Start
Portamento Time
Legato Retrigger Switch
OFF, ON
OFF, ON
NORMAL, LEGATO
RATE, TIME
PITCH, NOTE
0–127
257
Parameter List
Misc Group (P.78)
Parameter
Value
Tone Delay Mode
Tone Delay Time
Tone Env Mode
Tone Rx Bender
Tone Rx Expression
Tone Rx Hold-1
Tone Rx Pan Mode
Tone Redamper Sw
NORM, HOLD, OFF-N, OFF-D
0–127, Note
NO SUS, SUST
OFF, ON
OFF, ON
OFF, ON
Tone Receive Pitch Bend Switch
Tone Receive Expression Switch
Tone Receive Hold Switch
Tone Receive Pan Mode
CONT, K-ON
OFF, ON
Tone Redamper Switch
CTRL 1–4 Group (P.81)
Parameter
Value
Matrix Control 1–4 Source
OFF, CC01–31, 33–95, PITCH BEND, AFTERTOUCH,
SYS CTRL1–SYS CTRL4, VELOCITY, KEYFOLLOW,
TEMPO, LFO1, LFO2, PITCH ENV, TVF ENV, TVA
ENV
CTRL Destination 1–4
Matrix Control Destination 1–4
OFF, PITCH, CUTOFF, RESONANCE, LEVEL, PAN,
OUTPUT LEVEL, CHORUS SEND, REVERB SEND,
LFO1 PITCH DEPTH, LFO2 PITCH DEPTH, LFO1 TVF
DEPTH, LFO2 TVF DEPTH, LFO1 TVA DEPTH, LFO2
TVA DEPTH, LFO1 PAN DEPTH, LFO2 PAN DEPTH,
LFO1 RATE, LFO2 RATE, PIT ENV A-TIME, PIT ENV
D-TIME, PIT ENV R-TIME, TVF ENV A-TIME, TVF
ENV D-TIME, TVF ENV R-TIME, TVA ENV A-TIME,
TVA ENV D-TIME, TVA ENV R-TIME, TMT, FXM
DEPTH, MFX CTRL1, MFX CTRL2, MFX CTRL3, MFX
CTRL4, TIME
CTRL Sens 1–4
CTRL Switch 1–4
Matrix Control Sens 1–4
Tone Control Switch 1–4
-63– +63
OFF, ON, REVERSE
Effect Group (P.207)
Parameter
MFX
Value
Type
Multi-Effects Type
00 THROUGH–78 SYMPATHETIC RESONANCE
MFX Output Level
MFX Chorus Send Level
MFX Reverb Send Level
MFX Output Assign
Source 1–4
Multi-Effects Output Level
0–127
0–127
0–127
A, B
Multi-Effects Chorus Send Level
Multi-Effects Reverb Send Level
Multi-Effects Output Assign
Multi-Effects Control Source 1–4
OFF, CC01–31, 33–95, PITCH BEND, AFTERTOUCH,
SYS CTRL1–SYS CTRL4
Destination 1–4
Sens 1–4
Multi-Effects Control Destination 1–4
Multi-Effects Control Sens 1–4
-63– +63
Chorus
Chorus Type
Chorus Output Select
Chorus Level
Chorus Output Assign
Reverb
0 (Off), 1 (Chorus), 2 (Delay), 3 (GM2 Chorus)
MAIN, REV, M+R
0–127
A, B
Reverb Type
0 (Off), 1 (Reverb), 2 (SRV Room), 3 (SRV Hall), 4 (SRV
Plate), 5 (GM2 Reverb)
Reverb Level
Reverb Output Assign
0–127
A, B
258
Parameter List
Rhythm Set Parameter
General Group (P.87)
Parameter
Value
Rhythm Set Name
* Specify when writing.
space, A–Z, a–z, 0–9, ! ” # $ % & ’ ( ) * + , - . / : ; < = > ?
@ [ \ ] ^ _ ` { | }
Rhythm Tone Name
space, A–Z, a–z, 0–9, ! ” # $ % & ’ ( ) * + , - . / : ; < = > ?
@ [ \ ] ^ _ ` { | }
Rhythm Level
Rhythm Set Level
0–127
Assign Type
Mute Group
MULTI, SINGLE
OFF, 1–31
Tone Env Mode
Rhythm Tone Envelope Mode
NO-SUS, SUSTAIN
0–48
OFF, ON
OFF, ON
CONTINUOUS, KEY-ON
OFF, ON
Tone Pitch Bend Range
Tone Receive Expression
Tone Receive Hold-1
Tone Receive Pan Mode
One Shot Mode
Rhythm Tone Pitch Bend Range
Rhythm Tone Receive Expression Switch
Rhythm Tone Receive Hold-1 Switch
Rhythm Tone Receive Pan Mode
Aftertouch Time Ctrl Sens
Aftertouch Time Control Sensitivity
-63– +63
Wave Group (P.88)
Parameter
Wave Group
Wave Bank
Value
INT, EXP, SAMP, MSAM
When the wave group is INT: A or B, EXP: A–D, When
the wave group is SAMP: PRST, USER, CARD, When
the wave group is MSAM: USER, CARD
Wave No. L (Mono)
Wave No. R
Wave Number L (Mono)
Wave Number R
----, 1–1228 (The upper limit will depend on the wave
group.)
----, 1–1228 (The upper limit will depend on the wave
group.)
Wave Gain
-6, 0, +6, +12
OFF, ON
OFF, ON
1–4
Wave Tempo Sync
FXM Switch
FXM Color
FXM Depth
0–16
WMT Group (P.89)
Parameter
Value
Wave Coarse Tune
Wave Fine Tune
Wave Level
-48– +48
-50– +50
0–127
Wave Pan
L64–0–63R
OFF, ON
OFF, ON, REVS
OFF, ON, RANDOM
0–127
1–UPPER
LOWER–127
0–127
Wave Rnd Pan Sw
Wave Alter Pan Sw
WMT Velocity Control
Velo Fade Lower
Velo Range Lower
Velo Range Upper
Velo Fade Upper
Wave Random Pan Switch
Wave Alternate Pan Switch
Velocity Control Switch
Velocity Fade Width Lower
Velocity Range Lower
Velocity Range Upper
Velocity Fade Width Upper
Pitch Group (P.91)
Parameter
Value
C-1–G9
-50– +50
Tone Coarse Tune
Rhythm Tone Coarse Tune
Rhythm Tone Fine Tune
Tone Fine Tune
Tone Random Pitch Depth
0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 20, 30, 40, 50, 60, 70, 80, 90, 100,
200, 300, 400, 500, 600, 700, 800, 900, 1000, 1100, 1200
259
Parameter List
Pitch Env Group (P.91)
Parameter
Value
P-Env Depth
P-Env V-Sens
P-Env T1 V-Sens
P-Env T4 V-Sens
P-Env Time1–4
P-Env Level 0–4
Pitch Envelope Depth
-12– +12
-63– +63
-63– +63
-63– +63
0–127
Pitch Envelope Velocity Sensitivity
Pitch Envelope Time 1 Velocity Sensitivity
Pitch Envelope Time 4 Velocity Sensitivity
Pitch Envelope Time 1–4
Pitch Envelope Level 0–4
-63– +63
TVF Group (P.92)
Parameter
Value
Filter Type
OFF, LPF BPF, HPF, PKG, LPF2, LPF3
Cutoff Frequency
Resonance
0–127
0–127
Cutoff V-Curve
Cutoff V-Sens
Resonance V-Sens
Cutoff Frequency Velocity Curve
Cutoff Velocity Sensitivity
Resonance Velocity Sensitivity
FIXED, 1–7
-63– +63
-63– +63
TVF Env Group (P.93)
Parameter
Value
-63– +63
FIX, 1–7
-63– +63
-63– +63
-63– +63
0–127
F-Env Depth
TVF Envelope Depth
F-Env V-Curve
F-Env V-Sens
F-Env T1 V-Sens
F-Env T4 V-Sens
F-Env Time1–4
F-Env Level0–4
TVF Envelope Velocity Curve
TVF Envelope Velocity Sensitivity
TVF Envelope Time 1 Velocity Sensitivity
TVF Envelope Time 4 Velocity Sensitivity
TVF Envelope Time 1–4
TVF Envelope Level 0–4
0–127
TVA Group (P.94)
Parameter
Value
Tone Level
Level V-Curve
Level V-Sens
Tone Pan
Random Pan Depth
Alternate Pan Depth
Rhythm Tone level
Level Velocity Curve
Level Velocity Sensitivity
Rhythm Tone Pan
0–127
FIXED, 1–7
-63– +63
L64–0–63R
0–63
L63–0–63R
TVA Env Group (P.94)
Parameter
Value
-63– +63
-63– +63
0–127
A-Env T1 V-Sens
A-Env T4 V-Sens
A-Env Time1–4
A-Env Level1–3
TVA Envelope Time 1 Velocity Sensitivity
TVA Envelope Time 4 Velocity Sensitivity
TVA Envelope Time 1–4
TVA Envelope Level 1–3
0–127
Output Group (P.95)
Parameter
Value
Rhythm Out Assign
Tone Out Assign
Tone Out Level
Rhythm Output Assign
Tone Output Assign
Tone Output Level
MFX, A, B, 1–4, TONE
MFX, A, B, 1–4
0–127
Tone Chorus Send (Send Level
(Output=MFX))
Tone Chorus Send Level
0–127
Tone Reverb Send (Send Level
(Output=MFX))
Tone Chorus Send (Send Level
(Output=non MFX))
Tone Reverb Send (Send Level
(Output=non MFX))
Tone Reverb Send Level
Tone Chorus Send Level
Tone Reverb Send Level
0–127
0–127
0–127
260
Parameter List
Effect Group (P.207)
Parameter
MFX
Value
Type
Multi-Effects Type
00 THROUGH–78 SYMPATHETIC RESONANCE
MFX Output Level
MFX Chorus Send Level
MFX Reverb Send Level
MFX Output Assign
Source 1–4
Multi-Effects Output Level
0–127
0–127
0–127
A, B
Multi-Effects Chorus Send Level
Multi-Effects Reverb Send Level
Multi-Effects Output Assign
Multi-Effects Control Source 1–4
OFF, CC01–31, 33–95, PITCH BEND, AFTERTOUCH,
SYS CTRL1–SYS CTRL4
Destination 1–4
Sens 1–4
Multi-Effects Control Destination 1–4
Multi-Effects Control Sens 1–4
-63– +63
Chorus
Chorus Type
Chorus Output Select
Chorus Level
Chorus Output Assign
Reverb
0 (Off), 1 (Chorus), 2 (Delay), 3 (GM2 Chorus)
MAIN, REV, M+R
0–127
A, B
Reverb Type
0 (Off), 1 (Reverb), 2 (SRV Room), 3 (SRV Hall), 4 (SRV
Plate), 5 (GM2 Reverb)
Reverb Level
Reverb Output Assign
0–127
A, B
261
Parameter List
General Group (P.120)
Parameter
Value
Performance Name
* Specify when writing.
space, A–Z, a–z, 0–9, ! ” # $ % & ’ ( ) * + , - . / : ; < = > ?
@ [ \ ] ^ _ ` { | }
Part View Group (P.107)
Parameter
Value
[F1 (Level/Pan)]
Patch Type
Patch, Rhythm
Patch Bank
USER, PRST, GM, CARD, XP-A–D
Patch Number
001–
Keyboard Switch
Solo Switch
Mute Switch
OFF, ON
OFF, ON
OFF, ON
0–127
Part Level
Part Pan
L64–0–63R
[F2 (Output Effect)]
Part Output Assign
Part Output MFX Select
Part Output Level
Part Chorus Send Level
Part Reverb Send Level
MFX1–3 Source
MFX, A, B, 1–4, PATCH
1–3 (MFX-1–MFX-3)
0–127
0–127
0–127
OFF, ON
Chorus Source
OFF, ON
Reverb Source
OFF, ON
[F3 (Pitch)]
Part Octave Shift
Part Coarse Tune
Part Fine Tune
-3– +3
-48– +48
-50– +50
Part Mono/Poly
Part Legato Switch
Part Pitch Bend Range
Part Portamento Switch
Part Portamento Time
[F4 (Offset)]
MONO, POLY, PATCH
OFF, ON, PATCH
0–24, PATCH
OFF, ON, PATCH
0–127, PATCH
Part Cutoff Offset
Part Resonance Offset
Part Attack Time Offset
Part Release Time Offset
Part Decay Time Offset
[F5 (Key Range)]
Keyboard Switch
Keyboard Range Lower
Keyboard Range Upper
Part Velocity Sens Offset
Part Vibrato Rate
Part Vibrato Depth
Part Vibrato Delay
Voice Reserve
-64– +63
-64– +63
-64– +63
-64– +63
-64– +63
OFF, ON
C-1–UPPER
LOWER–G9
-63– +63
-64– +63
-64– +63
-64– +63
0–63, FULL
[F6 (Scale Tune)]
C–B
Part Scale Tune C–B
-64– +63
[F7 (External)]
Receive Switch
OFF, ON
1–16
0–127, OFF
0–127
1–128, OFF
0–127, OFF
L64–0–63R, OFF
Receive Channel
External Bank Select MSB
External Bank Select LSB
External Program Number
External Level
External Program Change Number
External Pan
262
Parameter List
Parameter
[F8 (MIDI Filter)]
Program Change
Bank Select
Value
Receive Program Change Switch
Receive Bank Select Switch
Receive Pitch Bend Switch
Receive Polyphonic Key Pressure Switch
Receive Channel Pressure Switch
Receive Modulation Switch
Receive Volume Switch
Receive Pan Switch
Receive Expression Switch
Receive Hold 1 Switch
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, 1–4
Pitch Bend
Polyphonic Key Pressure
Channel Pressure
Modulation
Volume
Pan
Expression
Hold-1
Phase Lock
Velocity Curve
Phase Lock Switch
Control Setting Group (P.114)
Parameter
Ctrl Switch
Value
Control Bender
Control Aftertouch
Control Modulation
Control Hold Pedal
Control Pedal
Control D Beam
Control Knob 1–4
D Beam (Pad Trigger)
Pad Number
Control Pitch Bend Switch
Control Aftertouch Switch
Control Modulation Switch
Control Hold Pedal Switch
Control Pedal Switch
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
Control D Beam Switch
Control Knob Switch
1–16
Pad Velocity
1–127
Pad Control Mode
D Beam (Assignable)
Type
MOMENTARY, LATCH
Assignable Type
CC01–31, 33–95, Bend Up, Bend Down, Start/Stop, Tap
Tempo, Arp Grid, Arp Duration, Arp Motif, Arp Octave
Up, Arp Octave Down, Arp Step, Aftertouch
Range Min
Range Max
Knob
0–127
0–127
Knob 1–4 Assign
Realtime Control Knob Assign 1–4
Assignable Switch 1/2
CC01–31, 33–95, Pitch Bend, Aftertouch, Arp Style, Arp
Grid, Arp Duration, Arp Motif, Chord Form, Master
Level, Arp Step, Digital IN
Switch
Switch 1/2 Assign
Transpose Down, Transpose Up, Tap Tempo, Mono
(Solo) /Poly, Portamento, Hold, MFX1–3 Sw, Chorus
Sw, Reverb Sw, Mastering Sw, Loop, Rhythm Start/
Stop
Tempo
Recommended Tempo
MFX Ctrl Ch
20–250
MFX1–3 Control Channel
1–16, OFF
Pad Setting Group (P.161)
Parameter
Value
Note
Pad Note
C-1–G9
Velocity
Pad Velocity
COMMON, 1–127
Pad Common Velo
Pad Sens
Aftertouch Sens
Roll Resolution
Pad Common Velocity
Pad Sensitivity
Aftertouch Sensitivity
REAL, 1-127
LIGHT, MEDIUM, HEAVY
1–100
1/4 ( ), 1/6 ( ), 1/8 ( ), 1/12 ( ), 1/16 ( ),
1/24 ( ), 1/32 ( ), 1/48 (
)
Quick Setup
Template Set
Base Note
Note, Rhythm, Multi Velo
C-1–G9
Pad Base Note
263
Parameter List
Arpeggio Group (P.128)
Parameter
Value
Arp Switch
Arp Grid
Arpeggio Switch
Arpeggio Grid
OFF, ON
1/4 ( ), 1/8 ( ), 1/8 ( ) L, 1/8 ( ) H, 1/12 ( ),
1/16 ( ), 1/16 ( ) L, 1/16 ( ) H, 1/24 (
30, 40, 50, 60, 70, 80, 90,100, 120, FULL
OFF, ON
OFF, ON
U001–U128, P001–P128
Up (L), Up (L&H), Up (_), Down (L), Down (L&H),
Down (_), Up&Down, Up&Down (L&H),
Up&Down (_), Random (L), Random (_), Phrase
)
Arp Duration
Arpeggio Duration
Arpeggio Switch
Arpeggio Hold
Arpeggio Style
Arpeggio Motif
Arpeggio Velocity
Arpeggio Part
REAL, 1–127
1–16
Arpeggio Octave Range
Arpeggio Accent Rate
-3– +3
0–100
Rhythm Group (P.135)
Parameter
Value
Rhy Switch
Rhythm Switch
OFF, ON
Rhythm Pattern Grid
1/4 ( ), 1/8 ( ), 1/8 ( ) L, 1/8 ( ) H, 1/12 ( ),
1/16 ( ), 1/16 ( ) L, 1/16 ( ) H, 1/24 (
)
Rhythm Pattern Duration
Rhythm Pattern Switch
Rhythm Pattern Velocity
Rhythm Pattern Accent Rate
Rhythm Group Number
30, 40, 50, 60, 70, 80, 90, 100, 120, FULL
OFF, ON
REAL, 1–127
0–100
U01–U32, P01–P32
Chord Memory Group (P.133)
Parameter
Value
Chord Switch
OFF, ON
Chord Form
Rolled Chord Switch
Rolled Chord Type
U01–U64, P01–P64
OFF, ON
UP, DOWN, ALTENATE
Effect Group (P.210)
Parameter
MFX
Value
Structure Type
1–16
MFX Type
Multi-Effects Type
0–78
MFX Output Level
MFX Chorus Send Level
MFX Reverb Send Level
MFX Output Assign
Source 1–4
Multi-Effects Output Level
Multi-Effects Chorus Send Level
Multi-Effects Reverb Send Level
Multi-Effects Output Assign
Multi-Effects Control Source 1–4
0–127
0–127
0–127
A, B
OFF, CC01–31, 33–95, PITCH BEND, AFTERTOUCH,
SYS CTRL1–SYS CTRL4
Destination 1–4
Sens 1–4
MFX Control Channel
MFX-1–3 Source
Chorus
Multi-Effects Control Destination 1–4
Multi-Effects Control Sens 1–4
Multi-Effects Control Channel
Multi-Effects 1–3 Source
-63– +63
1–16, OFF
PRF, P1–P16
Chorus Type
0 (Off), 1 (Chorus), 2 (Delay), 3 (GM2 Chorus)
Chorus Output Select
Chorus Level
Chorus Output Assign
Chorus Source
Reverb
MAIN, REV, MAIN+REV
0–127
A, B
PRF, P1–P16
Reverb Type
0 (Off), 1 (Reverb) 2 (SRV Room), 3 (SRV Hall) 4 (SRV
Plate), 5 (GM2 Reverb)
Reverb Level
0–127
Reverb Output Assign
Reverb Source
A, B
PRF, P1–P16
264
Parameter List
Rhythm Group Parameter
Rhythm Group Group (P.139)
Parameter
Value
Recommended Rhy
Pad Mode
Rhy Ptn Number
Rhy Ptn Velocity
Pad Note
Recommended Rhythm Set
USER, PRST, GM, CARD, XP-A–D
OFF, NOTE, PATTERN
U001–U256, P001–P256
REAL, 1–127
Rhythm Pattern Velocity
C-1–G9
Pad Velocity
REAL, 1–127
Sample Parameters
Sample Group (P.150)
Parameter
Value
Sample Name
space, A–Z, a–z, 0–9, ! ” # $ % & ’ ( ) * + , - . / : ; < = > ?
@ [ \ ] ^ _ ` { | }
Loop Mode
Loop Tune
Original Key
BPM
Time Stretch Type
Start Fine
FWD, ONE-SHOT, REV, REV-ONE
-50– +50
0 (C-1) –127 (G9)
5.00–300.00
TYPE01–TYPE10
0–255
tempo
Loop Start Fine
Loop End Fine
0–255
0–255
265
Parameter List
System Parameters
Pedal/D Beam Group (P.226)
Parameter
Value
D Beam Sens
D Beam Sensitivity
0–127
Control Pedal Assign
CC01–31, 33–95, BEND-UP, BEND-DOWN, AFTER-
TOUCH, OCT UP, OCT DOWN, START/STOP,
PUNCH IN/OUT, TAP TEMPO, PROG UP, PROG
DOWN, FAVORITE UP, FAVORITE DOWN, ARP /
RHY SW, RHY START/STOP, CHORD SW, LIVE SET
UP, LIVE SET DOWN, LOOP
Control Pedal Polarity
Hold Pedal Polarity
Continuous Hold Pedal
STANDARD, REVERSE
STANDARD, REVERSE
OFF, ON
Keyboard Group (P.226)
Parameter
Value
Keyboard Velocity
REAL, 1–127
Keyboard Sens
Aftertouch Sens
Keyboard Sensitivity
Aftertouch Sensitivity
LIGHT, MEDIUM, HEAVY
0–100
Sync/Tempo Group (P.227)
Parameter
Value
Sync Mode
MASTER, SLAVE-MIDI, SLAVE-MTC, REMOTE
Sync Output
Sync Output switch
OFF, ON
Tempo Override
OFF, ON
Arp/Rhythm Sync Switch
MMC Mode
MMC Output
Arpeggio/Rhythm Sync Switch
OFF, ON
MASTER, SLAVE
OFF, ON
MMC Output switch
MTC Sync Output
MTC Frame Rate
MTC Sync Output switch
OFF, ON
24, 25, 29N, 29D, 30
0–23 hours
0–59 minutes
0–59 seconds
0–29 frames
0 –10
MTC Offset Time Hour
MTC Offset Time Minute
MTC Offset Time Second
MTC Offset Time Frame
MTC Error Level
Parameter
Value
Metronome Mode
OFF, PLAY-ONLY, REC-ONLY, PLAY&REC, AL-
WAYS
Metronome Level
Metronome Sound
Beat Indicator Mode
0–10
TYPE 1, TYPE 2, TYPE 3, TYPE 4
REC&PLAY, ALWAYS
Sound (P.229)
Parameter
Local Switch
Master Tune
Master Level
Output Gain
Mix/Parallel
Master Key Shift
Value
OFF, ON
415.3–466.2 Hz
0–127
-12– +12 dB
MIX, PARALLEL
-24– +24
Patch Remain
Patch Remain Switch
OFF, ON
266
Parameter List
MIDI Group (P.230)
Parameter
Value
Device ID
Device ID Number
17–32
Performance Control Channel
Kbd Patch Rx/Tx Ch
Pad Patch Rx/Tx Ch
Transmit Program Change
Transmit Bank Select
Transmit Active Sensing
Transmit Edit Data
Soft Through
Remote Keyboard Sw
Receive Program Change
Receive Bank Select
Receive Exclusive
1–16, OFF
1–16
1–16
Keyboard Patch Receive/Transmit Channel
Pad Patch Receive/Transmit Channel
Transmit Program Change Switch
Transmit Bank Select Switch
Transmit Active Sensing Switch
Transmit Edit Data Switch
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
Remote Keyboard Switch
Receive Program Change Switch
Receive Bank Select Switch
Receive System Exclusive Switch
Receive GM System On Switch
Receive GS Reset Switch
Receive GM System On
Receive GM2 System On
Receive GS Reset
USB (P.231)
Parameter
USB Mode
Value
MIDI, STORAGE
USB-MIDI Thru
OFF, ON
Scale Tune Group (P.232)
Parameter
Value
Scale Tune Switch
OFF, ON
Patch Scale Tune for C–B
-64– +63
Preview Group (P.232)
Parameter
Value
Preview Mode
SINGLE, CHORD, PHRASE
Preview 1–4 Note Number
Preview 1–4 Velocity
C-1–G9
OFF, 1–127
System Ctrl Group (P.233)
Parameter
Value
Sys Ctrl 1–4 Source
System Control1–4 Source
OFF, CC01–31, 33–95, BEND, AFT
Background Group (P.233)
Parameter
Value
Background Picture
1–16
Screen Saver Group (P.233)
Parameter
Value
Screen Saver Type
1–16
Screen Saver Time
OFF, 5–60 min
Sampling Group (P.233)
Parameter
Value
Default File Type
Pre Sample Time
Trigger Level
Gap Time
Input Select
Trimming Switch
Skip Back Time
WAV, AIFF
0–1000 ms
0–7
500, 1000, 1500, 2000 ms
DIGITAL LINE-L-R, LINE-L, MIC
OFF, ON
5s–40s
267
Parameter List
Startup Group (P.234)
Parameter
Value
Load Preset Samples at Startup
Load User Samples at Startup
Load Demo Song at Startup
Rec Track Sellect
OFF, ON
OFF, ON
OFF, ON
Manual, Auto
PATCH, PERFORMANCE
Power Up Mode
System Information Group (P.234)
Parameter
Features
Memory Info
SRX Info
Displays the main features of the Fantom-X.
Memory Information
SRX Information
Version Info
Version Information
D Beam (Solo Synth) Group (P.123)
Parameter
Value
OSC1/2 Waveform
OSC1/2 Pulse Width
OSC1/2 Coarse Tune
OSC1/2 Fine Tune
OSC2 Level
SAW, SQR
0–127
-48– +48
-50– +50
0–127
OSC Sync Switch
Filter Type
OFF, ON
OFF, LPF, BPF, HPF, PKG
Cutoff
0–127
Resonance
0–127
Level
0–127
Chorus Send Level
Reverb Send Level
LFO Rate
0–127
0–127
0–127
LFO Osc 1 Pitch Depth
LFO Osc 2 Pitch Depth
LFO Osc 1 Pulse Width Depth
LFO Osc 2 Pulse Width Depth
-63– +63
-63– +63
-63– +63
-63– +63
Range
Solo Synth Range
2 OCTAVE, 4 OCTAVE, 8 OCTAVE
Mastering Effect Group (P.217)
Parameter
Value
HIGH/MID/LOW ATTACK
HIGH/MID/LOW RELEASE
HIGH/MID/LOW THRESHOLD
HIGH/MID/LOW RATIO
HIGH/MID/LOW LEVEL
Split Frequency High
0–100 ms
50–5000 ms
-36–0 dB
1.00:1–INF:1 (INF: Infinity)
0–24 dB
2000–8000 Hz
200–800 Hz
Split Frequency Low
Input Setting Group (P.141)
Parameter
Value
Input Select
DIGITAL IN, LINE IN L/R, LINE IN L, MICROPHONE
Mix-In
ON, OFF
DRY, MFX
0–127
0–127
0–127
Mix In Output Assign
Mix In Output Level
Mix In Chorus Send Level
Mix In Reverb Send Level
Input Effect Switch
Input Effect Type
ON, OFF
EQ, ENHANCER, COMP, LIMITER, NOISE SUP, C
CANCELER
268
Parameter List
V-LINK Group (P.239)
Parameter
Value
Note Tx Ch
Note Transmit Channel
1–16
Clip 1 Note No.
Play Speed Ctrl
Clip 1 Note Number
Play Speed Control
0 (C-1)–127 (G9)
0.0-1.0-2.0, 0.5-1.0-2.0, 0.0-1.0-4.0, 0.5-1.0-4.0, 0.0-1.0-8.0,
0.5-1.0-8.0, 0.0-1.0-16.0, 0.5-1.0-16.0, 0.0-1.0-32.0, 0.5-1.0-
32.0, 0.0-2.0-4.0, 0.0-4.0-8.0, 0.0 8.0-16.0, 0.0-16.0-32.0, -
2.0-1.0-4.0, -6.0-1.0-8.0
Dissolve Time
OFF, CC1, CC5, CC7, CC10, CC11, CC71–74, CC91–93,
Channel Aftertouch
Ctrl Tx Ch
Color Cb Ctrl
Control Transmit Channel
Color Cb Control
1–16
OFF, CC1, CC5, CC7, CC10, CC11, CC71–74, CC91–93,
Channel Aftertouch
Color Cr Ctrl
Brightness Ctrl
VFX Ctrl
Color Cr Control
Brightness Control
VFX Control
OFF, CC1, CC5, CC7, CC10, CC11, CC71–74, CC91–93,
Channel Aftertouch
OFF, CC1, CC5, CC7, CC10, CC11, CC71–74, CC91–93,
Channel Aftertouch
OFF, CC1, CC5, CC7, CC10, CC11, CC71–74, CC91–93,
Channel Aftertouch
PAD MODE
Local Sw
CLIP, PALETT
OFF, ON
Local Switch
CLIP FILTER 1–32
OFF, ON
D Beam (Assignable) Group (P.50)
* If Patch mode is selected, this is saved as part of the system settings.
Parameter
Value
Type
Assignable Type
CC01–31, 33–95, Bend Up, Bend Down, Start/Stop, Tap
Tempo, Arp Grid, Arp Duration, Arp Motif, Arp Octave
Up, Arp Octave Down
Range Min
Range Max
0–127
0–127
Knob Group (P.51)
* If Patch mode is selected, this is saved as part of the system settings.
Parameter
Value
Knob 1–4 Assign
Realtime Control Knob Assign 1–4
CC01–31, 33–95, Pitch Bend, Aftertouch, Arp Style, Arp
Grid, Arp Duration, Arp Motif, Chord Form, Master
Level
Switch Group (P.51)
* If Patch mode is selected, this is saved as part of the system settings.
Parameter
Value
Switch 1/2 Assign
Assignable Switch 1/2
Transpose Down, Transpose¬ Up, Tap Tempo, Mono
(Solo)/Poly, Portamento, Hold, MFX1–3 Sw, Chorus
Sw, Reverb Sw, Mastering Sw, Loop, Rhythm Start/
Stop
Pad Setting Group (P.161)
Parameter
Value
Pad Common Velo
Pad Sens
Aftertouch Sens
Roll Resolution
Pad Common Velocity
Pad Sensitivity
Aftertouch Sensitivity
REAL, 1–127
LIGHT, MEDIUM, HEAVY
0–100
1/4 ( ), 1/6 ( ), 1/8 ( ), 1/12 ( ), 1/16 ( ),
1/24 ( ), 1/32 ( ), 1/48 (
)
* If Patch mode is selected, this is saved as part of the system settings.
Parameter
Value
Pad Set
User, Note, Rhythm
Base
Note
Pad Base Note
Pad Note
C-1–G9
C-1–G9
Velocity
Pad Velocity
REAL, 1–127
269
Effects List
52
53
54
55
3D DELAY
P.285
P.285
P.286
P.286
TIME CTRL DELAY
LONG TIME CTRL DELAY
TAPE ECHO
Multi-Effects Parameter
The multi-effects feature 78 different kinds of effects. Some of the
effects consist of two or more different effects connected in series.
Parameters marked with a sharp “#” can be controlled using a
specified controller (Two setting items will change simultaneously
for “#1” and “#2”).
LO-FI (5 types)
56
57
58
59
60
LOFI NOISE
P.286
P.287
P.287
P.287
P.287
LOFI COMPRESS
LOFI RADIO
TELEPHONE
PHONOGRAPH
PITCH (3 types)
61
62
63
PITCH SHIFTER
P.288
P.288
P.288
FILTER (10 types)
2VOICE PITCH SHIFTER
STEP PITCH SHIFTER
01
02
03
04
05
06
07
08
09
10
EQUALIZER
SPECTRUM
P.271
P.271
P.271
P.271
P.272
P.272
P.272
P.273
P.273
P.273
ISOLATOR
REVERB (2 types)
LOW BOOST
SUPER FILTER
STEP FILTER
ENHANCER
AUTO WAH
64
65
REVERB
GATED REVERB
P.288
P.289
COMBINATION (12 types)
66
67
68
69
70
71
72
73
74
75
76
77
OVERDRIVE → CHORUS
OVERDRIVE → FLANGER
OVERDRIVE → DELAY
DISTORTION → CHORUS
DISTORTION → FLANGER
DISTORTION → DELAY
ENHANCER → CHORUS
ENHANCER → FLANGER
ENHANCER → DELAY
CHORUS → DELAY
P.289
P.289
P.290
P.290
P.290
P.290
P.290
P.290
P.291
P.291
P.291
P.292
HUMANIZER
SPEAKER SIMULATOR
MODULATION (12 types)
11
12
13
14
15
16
17
18
19
20
21
22
PHASER
P.274
P.274
P.274
P.274
P.275
P.275
P.275
P.275
P.275
P.276
P.276
P.276
STEP PHASER
MULTI STAGE PHASER
INFINITE PHASER
RING MODULATOR
STEP RING MODULATOR
TREMOLO
AUTO PAN
STEP PAN
SLICER
ROTARY
FLANGER → DELAY
CHORUS → FLANGER
PIANO (1 type)
78
SYMPATHETIC RESONANCE
P.292
About Note
VK ROTARY
Some effect parameters (such as Rate or Delay Time) can be set in
terms of a note value.
CHORUS
P.277
P.277
P.277
P.278
P.278
P.278
P.278
P.279
P.279
P.279
P.280
P.280
Such parameters have a num/note switch that lets you specify
whether you will set the value as a note value or as a numerical
value.
If you want to set Rate (Delay Time) as a numerical value, set the
num/note switch to “Hz” (“msec”). If you want to set it as a note
value, set the num/note switch to “NOTE.”
DYNAMICS (8 types)
35
36
37
38
39
40
41
42
OVERDRIVE
P.281
P.281
P.281
P.281
P.281
P.282
P.282
P.282
DISTORTION
VS OVERDRIVE
VS DISTORTION
GUITAR AMP SIMULATOR
COMPRESSOR
LIMITER
num/note switch
GATE
DELAY (13 types)
43
44
45
46
47
48
49
50
51
DELAY
P.282
P.283
P.283
P.283
P.284
P.284
P.284
P.284
P.285
If a parameter whose num/note switch is set to “NOTE” is
specified as a destination for multi-effect control, you will not be
able to use multi-effect control to control that parameter.
LONG DELAY
SERIAL DELAY
MODULATION DELAY
3TAP PAN DELAY
4TAP PAN DELAY
MULTI TAP DELAY
REVERSE DELAY
SHUFFLE DELAY
270
Effects List
01: EQUALIZER
03: ISOLATOR
This is a four-band stereo equalizer (low, mid x 2, high).
This is an equalizer which cuts the volume greatly, allowing you to
fig.MFX-01
add a special effect to the sound by cutting the volume in varying
ranges.
fig.MFX-03
L in
L out
4-Band EQ
4-Band EQ
L in
L out
R out
Isolator
Isolator
Low Boost
Low Boost
R in
R out
R in
Parameter
Low Freq
Low Gain #
Mid1 Freq
Value
Description
200, 400 Hz
-15– +15 dB
200–8000 Hz
Frequency of the low range
Gain of the low range
Frequency of the middle
range 1
Gain of the middle range 1
Width of the middle range 1
Set a higher value for Q to
narrow the range to be af-
fected.
Parameter
Value
-60– +4 dB
Description
Boost/
Cut Low #
Boost/
Cut Mid #
Boost/
Cut High #
Anti Phase
Low Sw
These boost and cut each of the High,
Middle, and Low frequency ranges.
At -60 dB, the sound becomes in-
audible. 0 dB is equivalent to the
input level of the sound.
Mid1 Gain
Mid1 Q
-15– +15 dB
0.5, 1.0, 2.0, 4.0, 8.0
OFF, ON
0–127
Turns the Anti-Phase function on and
off for the Low frequency ranges.
When turned on, the counter-
channel of stereo sound is inverted
and added to the signal.
Adjusts the level settings for the Low
frequency ranges.
Adjusting this level for certain fre-
quencies allows you to lend em-
phasis to specific parts. (This is
effective only for stereo source.)
Settings of the Anti-Phase function
for the Middle frequency ranges
The parameters are the same as for
the Low frequency ranges.
Turns Low Booster on/off.
This emphasizes the bottom to cre-
ate a heavy bass sound.
Increasing this value gives you a
heavier low end.
Depending on the Isolator and fil-
ter settings this effect may be hard
to distinguish.
Mid2 Freq
200–8000 Hz
Frequency of the middle
range 2
Mid2 Gain
Mid2 Q
-15– +15 dB
0.5, 1.0, 2.0, 4.0, 8.0
Gain of the middle range 2
Width of the middle range 2
Set a higher value for Q to
narrow the range to be af-
fected.
Frequency of the high range
Gain of the high range
Output Level
Anti Phase
Low Level
High Freq
High Gain #
Level #
2000, 4000, 8000 Hz
-15– +15 dB
0–127
Anti Phase
Mid Sw
OFF, ON
0–127
02: SPECTRUM
This is a stereo spectrum. Spectrum is a type of filter which modifies
Anti Phase
Mid Level
Low Boost Sw
OFF, ON
the timbre by boosting or cutting the level at specific frequencies.
fig.MFX-02
Low Boost
Level
0–127
0–127
L in
L out
R out
Spectrum
Spectrum
*
Level
Output Level
R in
04: LOW BOOST
Boosts the volume of the lower range, creating powerful lows.
Parameter
Value
-15– +15 dB
Description
Gain of each frequency band
Band1 (250Hz)
Band2 (500Hz)
Band3 (1000Hz)
Band4 (1250Hz)
Band5 (2000Hz)
Band6 (3150Hz)
Band7 (4000Hz)
Band8 (8000Hz)
Q
fig.MFX-04
L in
L out
R out
Low Boost
Low Boost
2-Band EQ
2-Band EQ
R in
0.5, 1.0, 2.0, 4.0, 8.0
0–127
Simultaneously adjusts the
width of the adjusted ranges for
all the frequency bands.
Output Level
Parameter
Boost
Value
50–125 Hz
Description
Center frequency at which the lower
range will be boosted
Amount by which the lower range
will be boosted
Level #
Frequency #
Boost Gain #
0– +12 dB
Boost Width
WIDE, MID,
NARROW
-15– +15 dB
-15– +15 dB
0–127
Width of the lower range that will be
boosted
Gain of the low frequency range
Gain of the high frequency range
Output level
Low Gain
High Gain
Level
271
Effects List
05: SUPER FILTER
06: STEP FILTER
This is a filter with an extremely sharp slope. The cutoff frequency
This is a filter whose cutoff frequency can be modulated in steps.
can be varied cyclically.
You can specify the pattern by which the cutoff frequency will
fig.MFX-05
change.
fig.MFX-06
L in
L out
R out
Super Filter
Super Filter
L in
L out
R out
Step Filter
Step Filter
R in
R in
Parameter
Filter Type
Value
LPF, BPF,
HPF, NOTCH
Description
Filter type
Frequency range that will pass
through each filter
Parameter
Step 01–16
Rate #
Value
0–127
0.05–10.00 Hz,
note
0–127
Description
Cutoff frequency at each step
Rate of modulation
LPF: frequencies below the cutoff
BPF: frequencies in the region of the
cutoff
HPF: frequencies above the cutoff
NOTCH: frequencies other than the
region of the cutoff
Amount of attenuation per octave
-36 dB: extremely steep
-24 dB: steep
-12 dB: gentle
Attack #
Speed at which the cutoff frequency
changes between steps
Filter type
Frequency range that will pass
through each filter
LPF: frequencies below the cutoff
BPF: frequencies in the region of the
cutoff
HPF: frequencies above the cutoff
NOTCH: frequencies other than the
region of the cutoff
Amount of attenuation per octave
-12 dB: gentle
-24 dB: steep
-36 dB: extremely steep
Filter resonance level
Increasing this value will emphasize
the region near the cutoff frequency.
Amount of boost for the filter output
Output level
Filter Type
LPF, BPF,
HPF, NOTCH
Filter Slope
-12, -24, -36 dB
Filter
0–127
0–127
Cutoff frequency of the filter
Increasing this value will raise the
cutoff frequency.
Cutoff #
Filter Slope
-12, -24, -36 dB
0–127
Filter
Resonance #
Filter resonance level
Increasing this value will emphasize
the region near the cutoff frequency.
Amount of boost for the filter output
On/off switch for cyclic change
Filter Gain
Modulation
Sw
0– +12 dB
OFF,ON
Filter
Resonance #
Modulation
Wave
TRI, SQR,
SIN, SAW1,
SAW2
How the cutoff frequency will be mod-
ulated
Filter Gain
Level
0– +12 dB
0–127
TRI: triangle wave
SQR: square wave
SIN: sine wave
SAW1: sawtooth wave (upward)
SAW2: sawtooth wave (downward)
07: ENHANCER
Controls the overtone structure of the high frequencies, adding
SAW1
SAW2
sparkle and tightness to the sound.
fig.MFX-07
2-Band
EQ
L in
L out
R out
Enhancer
Enhancer
Rate #
0.05–10.00 Hz,
note
Rate of modulation
Mix
Mix
Depth
0–127
Depth of modulation
2-Band
EQ
R in
Attack #
0–127
Speed at which the cutoff frequency
will change
This is effective if Modulation Wave
is SQR, SAW1, or SAW2.
Output level
Parameter
Sens #
Mix #
Value
0–127
0–127
Description
Level
0–127
Sensitivity of the enhancer
Level of the overtones gen-
erated by the enhancer
Gain of the low range
Gain of the high range
Output Level
Low Gain
High Gain
Level
-15– +15 dB
-15– +15 dB
0–127
272
Effects List
08: AUTO WAH
10: SPEAKER SIMULATOR
Simulates the speaker type and mic settings used to record the
Cyclically controls a filter to create cyclic change in timbre.
fig.MFX-08
speaker sound.
fig.MFX-10
L in
L out
R out
Auto Wah
Auto Wah
2-Band EQ
2-Band EQ
L in
L out
Speaker
Speaker
R in
R in
R out
Parameter
Filter Type
Value
LPF, BPF
Description
Type of filter
Parameter
Speaker Type
Mic Setting
Value
(See the table right.)
1, 2, 3
Description
Type of speaker
LPF: The wah effect will be applied
over a wide frequency range.
BPF: The wah effect will be applied
over a narrow frequency range.
Adjusts the center frequency at which
the effect is applied.
Adjusts the amount of the wah effect
that will occur in the range of the center
frequency.
Set a higher value for Q to narrow
the range to be affected.
Adjusts the sensitivity with which the
filter is controlled.
Adjusts the location of the mic
that is recording the sound of
the speaker.
This can be adjusted in
three steps, with the mic
becoming more distant in
the order of 1, 2, and 3.
Volume of the microphone
Volume of the direct sound
Output Level
Manual #
Peak
0–127
0–127
Mic Level #
Direct Level #
Level #
0–127
0–127
0–127
Sens #
0–127
Polarity
UP, DOWN
Sets the direction in which the frequen-
cy will change when the auto-wah filter
is modulated.
UP: The filter will change toward a
higher frequency.
Specifications of each Speaker Type
The speaker column indicates the diameter of each speaker unit (in
inches) and the number of units.
DOWN: The filter will change to-
ward a lower frequency.
Frequency of modulation
Type
Cabinet
Speaker
Micro-
phone
Rate #
0.05–10.00 Hz,
note
SMALL 1
SMALL 2
MIDDLE
JC-120
small open-back enclosure
small open-back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
sealed enclosure
large sealed enclosure
large sealed enclosure
large sealed enclosure
large double stack
large double stack
large triple stack
10
10
dynamic
dynamic
dynamic
dynamic
dynamic
condenser
condenser
condenser
condenser
condenser
condenser
condenser
condenser
condenser
condenser
condenser
Depth #
Phase #
0–127
0–180 deg
Depth of modulation
Adjusts the degree of phase shift of the
left and right sounds when the wah ef-
fect is applied.
Gain of the low range
Gain of the high range
Output Level
12 x 1
12 x 2
12 x 2
12 x 2
12 x 2
12 x 2
12 x 2
12 x 2
12 x 2
12 x 4
12 x 4
12 x 4
12 x 4
12 x 4
BUILT-IN 1
BUILT-IN 2
BUILT-IN 3
BUILT-IN 4
BUILT-IN 5
BG STACK 1
BG STACK 2
MS STACK 1
MS STACK 2
METAL STACK
2-STACK
Low Gain
High Gain
Level
-15– +15 dB
-15– +15 dB
0–127
09: HUMANIZER
Adds a vowel character to the sound, making it similar to a human
voice.
fig.MFX-09
L in
L out
Pan L
3-STACK
2-Band
EQ
Overdrive
Formant
Pan R
R in
R out
Parameter
Drive Sw
Drive #
Value
OFF, ON
0–127
Description
Turns Drive on/off.
Degree of distortion
Also changes the volume.
Selects the vowel.
Vowel1
Vowel2
Rate #
a, e, i, o, u
a, e, i, o, u
0.05–10.00 Hz,
note
Frequency at which the two vowels
switch
Depth #
Input Sync
Sw
0–127
OFF, ON
Effect depth
Determines whether the LFO for
switching the vowels is reset by the in-
put signal (ON) or not (OFF).
Volume level at which reset is applied
Input Sync
Threshold
Manual #
0–127
0–100
Point at which Vowel 1/2 switch
49 or less: Vowel 1 will have a long-
er duration.
50: Vowel 1 and 2 will be of equal
duration.
51 or more: Vowel 2 will have a
longer duration.
Low Gain
High Gain
Pan #
-15– +15 dB
-15– +15 dB
L64–63R
0–127
Gain of the low frequency range
Gain of the high frequency range
Stereo location of the output
Output level
Level
273
Effects List
Parameter
Cross
Feedback
Value
-98– +98 %
Description
11: PHASER
Adjusts the proportion of the
phaser sound that is fed back
into the effect. Negative (-) set-
tings will invert the phase.
Rate of the step-wise change in
the phaser effect
A phase-shifted sound is added to the original sound and
modulated.
fig.MFX-11
Step Rate #
0.10–20.00 Hz, note
2-Band
EQ
Mix #
0–127
Level of the phase-shifted sound
Gain of the low range
Gain of the high range
L in
L out
R out
Phaser
Phaser
Low Gain
High Gain
Level
-15– +15 dB
-15– +15 dB
0–127
Mix
Mix
Output Level
2-Band
EQ
R in
13: MULTI STAGE PHASER
Extremely high settings of the phase difference produce a deep
phaser effect.
fig.MFX-13
Parameter
Mode
Value
4-STAGE, 8-
Description
Number of stages in the phaser
STAGE, 12-STAGE
0–127
L in
L out
Pan L
Manual #
Adjusts the basic frequency from
which the sound will be modu-
lated.
Frequency of modulation
Depth of modulation
Selects whether the left and right
phase of the modulation will be
the same or the opposite.
INVERSE: The left and right
phase will be opposite. When
using a mono source, this
spreads the sound.
SYNCHRO: The left and right
phase will be the same. Select
this when inputting a stereo
source.
Multi Stage
Phaser
2-Band
EQ
Mix
Pan R
Rate #
Depth
Polarity
0.05–10.00Hz,note
0–127
INVERSE,
SYNCHRO
R in
R out
Resonance
Parameter
Mode
Value
4-STAGE, 8-
STAGE,
12-STAGE, 16-
STAGE, 20-
STAGE, 24-STAGE
0–127
Description
Number of phaser stages
Manual #
Adjusts the basic frequency from
which the sound will be modu-
lated.
Frequency of modulation
Depth of modulation
Amount of feedback
Level of the phase-shifted sound
Stereo location of the output
sound
Resonance #
Cross
Feedback
0–127
-98– +98 %
Amount of feedback
Rate #
Depth
Resonance #
Mix #
Pan #
0.05–10.00 Hz, note
0–127
0–127
0–127
L64–63R
Adjusts the proportion of the
phaser sound that is fed back
into the effect. Negative (-) set-
tings will invert the phase.
Level of the phase-shifted sound
Gain of the low range
Mix #
0–127
Low Gain
High Gain
Level
-15– +15 dB
-15– +15 dB
0–127
Low Gain
High Gain
Level
-15– +15 dB
-15– +15 dB
0–127
Gain of the low range
Gain of the high range
Output Level
Gain of the high range
Output Level
12: STEP PHASER
14: INFINITE PHASER
The phaser effect will be varied gradually.
fig.MFX-12
A phaser that continues raising/lowering the frequency at which the
sound is modulated.
fig.MFX-14
2-Band
EQ
L in
L out
R out
Step Phaser
Mix
Mix
L in
L out
Pan L
Infinite Phaser
2-Band EQ
2-Band
EQ
Pan R
Step Phaser
R in
R in
R out
Parameter
Mode
Range
1, 2, 3, 4
Explanation
Higher values will produce a
deeper phaser effect.
Parameter
Mode
Value
Description
Number of stages in the phaser
4-STAGE, 8-
STAGE, 12-STAGE
0–127
Speed #
-100– +100
Speed at which to raise or lower
the frequency at which the sound
is modulated
(+: upward / -: downward)
Amount of feedback
Volume of the phase-shifted
sound
Panning of the output sound
Amount of boost/cut for the
low-frequency range
Manual #
Adjusts the basic frequency from
which the sound will be modu-
lated.
Frequency of modulation
Depth of modulation
Selects whether the left and right
phase of the modulation will be
the same or the opposite.
INVERSE: The left and right
phase will be opposite. When
using a mono source, this
spreads the sound.
SYNCHRO: The left and right
phase will be the same. Select
this when inputting a stereo
source.
Resonance #
Mix #
0–127
0–127
Rate #
Depth
Polarity
0.05–10.00Hz,note
0–127
INVERSE,
SYNCHRO
Pan #
Low Gain
L64–63R
-15– +15 dB
High Gain
Level
-15– +15 dB
0–127
Amount of boost/cut for the
high-frequency range
Output volume
Resonance #
0–127
Amount of feedback
274
Effects List
15: RING MODULATOR
This is an effect that applies amplitude modulation (AM) to the input
signal, producing bell-like sounds. You can also change the
modulation frequency in response to changes in the volume of the
Parame-
ter
Mod Wave
Value
Description
TRI, SQR, SIN,
SAW1, SAW2
Modulation Wave
TRI: triangle wave
SQR: square wave
SIN: sine wave
sound sent into the effect.
fig.MFX-15
SAW1/2: sawtooth wave
SAW1
SAW2
L in
L out
R out
Ring Mod
Ring Mod
2-Band EQ
R in
2-Band EQ
Rate #
0.05–10.00Hz,note
0–127
-15– +15 dB
-15– +15 dB
0–127
Frequency of the change
Depth to which the effect is applied
Gain of the low range
Gain of the high range
Output Level
Depth #
Low Gain
High Gain
Level
Parameter
Frequency #
Value
0–127
Description
Adjusts the frequency at which modula-
tion is applied.
Sens #
0–127
Adjusts the amount of frequency modu-
lation applied.
Polarity
UP, DOWN
Determines whether the frequency mod-
ulation moves towards higher frequen-
cies (UP) or lower frequencies (DOWN).
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct
sound (D) and the effect sound (W)
Output level
18: AUTO PAN
Cyclically modulates the stereo location of the sound.
Low Gain
High Gain
Balance #
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
fig.MFX-18a
L in
L out
R out
Auto Pan
Auto Pan
2-Band EQ
2-Band EQ
Level
R in
16: STEP RING MODULATOR
This is a ring modulator that uses a 16-step sequence to vary the
Parame-
ter
Mod Wave
Value
Description
TRI, SQR, SIN,
SAW1, SAW2
Modulation Wave
TRI: triangle wave
SQR: square wave
SIN: sine wave
frequency at which modulation is applied.
fig.MFX-16
L in
L out
R out
Step Ring Mod
Step Ring Mod
2-Band EQ
2-Band EQ
SAW1/2: sawtooth wave
SAW1
R
SAW2
R
R in
Parameter
Step 01–16
Range
0–127
Explanation
Frequency of ring modulation at
each step
Rate at which the 16-step se-
quence will cycle
Speed at which the modulation
frequency changes between
steps
L
L
Rate #
0.05–10.00Hz,note
0–127
-15– +15 dB
-15– +15 dB
0–127
Frequency of the change
Depth to which the effect is applied
Gain of the low range
Gain of the high range
Output Level
Rate #
0.05–10.00 Hz, note
0–127
Depth #
Low Gain
High Gain
Level
Attack #
Low Gain
High Gain
Balance #
Level
-15– +15 dB
-15– +15 dB
Amount of boost/cut for the
low-frequency range
19: STEP PAN
This uses a 16-step sequence to vary the panning of the sound.
Amount of boost/cut for the
high-frequency range
Volume balance of the original
sound (D) and effect sound (W)
Output volume
D100:0W–
D0:100W
0–127
fig.MFX-19
L in
L out
R out
Step Pan
Step Pan
R in
Parameter
Step 01–16
Rate #
Range
L64–63R
0.05–10.00 Hz, note
Explanation
Pan at each step
Rate at which the 16-step se-
quence will cycle
17: TREMOLO
Cyclically modulates the volume to add tremolo effect to the sound.
fig.MFX-17a
Attack #
0–127
Speed at which the pan changes
between steps
L in
L out
R out
Tremolo
Tremolo
2-Band EQ
2-Band EQ
Input Sync
Sw
OFF, ON
Specifies whether an input note
will cause the sequence to re-
sume from the first step of the se-
quence (ON) or not (OFF)
Volume at which an input note
will be detected
R in
Input Sync
Threshold
Level
0–127
0–127
Output volume
275
Effects List
20: SLICER
By applying successive cuts to the sound, this effect turns a
conventional sound into a sound that appears to be played as a
backing phrase. This is especially effective when applied to sustain-
Parameter
Woofer
Acceleration
Value
0–15
Description
Adjusts the time it takes the low
frequency rotor to reach the new-
ly selected speed when switch-
ing from fast to slow (or slow to
fast) speed. Lower values will re-
quire longer times.
type sounds.
fig.MFX-20
Woofer Level
0–127
Volume of the low frequency ro-
tor
Tweeter Slow
Speed
Tweeter Fast
Speed
0.05–10.00 Hz
0.05–10.00 Hz
0–15
Settings of the high frequency ro-
tor
The parameters are the same
as for the low frequency rotor
L in
L out
R out
Slicer
Slicer
Tweeter
R in
Acceleration
Tweeter Level
Separation
Level #
0–127
0–127
0–127
Spatial dispersion of the sound
Output Level
Parameter
Step 01–16
Rate #
Value
Description
Level at each step
L64–63R
0.05–10.00
Hz, note
0–127
Rate at which the 16-step sequence will
cycle
Speed at which the level changes be-
tween steps
Specifies whether an input note will
cause the sequence to resume from the
first step of the sequence (ON) or not
(OFF)
Volume at which an input note will be
detected
22: VK ROTARY
This type provides modified response for the rotary speaker, with
Attack #
Input Sync
Sw
OFF, ON
the low end boosted further.
This effect features the same specifications as the VK-7’s built-in
rotary speaker.
fig.MFX-22
Input Sync
Threshold
Mode
0–127
LEGATO,
SLASH
Sets the manner in which the volume
changes as one step progresses to the
next.
L in
2-Band EQ
L out
R out
Rotary
LEGATO: The change in volume from
one step’s level to the next remains
unaltered. If the level of a following
step is the same as the one preceding
it, there is no change in volume.
SLASH: The level is momentarily set
to 0 before progressing to the level of
the next step. This change in volume
occurs even if the level of the follow-
ing step is the same as the preceding
step.
Timing of volume changes in levels for
even-numbered steps (step 2, step 4, step
6...).
The higher the value, the later the beat
progresses.
R in
2-Band EQ
Parameter
Speed #
Value
SLOW, FAST
Description
Rotational speed of the rotat-
ing speaker
Brake #
OFF, ON
Switches the rotation of the
rotary speaker.
When this is turned on, the
rotation will gradually
stop. When it is turned off,
the rotation will gradually
resume.
Low-speed rotation speed of
the woofer
High-speed rotation speed of
the woofer
Adjusts the rate at which the
woofer rotation speeds up
when the rotation is switched
from Slow to Fast.
Adjusts the rate at which the
woofer rotation speeds up
when the rotation is switched
from Fast to Slow.
Volume of the woofer
Settings of the tweeter
The parameters are the
same as for the woofer.
Shuffle #
Level
0–127
0–127
Woofer Slow
Speed
Woofer Fast
Speed
Woofer Trans
Up
0.05–10.00 Hz
0.05–10.00 Hz
0–127
Output level
21: ROTARY
The Rotary effect simulates the sound of the rotary speakers often
used with the electric organs of the past. Since the movement of the
high range and low range rotors can be set independently, the
unique type of modulation characteristic of these speakers can be
simulated quite closely. This effect is most suitable for electric organ
Woofer Trans
Down
0–127
Woofer Level
Tweeter Slow
Speed
Tweeter Fast
Speed
Tweeter Trans
Up
Tweeter Trans
Down
0–127
0.05–10.00 Hz
Patches.
fig.MFX-21
0.05–10.00 Hz
0–127
L in
L out
Rotary
0–127
R in
R out
Tweeter Level
Spread
0–127
0–10
Sets the rotary speaker stereo
image. The higher the value
set, the wider the sound is
spread out.
Gain of the low range
Gain of the high range
Output Level
Parameter
Speed #
Value
SLOW, FAST
Description
Simultaneously switch the rota-
tional speed of the low frequency
rotor and high frequency rotor.
SLOW: Slows down the rota-
tion to the Slow Rate.
Low Gain
High Gain
Level #
-15– +15 dB
-15– +15 dB
0–127
FAST: Speeds up the rotation
to the Fast Rate.
Woofer Slow
Speed
Woofer Fast
Speed
0.05–10.00 Hz
0.05–10.00 Hz
Slow speed (SLOW) of the low
frequency rotor
Fast speed (FAST) of the low fre-
quency rotor
276
Effects List
Parameter
High Gain
Balance #
Value
Description
23: CHORUS
This is a stereo chorus. A filter is provided so that you can adjust the
-15– +15 dB
D100:0W–
D0:100W
Gain of the high range
Volume balance between the di-
rect sound (D) and the flanger
sound (W)
timbre of the chorus sound.
fig.MFX-23
Level
0–127
Output Level
Balance D
2-Band
L in
L out
R out
EQ
25: STEP FLANGER
This is a flanger in which the flanger pitch changes in steps. The
Balance W
Chorus
Chorus
Balance W
speed at which the pitch changes can also be specified in terms of a
note-value of a specified tempo.
fig.MFX-25
2-Band
EQ
R in
Balance D
Balance D
2-Band
L in
L out
Parameter
Filter Type
Value
OFF, LPF, HPF
Description
Type of filter
OFF: no filter is used
LPF: cuts the frequency range
above the Cutoff Freq
HPF: cuts the frequency range
below the Cutoff Freq
EQ
Step Flanger
Balance W
Feedback
Feedback
Cutoff Freq
Pre Delay
200–8000 Hz
0.0–100.0 ms
Basic frequency of the filter
Adjusts the delay time from the
direct sound until the chorus
sound is heard.
Frequency of modulation
Depth of modulation
Spatial spread of the sound
Gain of the low range
Gain of the high range
Volume balance between the di-
rect sound (D) and the chorus
sound (W)
Balance W
Step Flanger
2-Band
EQ
R in
R out
Balance D
Rate #
Depth
Phase
Low Gain
High Gain
Balance #
0.05–10.00 Hz, note
0–127
0–180 deg
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
Parameter
Filter Type
Value
OFF, LPF, HPF
Description
Type of filter
OFF: no filter is used
LPF: cuts the frequency
range above the Cutoff Freq
HPF: cuts the frequency
range below the Cutoff Freq
Basic frequency of the filter
Adjusts the delay time from
when the direct sound begins
until the flanger sound is
heard.
Level
0–127
Output Level
Cutoff Freq
Pre Delay
200–8000 Hz
0.0–100.0 ms
24: FLANGER
This is a stereo flanger. (The LFO has the same phase for left and
right.) It produces a metallic resonance that rises and falls like a jet
airplane taking off or landing. A filter is provided so that you can
Rate #
Depth
Phase
Feedback #
0.05–10.00 Hz, note
0–127
0–180 deg
Frequency of modulation
Depth of modulation
Spatial spread of the sound
Adjusts the proportion of the
flanger sound that is fed back
into the effect. Negative (-) set-
tings will invert the phase.
Rate (period) of pitch change
Gain of the low range
-98– +98 %
adjust the timbre of the flanged sound.
fig.MFX-24
Balance D
2-Band
Step Rate #
Low Gain
High Gain
Balance #
0.10–20.00 Hz, note
-15– +15 dB
-15– +15 dB
L in
L out
EQ
Gain of the high range
Flanger
Balance W
D100:0W–D0:100W
Volume balance between the
direct sound (D) and the
flanger sound (W)
Feedback
Feedback
Level
0–127
Output Level
Balance W
Flanger
2-Band
EQ
R in
R out
Balance D
Parameter
Filter Type
Value
OFF, LPF, HPF
Description
Type of filter
OFF: no filter is used
LPF: cuts the frequency range
above the Cutoff Freq
HPF:cuts the frequency range
below the Cutoff Freq
Cutoff Freq
Pre Delay
200–8000 Hz
0.0–100.0 ms
Basic frequency of the filter
Adjusts the delay time from
when the direct sound begins
until the flanger sound is heard.
Frequency of modulation
Depth of modulation
Rate #
Depth
0.05–10.00 Hz, note
0–127
Phase
Feedback #
0–180 deg
-98– +98 %
Spatial spread of the sound
Adjusts the proportion of the
flanger sound that is fed back
into the effect. Negative (-) set-
tings will invert the phase.
Gain of the low range
Low Gain
-15– +15 dB
277
Effects List
26: HEXA-CHORUS
28: SPACE-D
Uses a six-phase chorus (six layers of chorused sound) to give
This is a multiple chorus that applies two-phase modulation in
richness and spatial spread to the sound.
stereo. It gives no impression of modulation, but produces a
fig.MFX-26
transparent chorus effect.
fig.MFX-28
L in
L out
Balance D
Balance D
2-Band
Balance W
L in
L out
R out
EQ
Hexa Chorus
Balance W
Balance W
Space D
Space D
R in
R out
Balance W
Balance D
2-Band
R in
EQ
Balance D
Parameter
Pre Delay
Value
0.0–100.0 ms
Description
Adjusts the delay time from the
direct sound until the chorus
sound is heard.
Parameter
Pre Delay
Value
0.0–100.0 ms
Description
Adjusts the delay time from
the direct sound until the
chorus sound is heard.
Frequency of modulation
Depth of modulation
Spatial spread of the sound
Gain of the low range
Gain of the high range
Volume balance between
the direct sound (D) and the
chorus sound (W)
Rate #
Depth
Pre Delay
Deviation
0.05–10.00 Hz, note
0–127
0–20
Frequency of modulation
Depth of modulation
Adjusts the differences in Pre
Delay between each chorus
sound.
Rate #
Depth
Phase
Low Gain
High Gain
Balance #
0.05–10.00 Hz, note
0–127
0–180 deg
-15– +15 dB
-15– +15 dB
Depth
-20– +20
0–20
Adjusts the difference in modu-
lation depth between each cho-
rus sound.
Adjusts the difference in stereo
location between each chorus
sound.
Deviation
D100:0W–D0:100W
Pan Deviation
Level
0–127
Output Level
0: All chorus sounds will be in
the center.
20: Each chorus sound will be
spaced at 60 degree intervals
relative to the center.
Volume balance between the di-
rect sound (D) and the chorus
sound (W)
29: 3D CHORUS
This applies a 3D effect to the chorus sound. The chorus sound will
Balance #
Level
D100:0W–D0:100W
0–127
be positioned 90 degrees left and 90 degrees right.
fig.MFX-29
Output Level
2-Band
EQ
L
L out
R out
27: TREMOLO CHORUS
This is a chorus effect with added Tremolo (cyclic modulation of
3D Chorus
2-Band
EQ
R
volume).
fig.MFX-27
L in
L out
Parameter
Filter Type
Value
OFF, LPF, HPF
Description
Type of filter
Balance D
Balance W
OFF: no filter is used
LPF: cuts the frequency
range above the Cutoff Freq
HPF: cuts the frequency
range below the Cutoff Freq
Basic frequency of the filter
Adjusts the delay time from the
direct sound until the chorus
sound is heard.
Tremolo Chorus
Balance W
R in
R out
Balance D
Cutoff Freq
Pre Delay
200–8000 Hz
0.0–100.0 ms
Parameter
Pre Delay
Value
0.0–100.0 ms
Description
Adjusts the delay time from
the direct sound until the cho-
rus sound is heard.
Modulation frequency of the
chorus effect
Modulation depth of the cho-
rus effect
Modulation frequency of the
tremolo effect
Rate #
Depth
0.05–10.00 Hz, note
0–127
Frequency of modulation
Modulation depth of the chorus
effect
Chorus Rate #
Chorus Depth
Tremolo Rate #
0.05–10.00 Hz, note
0–127
Phase
Output Mode
0–180 deg
SPEAKER, PHONES
Spatial spread of the sound
Adjusts the method that will be
used to hear the sound that is
output to the OUTPUT jacks.
The optimal 3D effect will be
achieved if you select SPEAK-
ER when using speakers, or
PHONES when using head-
phones.
0.05–10.00 Hz, note
0–127
Tremolo
Spread of the tremolo effect
Separation
Tremolo Phase
Balance #
0–180 deg
D100:0W–D0:100W
Spread of the tremolo effect
Volume balance between the
direct sound (D) and the trem-
olo chorus sound (W)
Low Gain
High Gain
Balance #
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
Gain of the low range
Gain of the high range
Volume balance between the
direct sound (D) and the chorus
sound (W)
Level
0–127
Output Level
Level
0–127
Output Level
278
Effects List
Parameter
Feedback #
Value
-98– +98 %
Description
30: 3D FLANGER
This applies a 3D effect to the flanger sound. The flanger sound will
Adjusts the proportion of the
flanger sound that is fed back
into the effect. Negative (-) set-
tings will invert the phase.
Rate (period) of pitch change
Adjusts the method that will be
used to hear the sound that is
output to the OUTPUT jacks.
The optimal 3D effect will be
achieved if you select SPEAK-
ER when using speakers, or
PHONES when using head-
phones.
be positioned 90 degrees left and 90 degrees right.
fig.MFX-30
Step Rate #
Output Mode
0.10–20.00 Hz, note
SPEAKER, PHONES
2-Band
EQ
L
L out
R out
3D Flanger
2-Band
EQ
R
Low Gain
High Gain
Balance #
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
Gain of the low range
Gain of the high range
Volume balance between the
direct sound (D) and the
flanger sound (W)
Parameter
Filter Type
Value
OFF, LPF, HPF
Description
Type of filter
OFF: no filter is used
LPF: cuts the frequency
range above the Cutoff Freq
HPF: cuts the frequency
range below the Cutoff Freq
Basic frequency of the filter
Adjusts the delay time from
when the direct sound begins
until the flanger sound is
heard.
Level
0–127
Output Level
Cutoff Freq
Pre Delay
200–8000 Hz
0.0–100.0 ms
32: 2BAND CHORUS
A chorus effect that lets you apply an effect independently to the
low-frequency and high-frequency ranges.
fig.MFX-32
Rate #
Depth
Phase
Feedback #
0.05–10.00 Hz, note
0–127
0–180 deg
Frequency of modulation
Depth of modulation
L in
L out
Spatial spread of the sound
Adjusts the proportion of the
flanger sound that is fed back
into the effect. Negative (-) set-
tings will invert the phase.
Adjusts the method that will be
used to hear the sound that is
output to the OUTPUT jacks.
The optimal 3D effect will be
achieved if you select SPEAK-
ER when using speakers, or
PHONES when using head-
phones.
High Band Chorus
-98– +98 %
Split
Split
Low Band Chorus
High Band Chorus
Output Mode
SPEAKER, PHONES
Low Band Chorus
R in
R out
Parameter
Split Freq
Range
200–8000 Hz
Explanation
Frequency at which the low
and high ranges will be divid-
ed
Delay time from when the
original sound is heard to
when the low-range chorus
sound is heard
Low Gain
High Gain
Balance #
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
Gain of the low range
Gain of the high range
Volume balance between the
direct sound (D) and the
flanger sound (W)
Low Pre Delay
0.0–100.0 ms
Level
0–127
Output Level
Low Rate #
Low Depth
Low Phase
0.05–10.00 Hz, note
0–127
Rate at which the low-range
chorus sound is modulated
Modulation depth for the low-
range chorus sound
Spaciousness of the low-range
chorus sound
Delay time from when the
original sound is heard to
when the high-range chorus
sound is heard
31: 3D STEP FLANGER
This applies a 3D effect to the step flanger sound. The flanger sound
0–180 deg
High Pre Delay
0.0–100.0 ms
will be positioned 90 degrees left and 90 degrees right.
fig.MFX-31
High Rate #
High Depth
High Phase
Balance #
0.05–10.00 Hz, note
0–127
Rate at which the low-range
chorus sound is modulated
Modulation depth for the
high-range chorus sound
Spaciousness of the high-
range chorus sound
Volume balance of the origi-
nal sound (D) and chorus
sound (W)
2-Band
EQ
L
L out
R out
3D Step Flanger
0–180 deg
2-Band
EQ
R
D100:0W–D0:100W
Parameter
Filter Type
Value
OFF, LPF, HPF
Description
Type of filter
Level
0–127
Output volume
OFF: no filter is used
LPF: cuts the frequency
range above the Cutoff Freq
HPF: cuts the frequency
range below the Cutoff Freq
Basic frequency of the filter
Adjusts the delay time from
when the direct sound begins
until the flanger sound is
heard.
Cutoff Freq
Pre Delay
200–8000 Hz
0.0–100.0 ms
Rate #
Depth
Phase
0.05–10.00 Hz, note
0–127
0–180 deg
Frequency of modulation
Depth of modulation
Spatial spread of the sound
279
Effects List
33: 2BAND FLANGER
34: 2BAND STEP FLANGER
A flanger that lets you apply an effect independently to the low-
A step flanger that lets you apply an effect independently to the low-
frequency and high-frequency ranges.
frequency and high-frequency ranges.
fig.MFX-33
fig.MFX-34
L in
L in
L out
L out
High Band Flanger
High Band Step Flanger
Split
Split
Split
Split
High Band Feedback
Low Band Flanger
High Band Feedback
Low Band Step Flanger
Low Band Feedback
High Band Feedback
Low Band Feedback
High Band Feedback
High Band Flanger
Low Band Feedback
High Band Step Flanger
Low Band Feedback
Low Band Flanger
Low Band Step Flanger
R in
R in
R out
R out
Parameter
Split Freq
Range
200–8000 Hz
Explanation
Parameter
Split Freq
Range
200–8000 Hz
Explanation
Frequency at which the low
and high ranges will be divid-
ed
Frequency at which the low
and high ranges will be divid-
ed
Low Pre Delay
0.0–100.0 ms
Delay time from when the
original sound is heard to
when the low-range flanger
sound is heard
Low Pre Delay
0.0–100.0 ms
Delay time from when the
original sound is heard to
when the low-range flanger
sound is heard
Low Rate #
Low Depth
Low Phase
0.05–10.00 Hz, note
0–127
Rate at which the low-range
flanger sound is modulated
Modulation depth for the low-
range flanger sound
Spaciousness of the low-range
flanger sound
Low Rate #
Low Depth
Low Phase
0.05–10.00 Hz, note
0–127
Rate at which the low-range
flanger sound is modulated
Modulation depth for the low-
range flanger sound
Spaciousness of the low-range
flanger sound
0–180 deg
0–180 deg
Low
-98– +98%
Proportion of the low-range
flanger sound that is to be re-
turned to the input (negative
values invert the phase)
Delay time from when the
original sound is heard to
when the high-range flanger
sound is heard
Rate at which the high-range
flanger sound is modulated
Modulation depth for the
high-range flanger sound
Spaciousness of the high-
range flanger sound
Proportion of the high-range
flanger sound that is to be re-
turned to the input (negative
values invert the phase)
Volume balance of the origi-
nal sound (D) and flanger
sound (W)
Low
-98– +98%
Proportion of the low-range
flanger sound that is to be re-
turned to the input (negative
values invert the phase)
Rate at which the steps will
cycle for the low-range
flanger sound
Delay time from when the
original sound is heard to
when the high-range flanger
sound is heard
Rate at which the high-range
flanger sound is modulated
Modulation depth for the
high-range flanger sound
Spaciousness of the high-
range flanger sound
Proportion of the high-range
flanger sound that is to be re-
turned to the input (negative
values invert the phase)
Rate at which the steps will
cycle for the high-range
flanger sound
Feedback #
Feedback #
High Pre Delay
0.0–100.0 ms
Low Step
Rate #
0.10–20.00 Hz, note
0.0–100.0 ms
High Pre Delay
High Rate #
High Depth
High Phase
0.05–10.00 Hz, note
0–127
High Rate #
High Depth
High Phase
0.05–10.00 Hz, note
0–127
0–180 deg
High
Feedback #
-98– +98%
0–180 deg
High
Feedback #
-98– +98%
Balance #
Level
D100:0W–D0:100W
0–127
Output volume
High Step
Rate #
0.10–20.00 Hz, note
D100:0W–D0:100W
0–127
Balance #
Level
Volume balance of the origi-
nal sound (D) and flanger
sound (W)
Output volume
280
Effects List
39: GUITAR AMP SIMULATOR
35: OVERDRIVE
Creates a soft distortion similar to that produced by vacuum tube
This is an effect that simulates the sound of a guitar amplifier.
fig.MFX-39
amplifiers.
fig.MFX-35
L in
L out
Pan L
Pre Amp
Speaker
L in
L out
Pan L
Pan R
Over
drive
Amp
Simulator
2-Band
EQ
R in
R out
Pan R
Parameter
Value
OFF, ON
JC-120, CLEAN TWIN,
MATCH DRIVE,
BG LEAD, MS1959I,
MS1959II, MS1959I+II,
SLDN LEAD,
METAL5150,
METAL LEAD, OD-1,
OD-2 TURBO,
DISTORTION, FUZZ
0–127
Description
R in
R out
Pre Amp Sw
Pre Amp
Type
Turns the amp switch on/off.
Type of guitar amp
Parameter
Drive #
Value
0–127
Description
Degree of distortion
Also changes the volume.
Type of guitar amp
SMALL: small amp
Amp Type
SMALL,
BUILT-IN,
2-STACK,
3-STACK
BUILT-IN: single-unit type amp
2-STACK: large double stack amp
3-STACK: large triple stack amp
Gain of the low range
Pre Amp
Volume #
Pre Amp
Master #
Pre Amp
Gain
Pre Amp
Bass
Pre Amp
Middle
Volume and amount of distor-
tion of the amp
Volume of the entire pre-amp
Low Gain
High Gain
Pan #
-15– +15 dB
-15– +15 dB
L64–63R
0–127
Gain of the high range
0–127
Stereo location of the output sound
Output Level
Level
LOW, MIDDLE, HIGH
0–127
Amount of pre-amp distortion
Tone of the bass/mid/treble
frequency range
Middle cannot be set if
“Match Drive” is selected as
the Pre Amp Type.
36: DISTORTION
Produces a more intense distortion than Overdrive. The parameters
*
Pre Amp
Treble
are the same as for “35: OVERDRIVE.”
fig.MFX-36
Pre Amp
Presence
0–127
(MATCH DRIVE:
-127 - 0)
Tone for the ultra-high fre-
quency range
L in
L out
Pan L
Amp
Simulator
2-Band
EQ
Distortion
Pre Amp
Bright
OFF, ON
Turning this “On” produces a
sharper and brighter sound.
Pan R
R in
R out
*
This parameter applies to
the “JC-120,” “Clean Twin,”
and “BG Lead” Pre Amp
Types.
37: VS OVERDRIVE
This is an overdrive that provides heavy distortion.
Speaker Sw
OFF, ON
Determines whether the signal
passes through the speaker
(ON), or not (OFF).
fig.MFX-37
Speaker
Type
Mic Setting
(See the table below.)
1, 2, 3
Type of speaker
L in
L out
Pan L
Adjusts the location of the mic
that’s capturing the sound of
the speaker.
This can be adjusted in three
steps, from 1 to 3, with the
mic becoming more distant
as the value increases.
Amp
Simulator
2-Band
EQ
Overdrive
Pan R
R in
R out
Parameter
Value
Description
Drive #
0–127
Degree of distortion
Mic Level
Direct Level
Pan #
0–127
0–127
L64–63R
0–127
Volume of the microphone
Volume of the direct sound
Stereo location of the output
Output level
Also changes the volume.
Tone #
Amp Sw
Amp Type
0–127
Sound quality of the Overdrive effect
Turns the Amp Simulator on/off.
Type of guitar amp
OFF, ON
SMALL,
BUILT-IN,
2-STACK,
3-STACK
Level #
Specifications for each Speaker Type
The speaker column indicates the diameter of each speaker unit (in
inches) and the number of units.
SMALL: small amp
BUILT-IN: single-unit type amp
2-STACK: large double stack amp
3-STACK: large triple stack amp
Gain of the low range
Low Gain
High Gain
Pan #
-15– +15 dB
-15– +15 dB
L64–63R
0–127
Type
Cabinet
Speaker
10
Microphone
dynamic
Gain of the high range
Stereo location of the output sound
Output Level
SMALL 1
SMALL 2
MIDDLE
small open-back enclosure
small open-back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
sealed enclosure
10
dynamic
Level
12 x 1
12 x 2
12 x 2
12 x 2
12 x 2
12 x 2
12 x 2
12 x 2
12 x 2
12 x 4
12 x 4
12 x 4
dynamic
dynamic
dynamic
JC-120
BUILT-IN 1
BUILT-IN 2
BUILT-IN 3
BUILT-IN 4
BUILT-IN 5
BG STACK 1
BG STACK 2
MS STACK 1
MS STACK 2
METAL
condenser
condenser
condenser
condenser
condenser
condenser
condenser
condenser
condenser
38: VS DISTORTION
This is a distortion effect that provides heavy distortion. The
parameters are the same as for “37: VS OVERDRIVE.”
fig.MFX-38
large sealed enclosure
large sealed enclosure
large sealed enclosure
large double stack
L in
L out
Pan L
Amp
2-Band
EQ
Distortion
Simulator
Pan R
STACK
R in
2-STACK
3-STACK
large double stack
large triple stack
12 x 4
12 x 4
condenser
condenser
R out
281
Effects List
Parameter
Hold
Value
0–127
Description
40: COMPRESSOR
Flattens out high levels and boosts low levels, smoothing out
Adjusts the time it takes for the gate to
start closing after the source sound falls
beneath the Threshold.
Adjusts the time it takes the gate to fully
close after the hold time.
Volume balance between the direct
sound (D) and the effect sound (W)
Output level
fluctuations in volume.
fig.MFX-40
Release
Balance #
Level
0–127
D100:0W–
D0:100W
0–127
L in
L out
R out
Compressor
Compressor
2-Band EQ
R in
2-Band EQ
43: DELAY
This is a stereo delay.
Parameter
Value
Description
When Feedback Mode is NORMAL:
fig.MFX-43a
Attack #
0–127
Sets the speed at which compression
starts
Threshold #
0–127
Adjusts the volume at which compres-
sion begins
Adjusts the output gain.
Gain of the low frequency range
Gain of the high frequency range
Output level
Balance D
2-Band
EQ
L in
L out
Post Gain
Low Gain
High Gain
Level #
0– +18 dB
-15– +15 dB
-15– +15 dB
0–127
Balance W
Delay
Feedback
Feedback
41: LIMITER
Balance W
Delay
Compresses signals that exceed a specified volume level, preventing
2-Band
EQ
R in
R out
L out
distortion from occurring.
fig.MFX-41
Balance D
When Feedback Mode is CROSS:
fig.MFX-43b
L in
L out
R out
Limiter
Limiter
2-Band EQ
Balance D
2-Band
EQ
Balance W
L in
R in
2-Band EQ
Delay
Parameter
Release #
Value
0–127
Description
Feedback
Feedback
Adjusts the time after the signal volume
falls below the Threshold Level until
compression is no longer applied.
Adjusts the volume at which compres-
sion begins
Balance W
Delay
Threshold #
Ratio
0–127
2-Band
EQ
R in
R out
1.5:1, 2:1, 4:1,
100:1
Compression ratio
Balance D
Post Gain
Low Gain
High Gain
Level #
0– +18 dB
-15– +15 dB
-15– +15 dB
0–127
Adjusts the output gain.
Gain of the low frequency range
Gain of the high frequency range
Output level
Parameter
Value
0–1300 ms,
note
NORMAL,
INVERSE
NORMAL,
CROSS
Description
Adjusts the time until the delay sound is
heard.
Delay Left
Delay Right
Phase Left
Phase Right
Feedback
Mode
Phase of the delay sound
Selects the way in which delay sound is
fed back into the effect. (See the figures
above.)
Adjusts the amount of the delay sound
that’s fed back into the effect. Negative
(-) settings invert the phase.
Adjusts the frequency above which sound
fed back to the effect is filtered out. If you
don’t want to filter out any high frequen-
cies, set this parameter to BYPASS.
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct
sound (D) and the delay sound (W)
Output level
42: GATE
Cuts the reverb’s delay according to the volume of the sound sent
Feedback #
HF Damp
-98– +98 %
into the effect. Use this when you want to create an artificial-
sounding decrease in the reverb’s decay.
fig.MFX-42
200–8000Hz,
BYPASS
L in
L out
R out
Gate
Gate
Low Gain
High Gain
Balance #
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
R in
Level
Parameter
Value
Description
Threshold #
0–127
Volume level at which the gate begins to
close
Mode
GATE,
DUCK
Type of gate
GATE: The gate will close when the
volume of the original sound decreas-
es, cutting the original sound.
DUCK (Ducking): The gate will close
when the volume of the original
sound increases, cutting the original
sound.
Attack
0–127
Adjusts the time it takes for the gate to
fully open after being triggered.
282
Effects List
Parameter
Delay2 HF
Damp
Range
200–8000 Hz,
BYPASS
Explanation
44: LONG DELAY
A delay that provides a long delay time.
Frequency at which the high-
frequency content of the de-
layed sound of delay 2 will be
cut (BYPASS: no cut)
fig.MFX-44
2-Band
EQ
Pan L
Pan #
Low Gain
L64–63R
-15– +15 dB
Panning of the delay sound
Amount of boost/cut for the
low-frequency range
Amount of boost/cut for the
high-frequency range
Volume balance of the origi-
nal sound (D) and delay
sound (W)
L in
L out
R out
High Gain
Balance #
-15– +15 dB
Long Delay
Pan R
D100:0W–D0:100W
Feedback
R in
2-Band
EQ
Level
0–127
Output volume
Parameter
Delay Time
Range
0–2600 ms, note
Explanation
46: MODULATION DELAY
Adds modulation to the delayed sound.
Delay time from when the
original sound is heard to
when the delay sound is
heard
Phase of the delay (NORMAL:
non-inverted, INVERT: in-
verted)
Proportion of the delay sound
that is to be returned to the in-
put (negative values invert
the phase)
When Feedback Mode is NORMAL:
fig.MFX-46a
Phase
NORMAL, INVERSE
-98– +98%
Balance D
2-Band
Feedback #
L in
L out
EQ
Balance W
Delay
Modulation
HF Damp
200–8000 Hz,
BYPASS
Frequency at which the high-
frequency content of the de-
layed sound will be cut (BY-
PASS: no cut)
Panning of the delay sound
Amount of boost/cut for the
high-frequency range
Amount of boost/cut for the
high-frequency range
Volume balance of the origi-
nal sound (D) and delay
sound (W)
Feedback
Feedback
Balance W
Delay
Modulation
Balance D
Pan #
Low Gain
L64–63R
-15– +15 dB
2-Band
EQ
R in
R out
L out
High Gain
Balance #
-15– +15 dB
When Feedback Mode is CROSS:
D100:0W–D0:100W
fig.MFX-46b
Balance D
2-Band
EQ
Level
0–127
Output volume
L in
Delay
Modulation
Balance W
45: SERIAL DELAY
This delay connects two delay units in series. Feedback can be
Feedback
Feedback
applied independently to each delay unit, allowing you to produce
Delay
Modulation
Balance D
Balance W
complex delay sounds.
fig.MFX-45
2-Band
EQ
R in
R out
L in
L out
Pan L
Parameter
Value
0–1300 ms,
note
NORMAL,
CROSS
Description
Adjusts the time until the delay sound
is heard.
Selects the way in which delay sound is
fed back into the effect (See the figures
above.)
Delay 1
Delay 2
Delay Left
Delay Right
Feedback
Mode
Pan R
Feedback 1
Feedback 2
R in
R out
Feedback #
HF Damp
-98– +98 %
Adjusts the amount of the delay sound
that’s fed back into the effect. Negative
(-) settings invert the phase.
Adjusts the frequency above which
sound fed back to the effect is filtered
out. If you don’t want to filter out any
high frequencies, set this parameter to
BYPASS.
Parameter
Delay1 Time
Range
0–1300 ms, note
Explanation
Delay time from when sound
is input to delay 1 until the de-
lay sound is heard
Proportion of the delay sound
that is to be returned to the in-
put of delay 1 (negative values
invert the phase)
Frequency at which the high-
frequency content of the de-
layed sound of delay 1 will be
cut (BYPASS: no cut)
Delay time from when sound
is input to delay 2 until the de-
lay sound is heard
200–8000 Hz,
BYPASS
Delay1
Feedback #
-98– +98%
Rate #
0.05–10.00 Hz,
note
0–127
0-180 deg
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
Frequency of modulation
Delay1 HF
Damp
200–8000 Hz,
BYPASS
Depth
Phase
Low Gain
High Gain
Balance #
Depth of modulation
Spatial spread of the sound
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct
sound (D) and the delay sound (W)
Output level
Delay2 Time
0–1300 ms, note
-98– +98%
Delay2
Feedback #
Proportion of the delay sound
that is to be returned to the in-
put of delay 2 (negative values
invert the phase)
Level
283
Effects List
47: 3TAP PAN DELAY
49: MULTI TAP DELAY
Produces three delay sounds; center, left and right.
This effect provides four delays. Each of the Delay Time parameters
fig.MFX-47
can be set to a note length based on the selected tempo. You can also
Balance D
set the panning and level of each delay sound.
fig.MFX-49
2-Band
EQ
L in
L out
Balance D
2-Band
Balance W
Left Tap
L in
L out
EQ
Feed
back
Delay 1
Delay 3
Triple Tap Delay
Feedback
Center Tap
Balance W
Balance W
Right Tap
Multi Tap Delay
Delay 4
2-Band
EQ
Balance W
R in
R out
Balance D
Delay 2
2-Band
EQ
R in
R out
Balance D
Parameter
Value
Description
Delay Left/
Right/Center
Center
0–2600 ms,
Adjusts the time until the delay sound
note
is heard.
Parameter
Delay 1–4
Time
Delay 1
Feedback #
Value
0–2600 ms,
note
Description
Adjusts the time until Delays 1–4 are
heard.
-98– +98 %
Adjusts the amount of the delay sound
that’s fed back into the effect. Negative
(-) settings invert the phase.
Adjusts the frequency above which
sound fed back to the effect is filtered
out. If you do not want to filter out any
high frequencies, set this parameter to
BYPASS.
Feedback #
-98– +98 %
Adjusts the amount of the delay sound
that’s fed back into the effect. Negative
(-) settings invert the phase.
Adjusts the frequency above which
sound fed back to the effect is filtered
out. If you don’t want to filter out any
the high frequencies, set this parameter
to BYPASS.
HF Damp
200–8000 Hz,
BYPASS
HF Damp
200–8000 Hz,
BYPASS
Left/Right/
Center Level
Low Gain
High Gain
Balance #
0–127
Volume of each delay
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct
sound (D) and the delay sound (W)
Output level
Delay 1–4
Pan
Delay 1–4
Level
Low Gain
High Gain
Balance #
L64–63R
0–127
Stereo location of Delays 1–4
Output level of Delays 1–4
Level
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct
sound (D) and the effect sound (W)
Output level
48: 4TAP PAN DELAY
Level
This effect has four delays.
fig.MFX-48a
Balance D
50: REVERSE DELAY
L in
L out
This is a reverse delay that adds a reversed and delayed sound to the
input sound. A tap delay is connected immediately after the reverse
Delay 1
Feedback
Balance W
Delay 2
delay.
fig.MFX-50
Quadruple Tap Delay
Delay 3
2-Band
EQ
L out
R out
L in
Balance W
R out
Feedback
Rev
Delay 4
D1
R in
Rev. Delay
Delay
Balance D
D2
fig.MFX-48b
D3
Stereo location of each delay
2
3
2-Band
EQ
R in
4
1
R
L
Parameter
Range
Explanation
Threshold
0–127
Volume at which the reverse
delay will begin to be applied
Delay time from when sound
is input into the reverse delay
until the delay sound is heard
Proportion of the delay sound
that is to be returned to the in-
put of the reverse delay (nega-
tive values invert the phase)
Frequency at which the high-
frequency content of the re-
verse-delayed sound will be
cut (BYPASS: no cut)
Panning of the reverse delay
sound
Volume of the reverse delay
sound
Delay time from when sound
is input into the tap delay un-
til the delay sound is heard
Parameter
Delay 1–4
Time
Delay 1
Feedback #
Value
0–2600 ms,
note
Description
Adjusts the time until the delay sound
is heard.
Rev Delay
Time
0–1300 ms, note
-98– +98%
-98– +98 %
Adjusts the amount of the delay sound
that’s fed back into the effect. Negative
(-) settings invert the phase.
Adjusts the frequency above which
sound fed back to the effect is filtered
out. If you do not want to filter out any
high frequencies, set this parameter to
BYPASS.
Rev Delay
Feedback #
HF Damp
200–8000 Hz,
BYPASS
Rev Delay HF
Damp
200–8000 Hz,
BYPASS
Delay 1–4
Level
Low Gain
High Gain
Balance #
0–127
Volume of each delay
Rev Delay Pan
L64–63R
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct
sound (D) and the delay sound (W)
Output level
Rev Delay
Level
Delay 1 – 3
Time
0–127
0–1300 ms, note
Level
284
Effects List
Parameter
Delay 3 Feed-
back #
Range
-98– +98%
Explanation
Proportion of the delay sound
that is to be returned to the in-
put of the tap delay (negative
values invert the phase)
Frequency at which the low-
frequency content of the tap
delay sound will be cut (BY-
PASS: no cut)
Parameter
Value
0–2600 ms, note
Description
Delay Left
Delay Right
Delay Center
Center
Adjusts the delay time from
the direct sound until the de-
lay sound is heard.
Delay HF
Damp
200–8000 Hz, BY-
PASS
-98– +98 %
Adjusts the proportion of the
delay sound that is fed back
into the effect. Negative (-)
settings will invert the phase.
Adjusts the frequency above
which sound fed back to the
effect will be cut. If you do not
want to cut the high frequen-
cies, set this parameter to BY-
PASS.
Feedback #
Delay 1 Pan’,
‘Delay 2 Pan
Delay 1 Level’,
‘Delay 2 Level
Low Gain
L64–63R
Panning of the tap delay
sounds
Volume of the tap delay
sounds
Amount of boost/cut for the
low-frequency range
Amount of boost/cut for the
high-frequency range
Volume balance of the origi-
nal sound (D) and delay
sound (W)
HF Damp
200–8000 Hz, BYPASS
0–127
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
High Gain
Balance #
Left Level
0–127
Output level of the delay
sound
Right Level
Center Level
Output Mode
SPEAKER, PHONES
Adjusts the method that will
be used to hear the sound that
is output to the OUTPUT
jacks. The optimal 3D effect
will be achieved if you select
SPEAKER when using speak-
ers, or PHONES when using
headphones.
Level
0–127
Output volume
51: SHUFFLE DELAY
Adds a shuffle to the delay sound, giving the sound a bouncy delay
effect with a swing feel.
fig.MFX-51
Low Gain
High Gain
Balance #
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
Gain of the low range
2-Band
EQ
Gain of the high range
Volume balance between the
direct sound (D) and the effect
sound (W)
L out
L in
Feedback
Delay
Delay A
Delay B
A
Level
0–127
Output Level
B
2-Band
EQ
R in
R out
53: TIME CTRL DELAY
A stereo delay in which the delay time can be varied smoothly.
fig.MFX-53
Parameter
Delay Time #
Value
0–2600 ms,
note
Description
Adjusts the time until the delay sound is
heard.
Adjusts the ratio (as a percentage) of the
time that elapses before Delay B sounds
relative to the time that elapses before the
Delay A sounds.
L in
2-Band EQ
L out
Shuffle
Rate #
0–100 %
Pan L
Time Ctrl Delay
When set to 100%, the delay times are
the same.
Feedback
Feedback
Acceleration
Feedback #
HF Damp
0–15
Adjusts the time over which the Delay
Time changes from the current setting to
its specified new setting.
Adjusts the amount of the delay that’s
fed back into the effect. Negative (-) set-
tings invert the phase.
Adjusts the frequency above which
sound fed back to the effect is filtered
out. If you don’t want to filter out any
high frequencies, set this parameter to
BYPASS.
Stereo location of Delay A/B
Volume of delay A/B
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct
sound (D) and the effect sound (W)
Output level
Pan R
Time Ctrl Delay
-98– +98 %
R in
2-Band EQ
R out
200–8000Hz,
BYPASS
Parameter
Delay Time #
Value
0–1300 ms, note
Description
Adjusts the time until the delay
is heard.
Acceleration
0–15
Adjusts the time over which the
Delay Time changes from the
current setting to a specified new
setting.
The rate of change for the Delay
Time directly affects the rate of
pitch change.
Adjusts the amount of the delay
that’s fed back into the effect.
Negative (-) settings invert the
phase.
Adjusts the frequency above
which sound fed back to the ef-
fect is filtered out. If you do not
want to filter out any high fre-
quencies, set this parameter to
BYPASS.
Pan A/B
0–127
0–127
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
Level A/B
Low Gain
High Gain
Balance #
Feedback #
HF Damp
-98– +98 %
Level
52: 3D DELAY
This applies a 3D effect to the delay sound. The delay sound will be
200–8000 Hz,
BYPASS
positioned 90 degrees left and 90 degrees right.
fig.MFX-52
2-Band
EQ
L out
L
Low Gain
High Gain
Balance #
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the di-
rect sound (D) and the delay
sound (W)
Level
3D Delay L
3D Delay C
Level
0–127
Output level
Feedback
3D Delay R
2-Band
EQ
R
R out
285
Effects List
Parameter
Wow/Flutter
Rate
Value
0–127
Description
54: LONG TIME CTRL DELAY
A delay in which the delay time can be varied smoothly, and
Speed of wow/flutter (complex variation
in pitch caused by tape wear and rota-
tional irregularity)
allowing an extended delay to be produced.
fig.MFX-54
Wow/Flutter
Depth
0–127
Depth of wow/flutter
Echo Level #
Direct Level #
Level
0–127
0–127
0–127
Volume of the echo sound
Volume of the original sound
Output level
2-Band
EQ
Balance W
L in
L out
Balance D
Time Control Delay
Balance W
56: LOFI NOISE
In addition to a lo-fi effect, this adds various types of noise such as
Feedback
2-Band
EQ
R in
R out
Balance D
white noise and disc noise.
fig.MFX-56
Parameter
Delay Time #
Value
0–2600 ms,
note
Description
Adjusts the time until the delay is heard.
2-Band
EQ
L in
L out
Acceleration
0–15
Adjusts the time over which the Delay
Time changes from the current setting to
a specified new setting.
Lo-Fi
Noise Gen.
Lo-Fi
The rate of change for the Delay Time
directly affects the rate of pitch
change.
Adjusts the amount of the delay that’s
fed back into the effect. Negative (-) set-
tings invert the phase.
Adjusts the frequency above which
sound fed back to the effect is filtered
out. If you do not want to filter out any
high frequencies, set this parameter to
BYPASS.
Feedback #
HF Damp
-98– +98 %
2-Band
EQ
R in
R out
200–8000Hz,
BYPASS
Parameter
LoFi Type
Value
1–9
Description
Degrades the sound quality. The sound
quality grows poorer as this value is in-
creased.
Type of filter
OFF: no filter is used
LPF: cuts the frequency range above
the Cutoff
HPF: cuts the frequency range below
the Cutoff
Pan #
L64–63R
Stereo location of the delay
Low Gain
High Gain
Balance #
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct
sound (D) and the delay sound (W)
Output level
Post Filter
Type
OFF, LPF,
HPF
Level
Post Filter
Cutoff
W/P Noise
Type
W/P Noise
LPF
200–8000 Hz
Center frequency of the filter
55: TAPE ECHO
A virtual tape echo that produces a realistic tape delay sound. This
WHITE,
PINK
200–8000Hz,
BYPASS
Switch between white noise and pink
noise.
Center frequency of the low pass filter
applied to the white/pink noise (BY-
PASS: no cut)
simulates the tape echo section of a Roland RE-201 Space Echo.
fig.MFX-55
W/P Noise
Level #
Disc Noise
Type
0–127
Volume of the white/pink noise
L in
L out
Direct Level
Echo Level
LP, EP, SP,
RND
Type of record noise
The frequency at which the noise is
heard depends on the selected type.
Adjusts the cutoff frequency of the low
pass filter applied to the record noise. If
you don’t want to filter out any high fre-
quencies, set this parameter to BYPASS.
Volume of the record noise
Tape Echo
Echo Level
R out
Disc Noise
LPF
200–8000Hz,
BYPASS
R in
Direct Level
Disc Noise
Level #
Hum Noise
Type
Hum Noise
LPF
0–127
Parameter
Mode
Value
Description
50 Hz, 60 Hz
Frequency of the hum noise
S, M, L,
S+M, S+L,
M+L,
S+M+L
0–127
Combination of playback heads to use
Select from three different heads with
different delay times.
S: short M: middle L: long
Tape speed
Increasing this value will shorten the
spacing of the delayed sounds.
Amount of delay repeats
Boost/cut for the lower range of the echo
sound
Boost/cut for the upper range of the echo
sound
Independent panning for the short, mid-
dle, and long playback heads
200–8000Hz,
BYPASS
Center frequency of the low pass filter
applied to the hum noise (BYPASS: no
cut)
Repeat Rate #
Hum Noise
Level #
Low Gain
High Gain
Balance #
0–127
Volume of the hum noise
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
Gain of the low range
Gain of the high range
Volume balance between the direct
sound (D) and the effect sound (W)
Output level
Intensity #
Bass
0–127
-15– +15 dB
Treble
-15– +15 dB
L64–63R
Level
Head S Pan
Head M Pan
Head L Pan
Tape Distor-
tion
0–5
Amount of tape-dependent distortion to
be added
This simulates the slight tonal changes
that can be detected by signal-analysis
equipment. Increasing this value will
increase the distortion.
286
Effects List
57: LOFI COMPRESS
This is an effect that intentionally degrades the sound quality for
59: TELEPHONE
fig.MFX-59
creative purposes.
fig.MFX-57
L in
L out
R out
Telephone
Telephone
R in
2-Band
EQ
L in
L out
R out
Compressor
Compressor
Lo-Fi
Parameter
Voice
Quality #
Treble
Balance #
Value
0–15
Description
2-Band
EQ
Audio quality of the telephone voice
R in
Lo-Fi
-15– +15 dB
D100:0–
D0:100W
0–127
Bandwidth of the telephone voice
Volume balance between the direct
sound (D) and the effect sound (W)
Output level
Parameter
Pre Filter
Type
Value
1–6
Description
Selects the type of filter applied to the
sound before it passes through the Lo-Fi
effect.
Level
LoFi Type
1–9
Degrades the sound quality. The sound
quality grows poorer as this value is in-
creased.
60: PHONOGRAPH
Simulates a sound recorded on an analog record and played back on
a record player. This effect also simulates the various types of noise
that are typical of a record, and even the rotational irregularities of
Post Filter
Type
OFF, LPF,
HPF
Type of filter
OFF: no filter is used
LPF: cuts the frequency range above
the Cutoff
HPF: cuts the frequency range below
the Cutoff
an old turntable.
fig.MFX-60
Post Filter
Cutoff
Low Gain
High Gain
Balance #
200–8000 Hz
Basic frequency of the Post Filter
Balance D
L in
L out
R out
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
Gain of the low range
Gain of the high range
Volume balance between the direct
sound (D) and the effect sound (W)
Output level
Balance W
Balance W
Phonograph
Phonograph
Level #
R in
Balance D
58: LOFI RADIO
In addition to a Lo-Fi effect, this effect also generates radio noise.
fig.MFX-58
Parameter
Signal
Value
0–127
Description
Depth of distortion
Distortion
Frequency
Range
2-Band
EQ
0–127
Frequency response of the playback sys-
tem
L in
L out
Decreasing this value will produce the
impression of an old system with a
poor frequency response.
Rotational speed of the turntable
This will affect the frequency of the
scratch noise.
Amount of noise due to scratches on the
record
Volume of noise due to dust on the
record
Lo-Fi
Lo-Fi
Radio
Disc Type
LP, EP, SP
Scratch
0–127
0–127
0–127
0–127
0–127
0–127
0–127
0–127
Noise Level
Dust Noise
Level
2-Band
EQ
R in
R out
Hiss Noise
Level
Total Noise
Level #
Volume of continuous “hiss”
Parameter
LoFi Type
Value
Description
Volume of overall noise
1–9
Degrades the sound quality. The sound
quality grows poorer as this value is in-
creased.
Type of filter
OFF: no filter is used
LPF: cuts the frequency range above
the Cutoff
HPF: cuts the frequency range below
the Cutoff
Wow
Depth of long-cycle rotational irregulari-
ty
Depth of short-cycle rotational irregular-
ity
Depth of indefinite-cycle rotational irreg-
ularity
Depth of overall rotational irregularity
Post Filter
Type
OFF, LPF,
HPF
Flutter
Random
Total Wow/
Flutter #
Balance #
Post Filter
Cutoff
Radio
Detune #
200–8000 Hz
0–127
Basic frequency of the Post Filter
D100:0W–
D0:100W
0–127
Volume balance between the direct
sound (D) and the effect sound (W)
Output level
Simulates the tuning noise of a radio. As
this value is raised, the tuning drifts fur-
ther.
Level
Radio Noise
Level #
0–127
Volume of the radio noise
Balance #
D100:0W–
D0:100W
0–127
Volume balance between the direct
sound (D) and the effect sound (W)
Output level
Level
287
Effects List
Parameter
High Gain
Level Balance
Value
-15– +15 dB
A100:0B-A0:100B
Description
61: PITCH SHIFTER
Gain of the high range
Volume balance between the
Pitch Shift 1 and Pitch Shift 2
sounds
Volume balance between the di-
rect sound (D) and the pitch
shifted sound (W)
(Feedback Pitch Shifter)
A stereo pitch shifter.
fig.MFX-61
Balance
Level
D100:0W-D0:100W
0-127
L in
2-Band EQ
2-Band EQ
L out
R out
Output Level
Pitch Shifter
Pitch Shifter
R in
63: STEP PITCH SHIFTER
A pitch shifter in which the amount of pitch shift is varied by a 16-
step sequence.
fig.MFX-63
Parameter
Value
Description
2-Band
EQ
Coarse #1
-24– +12 semi
Adjusts the pitch of the pitch
shifted sound in semitone steps.
Adjusts the pitch of the pitch
shifted sound in 2-cent steps.
Adjusts the delay time from the
direct sound until the pitch shift-
ed sound is heard.
Adjusts the proportion of the
pitch shifted sound that is fed
back into the effect. Negative (-)
settings will invert the phase.
Gain of the low range
L in
L out
R out
Fine #1
-100– +100 cent
0–1300 ms, note
Step Pitch Shifter
Step Pitch Shifter
Delay Time
2-Band
EQ
R in
Feedback #
-98– +98 %
Parameter
Step 01–16
Range
-24–+12 semi
Explanation
Amount of pitch shift at each
step (semitone units)
Rate at which the 16-step se-
quence will cycle
Speed at which the amount of
pitch shift changes between
steps
Low Gain
High Gain
Balance #
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
Gain of the high range
Volume balance between the di-
rect sound (D) and the pitch
shifted sound (W)
Rate #
0.05–10.00 Hz, note
0–127
Attack #
Level
0–127
Output Level
Gate Time #
Fine
0–127
Duration of the pitch shifted
sound at each step
Pitch shift adjustment for all
steps (2-cent units)
Delay time from the original
sound until the pitch-shifted
sound is heard
Proportion of the pitch-shift-
ed sound that is to be returned
to the input (negative values
invert the phase)
62: 2VOICE PITCH SHIFTER
Shifts the pitch of the original sound. This 2-voice pitch shifter has
-100– +100 cent
0–1300 ms, note
Delay Time
two pitch shifters, and can add two pitch shifted sounds to the
original sound.
fig.MFX-62
Feedback #
-98– +98%
Balance D
L in
L out
Level 1
Low Gain
High Gain
Balance #
-15– +15 dB
Amount of boost/cut for the
low-frequency range
Pan 1 L
Pan 1 R
Balance W
-15– +15 dB
Amount of boost/cut for the
high-frequency range
Volume balance of the origi-
nal sound (D) and pitch-shift-
ed sound (W)
2Voice Pitch Shifter
Level 1
Pan 2 L
D100:0W–D0:100W
Balance W
R out
Pan 2 R
Level
0–127
Output volume
R in
Balance D
64: REVERB
Adds reverberation to the sound, simulating an acoustic space.
Parameter
Pitch 1:
Coarse #1
Value
-24-+12 semi
Description
Adjusts the pitch of Pitch Shift 1
in semitone steps.
fig.MFX-64
Pitch 1:Fine #1
Pitch 1:Delay
-100-+100 cent
Adjusts the pitch of Pitch Shift
Pitch 1 in 2-cent steps.
Adjusts the delay time from the
direct sound until the Pitch Shift
1 sound is heard.
Adjusts the proportion of the
pitch shifted sound that is fed
back into the effect. Negative (-)
settings will invert the phase.
Stereo location of the Pitch Shift 1
sound
2-Band
EQ
Balance W
L in
L out
0–1300 ms, note
Balance D
Reverb
Pitch 1:Feed-
back #
-98– +98 %
L64-63R
Balance W
2-Band
EQ
R in
R out
Balance D
Pitch 1:Pan #
Pitch 1:Level
Pitch 2:
Coarse #2
0–127
-24-+12 semi
Volume of the Pitch Shift1 sound
Settings of the Pitch Shift 2
sound.
The parameters are the same as
for the Pitch Shift 1 sound.
Pitch 2:Fine #2
Pitch 2:Delay
Pitch 2:Feed-
back #
-100-+100 cent
0–1300 ms, note
-98– +98 %
Pitch 2:Pan #
Pitch 2:Level
Low Gain
L64-63R
0–127
-15– +15 dB
Gain of the low range
288
Effects List
66: OVERDRIVE → CHORUS
Parameter
Type
Value
Description
Type of reverb
ROOM1: dense reverb with
short decay
ROOM2: sparse reverb with
short decay
fig.MFX-66
ROOM1,
ROOM2,
L out
L in
STAGE1,
Balance D
STAGE2,
Balance W
Balance W
HALL1, HALL2
Overdrive
Chorus
STAGE1: reverb with greater
late reverberation
STAGE2: reverb with strong
early reflections
HALL1: reverb with clear rever-
berance
R in
R out
Balance D
HALL2: reverb with rich rever-
berance
Adjusts the delay time from the di-
rect sound until the reverb sound
is heard.
Time length of reverberation
Adjusts the frequency above
which the reverberant sound will
be cut.
As the frequency is set lower,
more of the high frequencies
will be cut, resulting in a softer
and more muted reverberance.
If you do not want to cut the
high frequencies, set this pa-
rameter to BYPASS.
Parameter
Overdrive
Drive #
Overdrive
Pan #
Chorus Pre
Delay
Value
0–127
Description
Degree of distortion
Pre Delay
0.0–100.0 ms
Also changes the volume.
Stereo location of the overdrive
sound
Adjusts the delay time from the
direct sound until the chorus
sound is heard.
Frequency of modulation
Depth of modulation
Adjusts the volume balance be-
tween the sound that is sent
through the chorus (W) and the
sound that is not sent through
the chorus (D).
L64–63R
Time #
0–127
0.0–100.0 ms
HF Damp
200–8000 Hz,
BYPASS
Chorus Rate #
Chorus Depth
Chorus
0.05–10.00 Hz, note
0–127
D100:0W–D0:100W
Balance #
Level
0–127
Output Level
Low Gain
High Gain
Balance #
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
Gain of the low range
Gain of the high range
Volume balance between the direct
sound (D) and the reverb sound
(W)
67: OVERDRIVE → FLANGER
fig.MFX-67
Level
0–127
Output Level
Balance D
L out
L in
65: GATED REVERB
Feedback
Balance W
This is a special type of reverb in which the reverberant sound is cut
Overdrive
Flanger
off before its natural length.
fig.MFX-65
Balance W
R out
R in
2-Band
EQ
Balance W
Balance D
L in
L out
R out
Balance D
Parameter
Overdrive
Drive #
Overdrive
Pan #
Flanger Pre
Delay
Value
0–127
Description
Degree of distortion
Gated Reverb
Balance W
Also changes the volume.
Stereo location of the overdrive
sound
Adjusts the delay time from
when the direct sound begins
until the flanger sound is heard.
Frequency of modulation
Depth of modulation
Adjusts the proportion of the
flanger sound that is fed back
into the effect. Negative (-) set-
tings will invert the phase.
Adjusts the volume balance be-
tween the sound that is sent
through the flanger (W) and the
sound that is not sent through
the flanger (D).
2-Band
EQ
L64–63R
R in
Balance D
0.0–100.0 ms
Parameter
Type
Value
NORMAL, REVERSE,
SWEEP1, SWEEP2
Description
Type of reverb
NORMAL: conventional
gated reverb
REVERSE: backwards re-
verb
SWEEP1: the reverberant
sound moves from right to
left
SWEEP2: the reverberant
sound moves from left to
right
Adjusts the delay time from
the direct sound until the re-
verb sound is heard.
Adjusts the time from when
the reverb is heard until it
disappears.
Flanger Rate #
Flanger Depth
Flanger
0.05–10.00 Hz, note
0–127
-98– +98 %
Feedback #
Flanger
Balance #
D100:0W–D0:100W
0–127
Pre Delay
Gate Time
0.0–100.0 ms
5–500 ms
Level
Output Level
Low Gain
High Gain
Balance #
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
Gain of the low range
Gain of the high range
Volume balance between the
direct sound (D) and the re-
verb sound (W)
Level #
0–127
Output Level
289
Effects List
DELAY,” with the exception of the following two.
68: OVERDRIVE → DELAY
Overdrive Drive
→
Distortion Drive, Overdrive Pan
→
Distortion Pan
fig.MFX-68
fig.MFX-71
L out
L in
L out
L in
Balance D
Balance D
Balance W
Balance W
Overdrive
Delay
Distortion
Delay
Balance W
R out
Balance W
R out
Feedback
Feedback
R in
R in
Balance D
Balance D
Parameter
Overdrive
Drive #
Overdrive Pan #
Delay Time
Value
0–127
Description
Degree of distortion
72: ENHANCER → CHORUS
Also changes the volume.
Stereo location of the over-
drive sound
Adjusts the delay time from
the direct sound until the de-
lay sound is heard.
L64–63R
fig.MFX-72
0–2600 ms, note
L in
L out
Enhancer
Balance D
Chorus
Mix
Balance W
Delay
-98– +98 %
Adjusts the proportion of the
delay sound that is fed back
into the effect. Negative (-)
settings will invert the phase.
Adjusts the frequency above
which sound fed back to the
effect will be cut. If you do not
want to cut the high frequen-
cies, set this parameter to BY-
PASS.
Feedback #
Balance W
R out
R in
Enhancer
Delay HF Damp
200–8000 Hz,
BYPASS
Balance D
Mix
Parameter
Enhancer Sens #
Enhancer Mix #
Value
0–127
0–127
Description
Sensitivity of the enhancer
Level of the overtones generat-
ed by the enhancer
Delay Balance #
Level
D100:0W–D0:100W
0–127
Adjusts the volume balance
between the sound that is sent
through the delay (W) and the
sound that is not sent through
the delay (D).
Chorus Pre
Delay
0.0–100.0 ms
Adjusts the delay time from the
direct sound until the chorus
sound is heard.
Frequency of modulation
Depth of modulation
Adjusts the volume balance be-
tween the sound that is sent
through the chorus (W) and the
sound that is not sent through
the chorus (D).
Chorus Rate #
Chorus Depth
Chorus
0.05–10.00 Hz, note
0–127
D100:0W–
D0:100W
Output Level
Balance #
69: DISTORTION → CHORUS
The parameters are essentially the same as in “66: OVERDRIVE →
Level
0–127
Output Level
CHORUS,” with the exception of the following two.
Overdrive Drive
→
Distortion Drive, Overdrive Pan
→
Distortion Pan
fig.MFX-69
73: ENHANCER → FLANGER
L out
L in
fig.MFX-73
Balance D
Chorus
Balance W
Balance D
L in
L out
Distortion
Enhancer
Mix
Feedback
Flanger
Balance W
R out
Balance W
R in
Balance D
Balance W
R out
R in
Enhancer
Balance D
Mix
70: DISTORTION → FLANGER
The parameters are essentially the same as in “67: OVERDRIVE →
Parameter
Enhancer Sens #
Enhancer Mix #
Value
0–127
0–127
Description
Sensitivity of the enhancer
Level of the overtones generat-
ed by the enhancer
Adjusts the delay time from
when the direct sound begins
until the flanger sound is heard.
Frequency of modulation
Depth of modulation
Adjusts the proportion of the
flanger sound that is fed back
into the effect. Negative (-) set-
tings will invert the phase.
Adjusts the volume balance be-
tween the sound that is sent
through the flanger (W) and the
sound that is not sent through
the flanger (D).
FLANGER,” with the exception of the following two.
Overdrive Drive
→
Distortion Drive, Overdrive Pan
→
Distortion Pan
fig.MFX-70
Flanger Pre
Delay
0.0–100.0 ms
Balance D
Feedback
L out
L in
Flanger Rate #
Flanger Depth
Flanger
0.05–10.00 Hz, note
0–127
-98– +98 %
Balance W
Distortion
Flanger
Feedback #
Balance W
R out
R in
Flanger
Balance #
D100:0W–
D0:100W
Balance D
71: DISTORTION → DELAY
Level
0–127
Output Level
The parameters are essentially the same as in “68: OVERDRIVE →
290
Effects List
74: ENHANCER → DELAY
76: FLANGER → DELAY
fig.MFX-76
fig.MFX-74
Balance D
L in
L out
Enhancer
L in
L out
Balance D
Mix
Balance D
Feedback
Balance W
Balance W
Balance W
Flanger
Delay
Feedback
Balance D
Delay
Feedback
Balance D
Balance W
R out
Balance W
R out
Balance W
R in
Enhancer
R in
Mix
Balance D
Parameter
Enhancer Sens #
Enhancer Mix #
Value
0–127
0–127
Description
Parameter
Flanger Pre
Delay
Value
0.0–100.0 ms
Description
Sensitivity of the enhancer
Level of the overtones gener-
ated by the enhancer
Adjusts the delay time from
the direct sound until the de-
lay sound is heard.
Adjusts the proportion of the
delay sound that is fed back
into the effect. Negative (-)
settings will invert the phase.
Adjusts the frequency above
which sound fed back to the
effect will be cut. If you do not
want to cut the high frequen-
cies, set this parameter to BY-
PASS.
Adjusts the volume balance
between the sound that is sent
through the delay (W) and the
sound that is not sent through
the delay (D).
Adjusts the delay time from
when the direct sound begins
until the flanger sound is
heard.
Frequency of modulation
Depth of modulation
Adjusts the proportion of the
flanger sound that is fed back
into the effect. Negative (-) set-
tings will invert the phase.
Volume balance between the
direct sound (D) and the
flanger sound (W)
Adjusts the delay time from
the direct sound until the delay
sound is heard.
Adjusts the proportion of the
delay sound that is fed back
into the effect. Negative (-) set-
tings will invert the phase.
Adjusts the frequency above
which sound fed back to the ef-
fect will be cut. If you do not
want to cut the high frequen-
cies, set this parameter to BY-
PASS.
Adjusts the volume balance be-
tween the sound that is sent
through the delay (W) and the
sound that is not sent through
the delay (D).
Delay Time
0–2600 ms, note
-98– +98 %
Flanger Rate #
Flanger Depth
Flanger
0.05–10.00 Hz, note
0–127
-98– +98 %
Delay
Feedback #
Feedback #
Delay HF Damp
200–8000 Hz,
BYPASS
Flanger
Balance #
D100:0W–D0:100W
0–2600 ms, note
-98– +98 %
Delay Time
Delay Balance #
Level
D100:0W–D0:100W
Delay
Feedback #
Delay HF
Damp
200–8000 Hz,
BYPASS
0–127
Output Level
75: CHORUS → DELAY
fig.MFX-75
Delay
Balance #
D100:0W–D0:100W
0–127
Balance D
L in
L out
Balance D
Balance W
Chorus
Balance W
Level
Output Level
Delay
Balance W
Balance W
Feedback
R in
R out
Balance D
Balance D
Parameter
Chorus Pre
Delay
Value
0.0–100.0 ms
Description
Adjusts the delay time from the
direct sound until the chorus
sound is heard.
Chorus Rate #
Chorus Depth
Chorus
0.05–10.00 Hz, note
0–127
D100:0W–D0:100W
Frequency of modulation
Depth of modulation
Volume balance between the di-
rect sound (D) and the chorus
sound (W)
Balance #
Delay Time
0–2600 ms, note
-98– +98 %
Adjusts the delay time from the
direct sound until the delay
sound is heard.
Adjusts the proportion of the
delay sound that is fed back into
the effect. Negative (-) settings
will invert the phase.
Delay
Feedback #
Delay HF
Damp
200–8000 Hz,
BYPASS
Adjusts the frequency above
which sound fed back to the ef-
fect will be cut. If you do not
want to cut the high frequen-
cies, set this parameter to BY-
PASS.
Delay
D100:0W–D0:100W
0–127
Adjusts the volume balance be-
tween the sound that is sent
through the delay (W) and the
sound that is not sent through
the delay (D).
Balance #
Level
Output Level
291
Effects List
Parameter
Peaking Q
Range
0.5, 1.0, 2.0, 4.0, 8.0
Explanation
77: CHORUS → FLANGER
Width of the frequency region
boosted/cut by the ‘Peaking
Gain’ parameter (larger values
make the region narrower)
Frequency at which the high-fre-
quency content of the resonant
sound will be cut (BYPASS: no
cut)
Frequency at which the low-fre-
quency content of the resonant
sound will be cut (BYPASS: no
cut)
This simulates the actual chang-
es in sound that occur when the
lid of a grand piano is set at dif-
ferent heights.
Frequency of the low-range EQ
Amount of low-range boost/cut
Frequency of the midrange EQ
Amount of midrange boost/cut
Width of midrange (larger val-
ues make the region narrower)
Frequency of the high-range EQ
Amount of high-range boost/cut
Output Level
fig.MFX-77
Balance D
Balance D
L in
L out
Feedback
Flanger
HF Damp
LF Damp
Lid
16–15000 Hz,
BYPASS
Balance W
Chorus
Balance W
Balance W
R out
Balance W
BYPASS,
16–15000 Hz
R in
Balance D
Balance D
1–6
Parameter
Chorus Pre
Delay
Value
0.0–100.0 ms
Description
Adjusts the delay time from the
direct sound until the chorus
sound is heard.
EQ Low Freq
EQ Low Gain
EQ Mid Freq
EQ Mid Gain
EQ Mid Q
200, 400 Hz
-15– +15 dB
200–8000 Hz
-15– +15 dB
0.5, 1.0, 2.0, 4.0, 8.0
Chorus Rate #
Chorus Depth
0.05–10.00 Hz, note
0–127
Modulation frequency of the
chorus effect
Modulation depth of the chorus
effect
Chorus
Balance #
D100:0W–D0:100W
Volume balance between the di-
rect sound (D) and the chorus
sound (W)
EQ High Freq
EQ High Gain
Level
2000, 4000, 8000 Hz
-15–+15 dB
0–127
Flanger Pre
Delay
0.0–100.0 ms
Adjusts the delay time from
when the direct sound begins
until the flanger sound is heard.
Modulation frequency of the
flanger effect
Flanger Rate #
Flanger Depth
0.05–10.00 Hz, note
0–127
When Using 3D Effects
Modulation depth of the flanger
effect
The following 3D effects utilize RSS (Roland Sound Space)
technology to create a spaciousness that cannot be produced by
delay, reverb, chorus, etc.
Flanger
-98– +98 %
Adjusts the proportion of the
flanger sound that is fed back
into the effect. Negative (-) set-
tings will invert the phase.
Adjusts the volume balance be-
tween the sound that is sent
through the flanger (W) and the
sound that is not sent through
the flanger (D).
Feedback #
52: 3D DELAY
Flanger
Balance #
D100:0W–D0:100W
29: 3D CHORUS
30: 3D FLANGER
31: 3D STEP FLANGER
Level
0–127
Output Level
When using these effects, we recommend that you place your
speakers as follows. Also, make sure that the speakers are at a
78: SYMPATHETIC RESONANCE
On an acoustic piano, holding down the damper pedal allows other
strings to resonate in sympathy with the notes you play, creating
rich and spacious resonances. This effect simulates these
sufficient distance from the walls on either side.
fig.33-002
sympathetic resonances.
fig.MFX-78
3-Band
EQ
30˚ 30˚
L in
L out
R out
Syn. Resonance
3-Band
EQ
R in
If the left and right speakers are too far apart, or if there is too
much reverberation, the full 3D effect may not appear.
Each of these effects has an “Output Mode” parameter. If the
sound from the OUTPUT jacks is to be heard through speakers,
set this parameter to “SPEAKER.” If the sound is to be heard
through headphones, set it to “PHONES.” This will ensure that
the optimal 3D effect will be heard. If this parameter is not set
correctly, the full 3D effect may not appear.
Parameter
Depth #
Damper #
Range
0–127
0–127
Explanation
Depth of the effect
Depth to which the damper ped-
al is pressed (controls the reso-
nant sound)
Frequency of the filter that cuts
the high-frequency content of the
input sound (BYPASS: no cut)
Frequency of the filter that cuts
the low-frequency content of the
input sound (BYPASS: no cut)
Frequency of the filter that
boosts/cuts a specific frequency
region of the input sound
Amount of boost/cut produced
by the filter at the specified fre-
quency region of the input sound
Pre LPF
16–15000 Hz,
BYPASS
Pre HPF
BYPASS,
16–15000 Hz
Peaking Freq
Peaking Gain
200–8000 Hz
-15– +15 dB
292
Effects List
Chorus Parameters
The Fantom-X’s Chorus effect unit can also be used as a stereo delay
About the STEP RESET function
06: STEP FILTER
16: STEP RING MODULATOR
19: STEP PAN
unit.
These settings allow you to select chorus or delay, and the
characteristics of the selected effect type.
20: SLICER
63: STEP PITCH SHIFTER
Parameter
Chorus
Type
Value
0 (OFF),
1 (CHORUS),
2 (DELAY),
3 (GM2 CHORUS)
Description
Selects either Chorus or Delay.
0 (OFF): Neither Chorus or Delay
is used.
1 (CHORUS): Chorus is used.
2 (DELAY): Delay is used.
3 (GM2 CHORUS): GM2 Chorus
is used.
The above five types contain a sixteen-step sequencer.
For these types, you can use a multi-effect control to reset the
sequence to play from the first step.
To do this, set the multi-effect control Destination to “Step
Reset.”
Type: 1 (CHORUS)
Rate
Depth
Pre Delay
0.05–10.00 Hz, note
0–127
0.0–100.0 ms
Frequency of modulation
Depth of modulation
Adjusts the delay time from the direct
sound until the chorus sound is heard.
For example if you are using the modulation lever to control the
effect, you would make the following settings.
Source: CC01: MODULATION
Feedback
0–127
Adjusts the amount of the chorus
sound that is fed back into the effect.
Type of filter
Filter Type
OFF, LPF, HPF
Destination: Step Reset
OFF: no filter is used
LPF: cuts the frequency range
above the Cutoff Freq
Sens: +63
HPF: cuts the frequency range
below the Cutoff Freq
Basic frequency of the filter
Spatial spread of the sound
With these settings, the sequence will play back from the first
step whenever you operate the modulation lever.
Cutoff Freq
Phase
200–8000 Hz
0–180˚
Type: 2 (DELAY)
Delay Left
Delay Right
Delay Center
Center
0–1000 ms, note
Adjusts the delay time from the di-
rect sound until the delay sound is
heard.
note:
fig.MFX-note2.e_88
-98–+98 %
Adjusts the proportion of the delay
sound that is fed back into the ef-
fect. Negative (-) settings will invert
the phase.
Adjusts the frequency above which
sound fed back to the effect will be
cut. If you do not want to cut the
high frequencies, set this parameter
to BYPASS.
(Sixty-fourth-note triplet),
(Sixty-fourth note),
(Thirty-second-note triplet),
(Dotted thirty-second note),
(Dotted sixteenth note),
Feedback
(Thirty-second note),
(Sixteenth-note triplet),
HF Damp
200–8000 Hz,
BYPASS
(Eighth-note triplet),
(Quarter-note triplet),
(Half-note triplet),
(Sixteenth note),
(Eighth note),
(Dotted eighth note),
(Quarter note),
(Dotted quarter note),
(Half note),
Left Level
0–127
Volume of each delay sound
(Whole-note triplet),
(Double-note triplet),
(Dotted half note),
(Whole note),
(Double note)
Right Level
Center Level
Type: 3 (GM2 CHORUS)
(Dotted whole note),
Pre-LPF
0–7
Cuts the high frequency range of
the sound coming into the chorus.
Higher values will cut more of
the high frequencies.
Level
Feedback
0–127
0–127
Volume of the chorus sound
Adjusts the amount of the chorus
sound that is fed back into the effect.
Adjusts the delay time from the di-
rect sound until the chorus sound is
heard.
Delay
0–127
Rate
Depth
Send Level
To Reverb
0–127
0–127
0–127
Frequency of modulation
Depth of modulation
Adjusts the amount of chorus sound
that will be sent to the reverb.
note:
fig.MFX-note2.e
(Sixty-fourth-note triplet),
(Thirty-second note),
(Sixty-fourth note),
(Thirty-second-note triplet),
(Dotted thirty-second note),
(Dotted sixteenth note),
(Sixteenth-note triplet),
(Eighth-note triplet),
(Quarter-note triplet),
(Half-note triplet),
(Sixteenth note),
(Eighth note),
(Dotted eighth note),
(Quarter note),
(Dotted quarter note),
(Half note),
(Whole-note triplet),
(Double-note triplet),
(Dotted half note),
(Whole note),
(Double note)
(Dotted whole note),
293
Effects List
Reverb Parameters
These settings allow you to select the desired type of reverb, and its
characteristics.
Input Effect Parameters
Selects the type of effect that will be applied to the external input
source.
Parameter Value
Description
Reverb
Type
0 (OFF),
Type of reverb
01: EQUALIZER
Adjusts the tone of the low-frequency and high-frequency ranges.
1 (REVERB),
0 (OFF): Reverb is not used.
1 (REVERB): Normal reverb
2 (SRV ROOM): This simulates typical
room acoustic reflections.
2 (SRV ROOM),
3 (SRV HALL),
4 (SRV PLATE),
5 (GM2 REVERB)
3 (SRV HALL): This simulates typical con-
cert hall acoustic reflections.
4 (SRV PLATE): This simulates a reverb
plate, a popular type of artificial reverb
unit that derives its sound from the vibra-
tion of a metallic plate.
Parameter
Low Freq
Range
200, 400 Hz
Explanation
Center frequency of the low-fre-
quency range
Amount of low-frequency
boost/cut
Center frequency of the high-
frequency range
Amount of high-frequency
boost/cut
Low Gain
High Freq
High Gain
-15–+15 dB
5 (GM2 REVERB): GM2 Reverb
2000, 4000, 8000 Hz
-15–+15 dB
Type: 1 (REVERB)
Type
ROOM1,
Type of reverb/delay
ROOM2,
ROOM1: short reverb with high density
ROOM2: short reverb with low density
STAGE1: reverb with greater late rever-
beration
STAGE2: reverb with strong early reflections
HALL1: very clear-sounding reverb
HALL2: rich reverb
STAGE1,
STAGE2,
HALL1, HALL2,
DELAY,
02: ENHANCER
Modifies the harmonic content of the high-frequency range to add
PAN-DELAY
DELAY: conventional delay effect
PAN-DELAY: delay effect with echoes
that pan left and right
sparkle to the sound.
Time
0–127
Time length of reverberation
Parameter
Sens
Mix
Range
0–127
0–127
Explanation
(Type: ROOM1–HALL2)
Depth of the enhancer effect
Volume of the harmonics that
are generated
Delay time
(Type: DELAY, PAN-DELAY)
HF Damp 200–8000 Hz,
BYPASS
Adjusts the frequency above which the high-
frequency content of the reverb sound will be
cut, or “damped.” If you do not want to cut the
high frequencies, set this parameter to BYPASS.
Adjusts the amount of delay feedback when
the Type setting is DELAY or PAN-DELAY.
03: COMPRESSOR
Restrains high levels and boosts low levels to make the overall
Delay
Feedback
0–127
Type: 2 (SRV ROOM)/3 (SRV HALL)/4 (SRV PLATE)
volume more consistent.
Pre
0.0–100.0 ms
Adjusts the delay time from the direct sound
until the reverb sound is heard.
Delay
Time
Size
Parameter
Range
0–127
Explanation
0–127
1–8
Time length of reverberation
Size of the simulated room or hall
Attack
Time from when the input ex-
ceeds the Threshold until the
volume begins to be com-
pressed
Volume level at which compres-
sion will begin
High Cut
160Hz–12.5kHz, Adjusts the frequency above which the high-
BYPASS
frequency content of the reverb will be re-
duced. If you do not want to reduce the high
frequencies, set this parameter to BYPASS.
Density of reverb
Threshold
Post Gain
0–127
Density
Diffusion 0–127
0–127
0–+18 dB
Level of the output sound
Adjusts the change in the density of the reverb
over time. The higher the value, the more the den-
sity increases with time. (The effect of this setting
is most pronounced with long reverb times.)
Adjusts the frequency below which the low-
frequency content of the reverb sound will be
reduced, or “damped.”
Adjusts the amount of damping applied to
the frequency range selected with LF Damp.
With a setting of “0,” there will be no reduc-
tion of the reverb’s low-frequency content.
04: LIMITER
LF Damp 50–4000 Hz
Freq
Compresses the sound when it exceeds a specified volume, to keep
distortion from occurring.
LF Damp -36–0 dB
Gain
Parameter
Release
Range
0–127
Explanation
Time from when the input falls
below the Threshold until com-
pression ceases
Volume level at which compres-
sion will begin
HF Damp 4000 Hz–12.5 kHz Adjusts the frequency above which the high-
Freq
frequency content of the reverb sound will be
reduced, or “damped.”
Adjusts the amount of damping applied to
the frequency range selected with HF Damp.
With a setting of “0,” there will be no reduc-
tion of the reverb’s high-frequency content.
Threshold
Post Gain
0–127
HF Damp -36–0 dB
Gain
0–+18 dB
Level of the output sound
Type: 5 (GM2 REVERB)
Character 0–7
Type of reverb
0–5: reverb
6, 7: delay
Pre-LPF
0–7
Cuts the high frequency range of the sound
coming into the reverb.
Higher values will cut more of the high
frequencies.
Level
Time
Delay
Feedback
0–127
0–127
0–127
Output level of reverbration
Time length of reverberation
Adjusts the amount of the delay sound that is
fed back into the effect when the Reverb
Character setting is 6 or 7.
294
Effects List
05: NOISE SUPPRESSOR
Suppresses noise during periods of silence.
Parameter
Threshold
Range
0–127
Explanation
Volume at which noise suppres-
sion will begin
Release
0–127
Time from when noise suppres-
sion begins until the volume
reaches zero.
06: CENTER CANCELER
Removes the sounds that are localized at the center of the stereo
input. This is a convenient way to eliminate a vocal.
Parameter
Ch Balance
Range
-50– +50
Explanation
Volume balance of the L (left)
and R (right) channels for re-
moving the sound
Range Low
Range High
16–15000 Hz
16–15000 Hz1
Lower frequency limit of the
band to be removed
Upper frequency limit of the
band to be removed
295
Error Messages
If an incorrect operation is performed, or if processing could not be performed as you specified, an error message will appear. Refer to the
explanation for the error message that appears, and take the appropriate action.
Message
Meaning
Action
Cannot Edit Preset Sample!
Card Not Ready!
Data not found
This is a preset sample, and therefore cannot be edited.
A memory card is not inserted in the slot.
The data for placement is not specified.
The Pattern has no data in it, so the Pattern Call message
cannot be recorded in Step Recording.
The sample contains no data.
—
Insert a memory card into the slot.
—
—
Empty Pattern
Empty Sample!
Empty Song!
Select a sample that contains data.
Select a song that contains data.
The song has not been recorded, and therefore cannot be
played.
File Name Duplicate
A file with the same name already exists.
Delete the file bearing the same name from the disk,
and if overwriting and saving the data, merely save
the file. If you do not want to delete the file with the
same name from the disk, either save the file with a
different name.
Illegal File!
The Fantom-X cannot use this file.
—
Memory Damaged!
The contents of memory may have been damaged.
Please perform the Factory Reset operation.
If this does not resolve the problem, please contact
your dealer or the nearest Roland Service Center.
Delete unneeded data.
Memory Full!
Saving is not possible because there is insufficient space
in the user area or memory card.
MIDI Offline!
There is a problem with the MIDI cable connection.
Check that the MIDI cable has not been disconnect-
ed or broken.
No More Note Numbers!
No More Sample Numbers!
A maximum of 16 different note numbers can be used in
one style of the arpeggio/rhythm function.
The sample cannot be divided any further.
Since fewer than 256 consecutive sample numbers are
vacant, no further sampling is possible.
No more songs can be saved. A maximum of 256 songs
can be handled simultaneously for both the user bank
and card bank.
Please delete unneeded notes.
Erase unneeded samples in order to allocate 256 or
more consecutive sample numbers.
No More Song Numbers!
Now Playing!
Please delete unneeded songs.
Since the Fantom-X is playing, this operation cannot be
executed.
Stop playback before you execute the operation.
Permission Denied!
Playback Tempo Range Over
The file is protected.
—
—
Tempo values exceed the allowable limit, and data is
created in which the closest time available within the al-
lowable range is specified.
Recording Parameter Error
Rec Over Flow
You are attempting to begin recording after a looped
segment.
Since a large amount of recorded data was input all at
once, it could not be processed correctly.
The sample is too short, and cannot be edited correctly.
You are attempting to begin recording within or be-
fore a looped segment.
Reduce the amount of recorded data.
Sample Length Too Short!
Sample Memory Full!
Song Full
If the sample is extremely short, editing may not
produce the desired result.
Erase unneeded samples.
Since there is insufficient sample memory, no further
sampling or sample editing is possible.
Since the maximum number of notes that can be record-
ed in a song or pattern has been exceeded, no further re-
cording/editing is possible.
Use the track edit Delete or Erase commands to re-
move unneeded data from the song/pattern that
you are recording/editing.
Song Format Error
This song is damaged.
This song cannot be used.
Song Not Found
The selected song cannot be found.
—
Too Many Sample Selected!
The operation cannot be executed, since marks are as-
signed to more than one sample.
Either clear the marks, or mark only one sample.
Unformatted!
You Cannot Assign
The memory card is in an unsupported format.
The sample cannot be assigned to a pad.
Format the memory card.
Assign To Pad requires that all pads be playing a
rhythm set.
Assign a rhythm set to the Pad part.
Turn off the RPS function.
Turn off the rhythm switch.
Turn off the ARPEGGIO/RHYTHM function.
You Cannot Copy This Message
You Cannot Erase This Message
You Cannot Move This Message
You Cannot Quick Play S-MRC
Song
This message cannot be copied.
This message cannot be erased.
This message cannot be moved.
This is a SuperMRC song; it cannot be played back in
Quick Play.
—
—
—
Save the data as an MRC Pro song.
Rhythm Note Range Over!
The pad selected for Assign To Pad is outside the range
of the rhythm set.
Select a pad that is within the range of the rhythm
set.
296
About MIDI
fig.33-004.e
MIDI (Musical Instruments Digital Interface) is a standard
specification that allows musical data to be exchanged between
electronic musical instruments and computers. MIDI With a MIDI
cable connecting MIDI devices that are equipped with MIDI
connectors, you can play multiple instruments with a single
keyboard, have multiple MIDI instruments perform in ensemble,
program the settings to change automatically to match the
performance as the song progresses, and more.
The cable from the antenna carries the TV
signals from many broadcast stations.
Station A
Station B
Station C
The TV is set to the channel of the station
you wish to watch.
If you mainly use the Fantom-X as a standalone keyboard
instrument, you may really not need to know much at all about
MIDI.
MIDI uses sixteen channels; 1 through 16. Set the receiving device so
that it will receive only the channel that it needs to receive.
However, the following MIDI-related information is provided so
you can play the Fantom-X using an external MIDI device, or master
other advanced techniques.
Example:
Set the Fantom-X to send Channel 1 and Channel 2, then set sound
module A to receive only Channel 1 and sound module B only
Channel 2. With this setup, you can get an ensemble performance,
with, for example, a guitar sound from sound module A and bass
About MIDI Connectors
The Fantom-X is equipped with the three types of MIDI connectors,
each which works differently.
fig.33-003
from sound module B.
fig.33-005.e
MIDI OUT
MIDI IN
MIDI THRU
Transmit channel: 1, 2
Receive channel: 1
Sound
Module
A
Receive channel: 2
MIDI IN
MIDI keyboard
Sound
Module
B
MIDI IN Connector
This connector receives MIDI messages that are transmitted from
external MIDI devices. The Fantom-X can receive these messages to
play notes or select sounds, etc.
When used as a sound module, the Fantom-X can receive on up to
sixteen MIDI channels. Sound modules like the Fantom-X which can
receive multiple MIDI channels simultaneously to play different
sounds on each channel are called multi-timbral sound modules.
MIDI OUT Connector
This connector transmits MIDI messages to external MIDI devices.
The Fantom-X’s MIDI OUT connector is used for sending the
performance data of the keyboard controller section as well as data
used for saving various settings and patterns.
General MIDI
General MIDI is a set of recommendations which seeks to
provide a way to go beyond the limitations of proprietary
designs, and standardize the MIDI capabilities of sound
generating devices. Sound generating devices and music files
that meet the General MIDI standard bear the General MIDI
MIDI THRU Connector
logo (
). Music files bearing the General MIDI logo can be
MIDI messages received at MIDI IN are re-transmitted without
change from this connector to an external MIDI device. Use this in
situations such as when you use multiple MIDI devices
simultaneously.
played back using any General MIDI sound generating unit to
produce essentially the same musical performance.
General MIDI 2
The upwardly compatible General MIDI 2 (
)
MIDI Channels and Multi-timbral
recommendations pick up where the original General MIDI left
off, offering enhanced expressive capabilities, and even greater
compatibility. Issues that were not covered by the original
General MIDI recommendations, such as how sounds are to be
edited, and how effects should be handled, have now been
precisely defined. Moreover, the available sounds have been
expanded. General MIDI 2 compliant sound generators are
capable of reliably playing back music files that carry either the
General MIDI or General MIDI 2 logo.
Sound Generators
MIDI transmits many types of data over a single MIDI cable. This is
made possible by the concept of MIDI channels. MIDI channels
allow messages intended for a given instrument to be distinguished
from messages intended for another instrument. In some ways,
MIDI channels are similar to television channels. By changing the
channel on a television set, you can view the programs that are being
broadcast by different stations. In the same way, MIDI also allows a
device to select the information intended for that device out of the
variety of information that is being transmitted to it.
In some cases, the conventional form of General MIDI, which
does not include the new enhancements, is referred to as
“General MIDI 1” as a way of distinguishing it from General
MIDI 2.
297
MIDI Implementation
❍Modulation (Controller number 1)
1. Receive Data (Sound Source Section)
Status
BnH
2nd byte
01H
3rd byte
vvH
■Channel Voice Messages
n = MIDI channel number:
vv = Modulation depth:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
*
Not received in Performance mode when the Receive Switch parameter (PERFORM/
MIDI) is OFF.
*
Not received in Performance mode when the Receive Modulation parameter
(PERFORM/MIDI) is OFF.
●Note off
❍Breath type (Controller number 2)
Status
2nd byte
kkH
3rd byte
vvH
Status
BnH
2nd byte
02H
3rd byte
vvH
8nH
9nH
kkH
00H
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
n = MIDI channel number:
kk = note number:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
00H - 7FH (0 - 127)
vv = note off velocity:
❍Foot type (Controller number 4)
Status
BnH
2nd byte
04H
3rd byte
vvH
*
Not received when the Envelope Mode parameter (PATCH/MISC and RHYTHM/
GENERAL) is NO-SUS.
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
●Note on
Status
2nd byte
kkH
3rd byte
vvH
❍Portamento Time (Controller number 5)
9nH
Status
BnH
2nd byte
05H
3rd byte
vvH
n = MIDI channel number:
kk = note number:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
01H - 7FH (1 - 127)
n = MIDI channel number:
vv = Portamento Time:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
vv = note on velocity:
●Polyphonic Key Pressure
*
In Performance mode the Part Portament Time parameter (PERFORM/PART) will
change.
Status
2nd byte
3rd byte
AnH
kkH
vvH
n = MIDI channel number:
kk = note number:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
❍Data Entry (Controller number 6, 38)
Status
BnH
2nd byte
06H
3rd byte
mmH
llH
vv = Polyphonic Key Pressure: 00H - 7FH (0 - 127)
BnH
26H
*
Not received in Performance mode when the Receive Poly Key Pressure parameter
(PERFORM/MIDI) is OFF.
n = MIDI channel number: 0H - FH (ch.1 - 16)
mm, ll = the value of the parameter specified by RPN/NRPN
mm = MSB, ll = LSB
●Control Change
*
If the corresponding Controller number is selected for the Patch Control Source 1, 2, 3 or
❍Volume (Controller number 7)
4 parameter (PATCH/CTRL1-4), the corresponding effect will occur.
Status
BnH
2nd byte
07H
3rd byte
vvH
*
If a Controller number that corresponds to the System Control Source 1, 2, 3 or 4
parameter (SYSTEM/SYSTEM CONTROL) is selected, the specified effect will apply if
Patch Control Source 1, 2, 3 or 4 parameter (PATCH/CTRL1–4) is set to SYS-CTRL1,
SYS-CTRL2, SYS-CTRL3 or SYS-CTRL4.
n = MIDI channel number:
vv = Volume:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
*
*
Not received in Performance mode when the Receive Volume parameter (PERFORM/
MIDI) is OFF.
❍Bank Select (Controller number 0, 32)
Status
BnH
2nd byte
00H
3rd byte
In Performance mode the Part Level parameter (PERFORM/PART) will change.
mmH
BnH
20H
llH
❍Balance (Controller number 8)
n = MIDI channel number:
mm, ll = Bank number:
0H - FH (ch.1 - 16)
Status
BnH
2nd byte
08H
3rd byte
vvH
00 00H - 7F 7FH (bank.1 - bank.16384)
n = MIDI channel number:
vv = Balance:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
*
*
*
Not received in Performance mode when the Receive Bank Select (PERFORM/MIDI) is
OFF.
The Performances, Patches, and Rhythms corresponding to each Bank Select are as
❍Panpot (Controller number 10)
follows.
Status
BnH
2nd byte
0AH
3rd byte
vvH
The SRX series corresponding to each Bank Select are to see the SRX series owner’s
manual.
n = MIDI channel number:
vv = Panpot:
0H - FH (ch.1 - 16)
00H - 40H - 7FH (Left - Center - Right),
BANK SELECT
MSB | LSB
| PROGRAM
| NUMBER
| GROUP
|
| NUMBER
|
-----+-----------+-----------+----------------------+-----------
*
*
Not received in Performance mode when the Receive Pan parameter (PERFORM/MIDI)
is OFF.
000 |
| 001 - 128 | GM Patch
| 001 - 256
|
: |
|
|
063 |
| 001 - 128 | GM Patch
| 001 - 256
| 001 - 064
| 001 - 064
| 001 - 064
| 001 - 032
| 001 - 032
| 001 - 032
| 001 - 128
| 129 - 256
| 001 - 128
| 129 - 256
| 001 - 128
| 001 - 128
|
In Performance mode the Part Pan parameter (PERFORM/PART) will change.
085 | 000
| 032
| 001 - 064 | User Performance
| 001 - 064 | Card Performance
| 001 - 064 | Preset Performance
| 001 - 032 | User Rhythm
| 001 - 032 | Card Rhythm
| 001 - 032 | Preset Rhythm
| 001 - 128 | User Patch
| 001 - 128 | User Patch
| 001 - 128 | Card Patch
| 001 - 128 | Card Patch
| 001 - 128 | Preset Patch A
| 001 - 128 | Preset Patch B
| 064
❍Expression (Controller number 11)
086 | 000
| 032
Status
BnH
2nd byte
0BH
3rd byte
vvH
| 064
087 | 000
| 001
n = MIDI channel number:
vv = Expression:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
| 032
| 033
| 064
| 065
*
*
Not received when Tone Receive Expression parameter (PATCH/MISC or RHYTHM/
| :
|
| :
| SRX Rhythm
| :
GENERAL) is OFF.
092 | 000 -
| :
| 001 -
| 001 -
|
|
Not received in Performance mode when Receive Expression parameter (PERFORM/
MIDI) is OFF.
093 | 000 -
| :
120 |
121 | 000 -
| 001 -
|
| SRX Patch
| :
| 001 -
|
| 001 - 057 | GM Rhythm
| 001 - 128 | GM Patch
| 001 - 009
| 001 - 256
298
MIDI Implementation
❍Hold 1 (Controller number 64)
❍Cutoff (Controller number 74)
Status
BnH
2nd byte
40H
3rd byte
Status
BnH
2nd byte
4AH
3rd byte
vvH
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
n = MIDI channel number:
0H - FH (ch.1 - 16)
00H - 40H - 7FH (-64 - 0 - +63)
00H - 7FH (0 - 127) 0-63 = OFF, 64-127 = ON
vv = Cutoff value (relative change):
*
*
*
Not received when Tone Receive Hold-1 parameter (PATCH/MISC or RHYTHM/
GENERAL) is OFF.
*
In Performance mode the Part Cutoff Offset parameter (PERFORM/PART) will change.
Not received in Performance mode when Receive Hold-1 parameter (PERFORM/MIDI)
is OFF.
❍Decay Time (Controller number 75)
Status
BnH
2nd byte
4BH
3rd byte
vvH
When the Tone Redamper Switch parameter (PATCH/CONTROL) is turned ON, 128
discrete steps are recognized for the value.
n = MIDI channel number:
0H - FH (ch.1 - 16)
00H - 40H - 7FH (-64 - 0 - +63)
vv = Decay Time value (relative change):
❍Portamento (Controller number 65)
Status
BnH
2nd byte
41H
3rd byte
*
In Performance mode the Part Decay Time Offset parameter (PERFORM/PART) will
change.
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
❍Vibrato Rate (Controller number 76)
Status
BnH
2nd byte
4CH
3rd byte
vvH
*
In Performance mode the Part Portamento Switch parameter (PERFORM/PART) will
change.
n = MIDI channel number:
0H - FH (ch.1 - 16)
00H - 40H - 7FH (-64 - 0 - +63)
vv = Vibrato Rate value (relative change):
❍Sostenuto (Controller number 66)
Status
BnH
2nd byte
42H
3rd byte
*
In Performance mode the Part Vibrato Rate parameter (PERFORM/PART) will change.
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
❍Vibrato Depth (Controller number 77)
00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
Status
BnH
2nd byte
4DH
3rd byte
vvH
❍Soft (Controller number 67)
n = MIDI channel number:
vv = Vibrato Depth Value (relative change):
0H - FH (ch.1 - 16)
Status
BnH
2nd byte
43H
3rd byte
00H - 40H - 7FH (-64 - 0 - +63)
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
*
In Performance mode the Part Vibrato Depth parameter (PERFORM/PART) will change.
00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
❍Vibrato Delay (Controller number 78)
❍Legato Foot Switch (Controller number 68)
Status
BnH
2nd byte
4EH
3rd byte
vvH
Status
BnH
2nd byte
44H
3rd byte
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
00H - 40H - 7FH (-64 - 0 - +63)
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
vv = Vibrato Delay value (relative change):
00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
*
In Performance mode the Part Vibrato Delay parameter (PERFORM/PART) will change.
*
In Performance mode the Part Legato Switch parameter (PERFORM/PART) will change.
❍General Purpose Controller 5 (Controller number 80)
❍Hold-2 (Controller number 69)
Status
BnH
2nd byte
50H
3rd byte
vvH
Status
BnH
2nd byte
45H
3rd byte
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
*
A hold movement isn’t done.
*
The Tone Level parameter (PATCH/TVA) of Tone 1 will change.
❍Resonance (Controller number 71)
❍General Purpose Controller 6 (Controller number 81)
Status
BnH
2nd byte
47H
3rd byte
vvH
Status
BnH
2nd byte
51H
3rd byte
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
00H - 40H - 7FH (-64 - 0 - +63),
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
vv= Resonance value (relative change):
*
In Performance mode the Part Resonance Offset parameter (PERFORM/PART) will
change.
*
The Tone Level parameter (PATCH/TVA) of Tone 2 will change.
❍General Purpose Controller 7 (Controller number 82)
❍Release Time (Controller number 72)
Status
BnH
2nd byte
52H
3rd byte
vvH
Status
BnH
2nd byte
48H
3rd byte
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
n = MIDI channel number:
0H - FH (ch.1 - 16)
00H - 40H - 7FH (-64 - 0 - +63),
vv = Release Time value (relative change):
*
The Tone Level parameter (PATCH/TVA) of Tone 3 will change.
*
In Performance mode the Part Release Time Offset parameter (PERFORM/PART) will
change.
❍General Purpose Controller 8 (Controller number 83)
Status
BnH
2nd byte
53H
3rd byte
vvH
❍Attack time (Controller number 73)
Status
BnH
2nd byte
49H
3rd byte
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
n = MIDI channel number:
0H - FH (ch.1 - 16)
00H - 40H - 7FH (-64 - 0 - +63),
vv = Attack time value (relative change):
*
The Tone Level parameter (PATCH/TVA) of Tone 4 will change.
*
In Performance mode the Part Attack Time Offset parameter (PERFORM/PART) will
change.
299
MIDI Implementation
❍Portamento control (Controller number 84)
●Program Change
Status
BnH
2nd byte
54H
3rd byte
kkH
Status
2nd byte
CnH
ppH
n = MIDI channel number:
kk = source note number:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
n = MIDI channel number:
pp = Program number:
0H - FH (ch.1 - 16)
00H - 7FH (prog.1 - prog.128)
*
*
A
Note-on received immediately after
a
Portamento Control message will change
*
Not received in Performance mode when the Receive Program Change parameter
(PERFORM/MIDI) is OFF.
continuously in pitch, starting from the pitch of the Source Note Number.
If a voice is already sounding for a note number identical to the Source Note Number,
this voice will continue sounding (i.e., legato) and will, when the next Note-on is
received, smoothly change to the pitch of that Note-on.
●Channel Pressure
Status
2nd byte
*
The rate of the pitch change caused by Portamento Control is determined by the
Portamento Time value.
DnH
vvH
n = MIDI channel number:
vv = Channel Pressure:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
❍Effect 1 (Reverb Send Level) (Controller number 91)
Status
BnH
2nd byte
5BH
3rd byte
vvH
*
Not received in Performance mode when the Receive Channel Pressure parameter
(PERFORM/MIDI) is OFF.
n = MIDI channel number:
vv = Reverb Send Level:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
●Pitch Bend Change
Status
2nd byte
3rd byte
*
In Performance mode the Part Reverb Send Level parameter (PERFORM/PART) will
change.
EnH
llH
mmH
n = MIDI channel number:
mm, ll = Pitch Bend value:
0H - FH (ch.1 - 16)
❍Effect 3 (Chorus Send Level) (Controller number 93)
00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)
Status
BnH
2nd byte
5DH
3rd byte
vvH
*
*
Not received when the Tone Receive Bender parameter (PATCH/MISC) is OFF.
Not received in Performance mode when the Receive Pitch Bend parameter
(PERFORM/MIDI) is OFF.
n = MIDI channel number:
vv = Chorus Send Level:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
*
In Performance mode the Part Chorus Send Level parameter (PERFORM/PART) will
change.
❍RPN MSB/LSB (Controller number 100, 101)
Status
2nd byte
3rd byte
BnH
BnH
65H
64H
mmH
llH
n = MIDI channel number: 0H - FH (ch.1 - 16)
mm = upper byte (MSB) of parameter number specified by RPN
ll = lower byte (LSB) of parameter number specified by RPN
<<< RPN >>>
Control Changes include RPN (Registered Parameter Numbers), which are extended.
When using RPNs, first RPN (Controller numbers 100 and 101; they can be sent in any order)
should be sent in order to select the parameter, then
Data Entry (Controller numbers 6 and 38) should be sent to set the value. Once RPN
messages are received, Data Entry messages that is received at the same MIDI channel after
that are recognized as changing toward the value of the RPN messages. In order not to make
any mistakes, transmitting RPN Null is recommended after setting parameters you need.
This device receives the following RPNs.
RPN
Data entry
MSB, LSB
mmH, llH
MSB, LSB
00H, 00H
Notes
Pitch Bend Sensitivity
mm: 00H - 18H (0 - 24 semitones)
ll: ignored (processed as 00H)
Up to 2 octave can be specified in semitone steps.
*
In Performance mode, the Part Bend Range parameter (PERFORM/PART) will change.
00H, 01H
mmH, llH
Channel Fine Tuning
mm, ll: 20 00H - 40 00H - 60 00H
(-4096 x 100 / 8192 - 0 - +4096 x 100 / 8192 cent)
*
In Performance mode, the Part Fine Tune parameter (PERFORM/PART) will change.
00H, 02H
mmH, llH
Channel Coarse Tuning
mm: 10H - 40H - 70H (-48 - 0 - +48 semitones)
ll: ignored (processed as 00H)
*
In Performance mode, the Part Coarse Tune parameter (PERFORM/PART) will change.
00H, 05H
mmH, llH
Modulation Depth Range
mm, ll: 00 00H - 00 06H
(0 - 16384*600 / 16384 cent)
*
Not received in Patch mode.
7FH, 7FH
---, ---
RPN null
RPN and NRPN will be set as “unspecified.”
Once this setting has been made, subsequent
Parameter values that were previously set will
not change.
mm, ll: ignored
300
MIDI Implementation
■Channel Mode Messages
■System Realtime Message
*
Not received in Performance mode when the Receive Switch parameter (PERFORM/
MIDI) is OFF.
●Active Sensing
Status
●All Sounds Off (Controller number 120)
FEH
Status
2nd byte
3rd byte
BnH
78H
00H
*
When Active Sensing is received, the unit will begin monitoring the intervals of all
further messages. While monitoring, if the interval between messages exceeds 420 ms,
the same processing will be carried out as when All Sounds Off, All Notes Off and Reset
All Controllers are received, and message interval monitoring will be halted.
n = MIDI channel number: 0H - FH (ch.1 - 16)
*
When this message is received, all notes currently sounding on the corresponding
channel will be turned off.
■System Exclusive Message
●Reset All Controllers (Controller number 121)
Status
F0H
Data byte
Status
Status
2nd byte
3rd byte
iiH, ddH, ......,eeH F7H
BnH
79H
00H
n = MIDI channel number: 0H - FH (ch.1 - 16)
When this message is received, the following controllers will be set to their reset values.
F0H:
System Exclusive Message status
ii = ID number:
an ID number (manufacturer ID) to indicate the manufacturer whose
Exclusive message this is. Roland’s manufacturer ID is 41H.
ID numbers 7EH and 7FH are extensions of the MIDI standard;
Universal Non-realtime Messages (7EH) and Universal Realtime
Messages (7FH).
*
Controller
Reset value
Pitch Bend Change
Polyphonic Key Pressure
Channel Pressure
Modulation
+/-0 (center)
0 (off)
dd,...,ee = data:
F7H:
00H - 7FH (0 - 127)
0 (off)
EOX (End Of Exclusive)
0 (off)
Breath Type
0 (min)
Of the System Exclusive messages received by this device, the Universal Non-realtime
messages and the Universal Realtime messages and the Data Request (RQ1) messages and
the Data Set (DT1) messages will be set automatically.
Expression
127 (max)
However the controller will be at minimum.
Hold 1
Sostenuto
Soft
0 (off)
0 (off)
●Universal Non-realtime System Exclusive Messages
0 (off)
Hold 2
RPN
0 (off)
❍Identity Request Message
unset; previously set data will not change
unset; previously set data will not change
Status
F0H
Data byte
Status
NRPN
7EH, dev, 06H, 01H F7H
●All Notes Off (Controller number 123)
Byte
F0H
7EH
dev
Explanation
Status
2nd byte
3rd byte
Exclusive status
BnH
7BH
00H
ID number (Universal Non-realtime Message)
Device ID (dev: 10H - 1FH, 7FH)
Sub ID#1 (General Information)
Sub ID#2 (Identity Request)
EOX (End Of Exclusive)
n = MIDI channel number: 0H - FH (ch.1 - 16)
06H
01H
F7H
*
When All Notes Off is received, all notes on the corresponding channel will be turned
off. However, if Hold 1 or Sostenuto is ON, the sound will be continued until these are
turned off.
*
When this message is received, Identity Reply message (P.306) will be transmitted.
●OMNI OFF (Controller number 124)
❍GM1 System On
Status
2nd byte
3rd byte
BnH
7CH
00H
Status
F0H
Data byte
Status
n = MIDI channel number: 0H - FH (ch.1 - 16)
The same processing will be carried out as when All Notes Off is received.
7EH, 7FH, 09H, 01H F7H
*
Byte
F0H
7EH
7FH
09H
01H
F7H
Explanation
Exclusive status
ID number (Universal Non-realtime Message)
Device ID (Broadcast)
●OMNI ON (Controller number 125)
Status
2nd byte
3rd byte
Sub ID#1 (General MIDI Message)
Sub ID#2 (General MIDI 1 On)
EOX (End Of Exclusive)
BnH
7DH
00H
n = MIDI channel number: 0H - FH (ch.1 - 16)
*
The same processing will be carried out as when All Notes Off is received. OMNI ON
will not be turned on.
*
*
When this messages is received, this instrument will turn to the Performance mode.
Not received when the Receive GM1 System On parameter (SYSTEM/MIDI) is OFF.
●MONO (Controller number 126)
❍GM2 System On
Status
2nd byte
3rd byte
Status
F0H
Data byte
Status
BnH
7EH
mmH
7EH 7FH 09H 03H F7H
n = MIDI channel number:
mm = mono number:
0H - FH (ch.1 - 16)
00H - 10H (0 - 16)
Byte
F0H
7EH
7FH
09H
03H
F7H
Explanation
Exclusive status
*
*
The same processing will be carried out as when All Notes Off is received.
ID number (Universal Non-realtime Message)
Device ID (Broadcast)
In Performance mode, the Part Mono/Poly parameter (PERFORM/PART) will change.
Sub ID#1 (General MIDI Message)
Sub ID#2 (General MIDI 2 On)
EOX (End Of Exclusive)
●POLY (Controller number 127)
Status
2nd byte
3rd byte
BnH
7FH
00H
n = MIDI channel number: 0H - FH (ch.1 - 16)
*
*
When this messages is received, this instrument will turn to the Performance mode.
Not received when the Receive GM2 System On parameter (SYSTEM/MIDI) is OFF.
*
*
The same processing will be carried out as when All Notes Off is received.
In Performance mode, the Part Mono/Poly parameter (PERFORM/PART) will change.
301
MIDI Implementation
❍GM System Off
Status
F0H
●Global Parameter Control
Data byte
Status
*
Not received in Patch mode and Piano mode.
7EH, 7F, 09H, 02H F7H
❍Reverb Parameters
Byte
F0H
7EH
7FH
09H
02H
F7H
Explanation
Status
F0H
Data byte
Status
F7H
Exclusive status
7FH, 7FH, 04H, 05H, 01H, 01H,
01H, 01H, 01H, ppH, vvH
ID number (Universal Non-realtime Message)
Device ID (Broadcast)
Sub ID#1 (General MIDI Message)
Sub ID#2 (General MIDI Off)
EOX (End Of Exclusive)
Byte
F0H
7FH
7FH
04H
05H
01H
01H
01H
01H
01H
ppH
vvH
Explanation
Exclusive status
ID number (universal realtime message)
Device ID (Broadcast)
Sub ID#1 (Device Control)
Sub ID#2 (Global Parameter Control)
Slot path length
*
When this messages is received, this instrument will return to the Performance mode.
●Universal Realtime System Exclusive Messages
❍Master Volume
Status
F0H
Parameter ID width
Data byte
Status
F7H
Value width
7FH, 7FH, 04H, 01H, llH, mmH
Slot path MSB
Slot path LSB (Effect 0101: Reverb)
Parameter to be controlled.
Value for the parameter.
pp=0 Reverb Type
Byte
F0H
7FH
7FH
04H
01H
llH
Explanation
Exclusive status
ID number (universal realtime message)
Device ID (Broadcast)
vv = 00H Small Room
vv = 01H Medium Room
vv = 02H Large Room
vv = 03H Medium Hall
vv = 04H Large Hall
vv = 08H Plate
Sub ID#1 (Device Control)
Sub ID#2 (Master Volume)
Master Volume lower byte
Master Volume upper byte
EOX (End Of Exclusive)
mmH
F7H
pp=1 Reverb Time
*
*
The lower byte (llH) of Master Volume will be handled as 00H.
The Master Level parameter (SYSTEM/SOUND) will change.
vv = 00H - 7FH 0 - 127
EOX (End Of Exclusive)
F7H
❍Master Fine Tuning
❍Chorus Parameters
Status
F0H
Data byte
Status
F7H
Status
F0H
Data byte
Status
F7H
7FH, 7FH, 04H, 03H, llH, mmH
7FH, 7FH, 04H, 05H, 01H, 01H,
01H, 01H, 02H, ppH, vvH
Byte
F0H
7FH
7FH
04H
03H
llH
Explanation
Exclusive status
Byte
F0H
7FH
7FH
04H
05H
01H
01H
01H
01H
02H
ppH
vvH
Explanation
ID number (universal realtime message)
Device ID (Broadcast)
Exclusive status
ID number (universal realtime message)
Device ID (Broadcast)
Sub ID#1 (Device Control)
Sub ID#2 (Global Parameter Control)
Slot path length
Sub ID#1 (Device Control)
Sub ID#2 (Master Fine Tuning)
Master Fine Tuning LSB
Master Fine Tuning MSB
EOX (End Of Exclusive)
mmH
F7H
Parameter ID width
Value width
mm, ll: 00 00H - 40 00H - 7F 7FH (-100 - 0 - +99.9 [cents])
The Master Tune parameter (SYSTEM/SOUND) will change.
Slot path MSB
Slot path LSB (Effect 0102: Chorus)
Parameter to be controlled.
Value for the parameter.
pp=0 Chorus Type
vv=0 Chorus1
*
❍Master Coarse Tuning
Status
F0H
Data byte
Status
F7
7FH, 7FH, 04H, 04H, llH, mmH
vv=1 Chorus2
vv=2 Chorus3
Byte
F0H
7FH
7FH
04H
04H
llH
Explanation
vv=3 Chorus4
Exclusive status
vv=4 FB Chorus
ID number (universal realtime message)
Device ID (Broadcast)
vv=5 Flanger
pp=1 Mod Rate
Sub ID#1 (Device Control)
Sub ID#2 (Master Coarse Tuning)
Master Coarse Tuning LSB
Master Coarse Tuning MSB
EOX (End Of Exclusive)
vv= 00H - 7FH 0 - 127
pp=2 Mod Depth
vv = 00H - 7FH 0 - 127
pp=3 Feedback
mmH
F7H
vv = 00H - 7FH 0 - 127
pp=4 Send To Reverb
vv = 00H - 7FH 0 - 127
EOX (End Of Exclusive)
llH:
ignored (processed as 00H)
mmH:
28H - 40H - 58H (-24 - 0 - +24 [semitones])
F7H
*
The Master Key Shift parameter (SYSTEM/SOUND) will change.
302
MIDI Implementation
❍Channel Pressure
❍Key-based Instrument Controllers
Status
F0H
Data byte
Status
F7H
Status
F0H
Data byte
Status
F7H
7FH, 7FH, 09H, 01H, 0nH, ppH, rrH
7FH, 7FH, 0AH, 01H, 0nH, kkH, nnH, vvH
Byte
F0H
7FH
7FH
09H
01H
0nH
ppH
rrH
Explanation
Byte
F0H
7FH
7FH
0AH
01H
0nH
kkH
nnH
vvH
Explanation
Exclusive status
Exclusive status
ID number (universal realtime message)
Device ID (Broadcast)
ID number (universal realtime message)
Device ID (Broadcast)
Sub ID#1 (Key-Based Instrument Control)
Sub ID#2 (Controller)
MIDI Channel (00 - 0FH)
Key Number
Sub ID#1 (Controller Destination Setting)
Sub ID#2 (Channel Pressure)
MIDI Channel (00 - 0F)
Controlled parameter
Controlled range
Control Number
pp=0 Pitch Control
Value
rr = 28H - 58H -24 - +24 [semitones]
pp=1 Filter Cutoff Control
rr = 00H - 7FH -9600 - +9450 [cents]
pp=2 Amplitude Control
rr = 00H - 7FH 0 - 200%
pp=3 LFO Pitch Depth
nn=07H Level
vv = 00H - 7FH
nn=0AH
0 - 200% (Relative)
Pan
vv = 00H - 7FH
nn=5BH
Left - Right (Absolute)
Reverb Send
vv = 00H - 7FH
nn=5D
0 - 127 (Absolute)
Chorus Send
rr = 00H - 7FH 0 - 600 [cents]
pp=4 LFO Filter Depth
vv = 00H - 7FH
:
0 - 127 (Absolute)
rr = 00H - 7FH 0 - 2400 [cents]
pp=5 LFO Amplitude Depth
rr = 00H - 7FH 0 - 100%
EOX (End Of Exclusive)
:
F7
EOX (End Of Exclusive)
*
This parameter affects drum instruments only.
F7H
●Data Transmission
❍Controller
Status
This instrument can use exclusive messages to exchange many varieties of internal settings
Data byte
Status
with other devices.
F0H
7FH, 7FH, 09H, 03H, 0nH, ccH, ppH, rrH F7H
The model ID of the exclusive messages used by this instrument is 00H 6BH.
Byte
F0H
7FH
7FH
09H
03H
0nH
ccH
ppH
rrH
Explanation
❍Data Request 1
RQ1
Exclusive status
This message requests the other device to transmit data. The address and size indicate the
type and amount of data that is requested.
ID number (universal realtime message)
Device ID (Broadcast)
When a Data Request message is received, if the device is in a state in which it is able to
transmit data, and if the address and size are appropriate, the requested data is transmitted
as a Data Set 1 (DT1) message. If the conditions are not met, nothing is transmitted.
Sub ID#1 (Controller Destination Setting)
Sub ID#2 (Control Change)
MIDI Channel (00 - 0F)
Controller number (01 - 1F, 40 - 5F)
Controlled parameter
Status
F0H
data byte
status
41H, dev, 00H, 6BH, 11H, aaH, bbH, ccH, F7H
ddH, ssH, ttH, uuH, vvH, sum
Controlled range
pp=0 Pitch Control
rr = 28H - 58H -24 - +24 [semitones]
pp=1 Filter Cutoff Control
rr = 00H - 7FH -9600 - +9450 [cents]
pp=2 Amplitude Control
rr = 00H - 7FH 0 - 200%
Byte
F0H
41H
dev
Remarks
Exclusive status
ID number (Roland)
device ID (dev: 10H - 1FH, 7FH)
model ID #1 (Fantom-X6/X7/X8)
model ID #2 (Fantom-X6/X7/X8)
command ID (RQ1)
address MSB
00H
6BH
11H
aaH
bbH
ccH
ddH
ssH
pp=3 LFO Pitch Depth
rr = 00H - 7FH 0 - 600 [cents]
pp=4 LFO Filter Depth
rr = 00H - 7FH 0 - 2400 [cents]
pp=5 LFO Amplitude Depth
rr = 00H - 7FH 0 - 100%
address
address
address LSB
F7H
EOX (End Of Exclusive)
size MSB
ttH
size
❍Scale/Octave Tuning Adjust
uuH
vvH
sum
F7H
size
Status
F0H
Data byte
Status
size LSB
7EH, 7FH, 08H, 08H, ffH, ggH, hhH, ssH... F7
checksum
EOX (End Of Exclusive)
Byte
F0H
7EH
7FH
08H
08H
ffH
Explanation
Exclusive status
*
The size of data that can be transmitted at one time is fixed for each type of data. And
data requests must be made with a fixed starting address and size. Refer to the address
and size given in Parameter Address Map (P.311).
ID number (Universal Non-realtime Message)
Device ID (Broadcast)
Sub ID#1 (MIDI Tuning Standard)
Sub ID#2 (scale/octave tuning 1-byte form)
Channel/Option byte 1
*
*
For the checksum, refer to P.329.
Not received when the Receive Exclusive parameter (SYSTEM/MIDI) is OFF.
bits 0 to 1 = channel 15 to 16
bit 2 to 6 = Undefined
ggH
hhH
ssH
Channel byte 2
bits 0 to 6 = channel 8 to 14
Channel byte 3
bits 0 to 6 = channel 1 to 7
12 byte tuning offset of 12 semitones from C to B
00H = -64 [cents]
40H = 0 [cents] (equal temperament)
7FH = +63 [cents]
F7H
EOX (End Of Exclusive)
303
MIDI Implementation
❍Data set 1
Status
DT1
Data byte
2. Data Transmission
■Channel Voice Messages
●Note off
Status
F7H
F0H
41H, dev, 00H, 6BH, 12H, aaH, bbH,
ccH, ddH, eeH, ... ffH, sum
Byte
F0H
41H
dev
Explanation
Exclusive status
Status
2nd byte
3rd byte
ID number (Roland)
8nH
kkH
vvH
Device ID (dev: 00H - 1FH, 7FH)
Model ID #1 (Fantom-X6/X7/X8)
Model ID #2 (Fantom-X6/X7/X8)
Command ID (DT1)
n = MIDI channel number:
kk = note number:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
00H - 7FH (0 - 127)
00H
6BH
12H
aaH
vv = note off velocity:
Address MSB: upper byte of the starting address of the data to be
sent
●Note on
Status
2nd byte
kkH
3rd byte
vvH
bbH
ccH
ddH
eeH
Address:
upper middle byte of the starting address of the data
9nH
to be sent
n = MIDI channel number:
kk = note number:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
01H - 7FH (1 - 127)
Address:
lower middle byte of the starting address of the data
to be sent
vv = note on velocity:
Address LSB: lower byte of the starting address of the data to be
sent.
●Polyphonic Key Pressure
Data:
the actual data to be sent. Multiple bytes of data are
transmitted in order starting from the address.
Status
2nd byte
3rd byte
:
:
AnH
kkH
vvH
ffH
sum
F7H
Data
n = MIDI channel number:
kk = note number:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
Checksum
EOX (End Of Exclusive)
vv = Polyphonic Key Pressure: 00H - 7FH (0 - 127)
*
*
The amount of data that can be transmitted at one time depends on the type of data, and
●Control Change
data will be transmitted from the specified starting address and size. Refer to the address
and size given in Parameter Address Map (P.311).
*
By selecting
a
controller number that corresponds to the setting of parameters of
controllers (REALTIME CONTROL knob, and so on), the Fantom-X can transmit any
control change message.
Data larger than 256 bytes will be divided into packets of 256 bytes or less, and each
packet will be sent at an interval of about 20 ms.
*
*
Regarding the checksum, please refer to P.329.
❍Bank Select (Controller number 0, 32)
Not received when the Receive Exclusive parameter (SYSTEM/MIDI) is OFF.
Status
BnH
2nd byte
00H
3rd byte
mmH
Status
F0H
Data byte
Status
F7H
BnH
20H
llH
41H, dev, 42H, 12H, aaH, bbH, ccH,
ddH, ... eeH, sum
n = MIDI channel number:
mm, ll = Bank number:
0H - FH (ch.1 - 16)
00 00H - 7F 7FH (bank.1 - bank.16384)
Byte
F0H
41H
dev
Explanation
*
These messages are transmitted when Patch, Rhythm Set or Performance is selected. But
not transmitted when Transmit Program Change or Transmit Bank Select parameter
(SYSTEM/MIDI) is OFF.
Exclusive status
ID number (Roland)
Device ID (dev: 10H - 1FH, 7FH)
Model ID (GS)
*
*
In Performance mode, these messages are not transmitted when External Bank Select
MSB or External PC Number parameter (PERFORMANCE/PART) is OFF.
Although with the Fantom-X you can select the Bank Select messages to be transmitted,
be sure to refer to the Program Change Map on P.330 for the Bank Select messages
transmitted when the Fantom-X is select a Patch, Rhythm Set or Performance.
The Bank Select Numbers corresponding to SRX series should be referred to the SRX
series owner’s manual.
42H
12H
aaH
Command ID (DT1)
Address MSB: upper byte of the starting address of the transmitted
data
bbH
ccH
Address:
middle byte of the starting address of the transmitted
data
*
Address LSB: lower byte of the starting address of the transmitted
data
❍Modulation (Controller number 1)
Status
BnH
ddH
Data:
the actual data to be transmitted. Multiple bytes of
data are transmitted starting from the address.
2nd byte
01H
3rd byte
vvH
:
:
n = MIDI channel number:
vv = Modulation depth:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
eeH
sum
F7H
Data
Checksum
EOX (End Of Exclusive)
❍Breath type (Controller number 2)
Status
BnH
2nd byte
02H
3rd byte
vvH
*
*
The amount of data that can be transmitted at one time depends on the type of data, and
data will be transmitted from the specified starting address and size. Refer to the address
and size given in Parameter Address Map (P.311).
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
Data larger than 256 bytes will be divided into packets of 256 bytes or less, and each
packet will be sent at an interval of about 20 ms.
❍Portamento Time (Controller number 5)
Status
BnH
*
*
Regarding the checksum, please refer to P.329.
2nd byte
05H
3rd byte
vvH
Not received when the Receive Exclusive parameter (SYSTEM/MIDI) is OFF.
n = MIDI channel number:
vv = Portamento Time:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
❍Data Entry (Controller number 6, 38)
Status
BnH
2nd byte
06H
3rd byte
mmH
llH
BnH
26H
n = MIDI channel number: 0H - FH (ch.1 - 16)
mm, ll = the value of the parameter specified by RPN/NRPN
mm = MSB, ll = LSB
304
MIDI Implementation
❍Volume (Controller number 7)
❍General Purpose Controller 7 (Controller number 82)
Status
BnH
2nd byte
07H
3rd byte
vvH
Status
BnH
2nd byte
52H
3rd byte
vvH
n = MIDI channel number:
vv = Volume:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
*
In Performance mode, these messages are not transmitted when External Level
parameter (PERFORMANCE/PART) is OFF.
❍General Purpose Controller 8 (Controller number 83)
Status
BnH
2nd byte
53H
3rd byte
vvH
❍Panpot (Controller number 10)
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
Status
BnH
2nd byte
0AH
3rd byte
vvH
n = MIDI channel number:
vv = Panpot:
0H - FH (ch.1 - 16)
❍Portamento control (Controller number 84)
00H - 40H - 7FH (Left - Center - Right),
Status
BnH
2nd byte
54H
3rd byte
kkH
*
In Performance mode, these messages are not transmitted when External Pan parameter
(PERFORMANCE/PART) is OFF.
n = MIDI channel number:
kk = source note number:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
❍Expression (Controller number 11)
●Program Change
Status
BnH
2nd byte
0BH
3rd byte
vvH
Status
2nd byte
CnH
ppH
n = MIDI channel number:
vv = Expression:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
n = MIDI channel number:
pp = Program number:
0H - FH (ch.1 - 16)
00H - 7FH (prog.1 - prog.128)
❍Hold 1 (Controller number 64)
*
*
These messages are transmitted when Patch, Rhythm Set or Performance is selected. But
not transmitted when Transmit Program Change parameter (SYSTEM/MIDI) is OFF.
In Performance mode, these messages are not transmitted when External PC Num
parameter (PERFORMANCE/PART) is OFF.
Status
BnH
2nd byte
40H
3rd byte
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127) 0-63 = OFF, 64-127 = ON
●Channel Pressure
*
When Continuous Hold Pedal parameter (SYSTEM/PEDAL) is OFF, just only 00H (0FF)
and 7FH (0N) can be send as the control value.
Status
2nd byte
DnH
vvH
n = MIDI channel number:
vv = Channel Pressure:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
❍Portamento (Controller number 65)
Status
BnH
2nd byte
41H
3rd byte
vvH
●Pitch Bend Change
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
Status
2nd byte
3rd byte
00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
EnH
llH
mmH
n = MIDI channel number:
mm, ll = Pitch Bend value:
0H - FH (ch.1 - 16)
❍Resonance (Controller number 71)
00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)
Status
BnH
2nd byte
47H
3rd byte
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
00H - 40H - 7FH (-64 - 0 - +63)
■Channel Mode Messages
vv= Resonance value (relative change):
❍Release Time (Controller number 72)
●MONO (Controller number 126)
Status
BnH
2nd byte
48H
3rd byte
vvH
Status
2nd byte
3rd byte
BnH
7EH
mmH
n = MIDI channel number:
0H - FH (ch.1 - 16)
n = MIDI channel number:
mm = mono number:
0H - FH (ch.1 - 16)
00H - 10H (0 - 16)
vv = Release Time value (relative change):
00H - 40H - 7FH (-64 - 0 - +63)
❍Attack time (Controller number 73)
●POLY (Controller number 127)
Status
BnH
2nd byte
49H
3rd byte
vvH
Status
2nd byte
3rd byte
BnH
7FH
00H
n = MIDI channel number:
0H - FH (ch.1 - 16)
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Attack time value (relative change):
00H - 40H - 7FH (-64 - 0 - +63)
■System Realtime Messages
❍Cutoff (Controller number 74)
Status
BnH
2nd byte
4AH
3rd byte
vvH
●Active Sensing
Status
n = MIDI channel number:
0H - FH (ch.1 - 16)
00H - 40H - 7FH (-64 - 0 - +63)
vv = Cutoff value (relative change):
FEH
❍General Purpose Controller 5 (Controller number 80)
*
*
This message is transmitted at intervals of approximately 250 msec.
Status
BnH
2nd byte
50H
3rd byte
vvH
This message is not sent when Transmit Active Sensing parameter (SYSTEM/MIDI) is
OFF.
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
❍General Purpose Controller 6 (Controller number 81)
Status
BnH
2nd byte
51H
3rd byte
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
305
MIDI Implementation
●Data Transmission
■System Exclusive Messages
Universal Non-realtime System Exclusive Message” and Data Set 1 (DT1) are the only
System Exclusive messages transmitted by the Fantom-X.
❍Data set 1
Status
DT1
Data byte
Status
F7H
F0H
41H, dev, 00H, 6BH, 12H, aaH, bbH,
ccH, ddH, eeH, ... ffH, sum
●Universal Non-realtime System Exclusive Message
❍Identity Reply Message (Fantom-X6)
Receiving Identity Request Message, the Fantom-X6 send this message.
Byte
F0H
41H
dev
Explanation
Exclusive status
ID number (Roland)
Status
F0H
Data byte
Status
F7H
Device ID (dev: 00H - 1FH, 7FH)
Model ID #1 (Fantom-X6/X7/X8)
Model ID #2 (Fantom-X6/X7/X8)
Command ID (DT1)
7EH, dev, 06H, 02H, 41H, 6BH, 01H,
00H, 01H, 00H, 03H, 00H, 00H
00H
6BH
12H
aaH
Byte
Explanation
Address MSB: upper byte of the starting address of the data to be
sent
F0H
Exclusive status
7EH
ID number (Universal Non-realtime Message)
Device ID (dev: 10H - 1FH)
Sub ID#1 (General Information)
Sub ID#2 (Identity Reply)
bbH
ccH
ddH
eeH
Address:
upper middle byte of the starting address of the data
dev
to be sent
06H
Address:
lower middle byte of the starting address of the data
to be sent
02H
41H
ID number (Roland)
Address LSB: lower byte of the starting address of the data to be
sent.
6BH 01H
00H 01H
Device family code
Device family number code
Data:
the actual data to be sent. Multiple bytes of data are
transmitted in order starting from the address.
00H 03H 00H 00H Software revision level
F7H EOX (End of Exclusive)
:
:
ffH
sum
F7H
Data
❍Identity Reply Message (Fantom-X7)
Receiving Identity Request Message, the Fantom-X7 send this message.
Checksum
EOX (End Of Exclusive)
Status
F0H
Data byte
Status
F7H
*
*
The amount of data that can be transmitted at one time depends on the type of data, and
7EH, dev, 06H, 02H, 41H, 6BH, 01H,
00H, 01H, 01H, 03H, 00H, 00H
data will be transmitted from the specified starting address and size. Refer to the address
and size given in Parameter Address Map (P.311).
Data larger than 256 bytes will be divided into packets of 256 bytes or less, and each
packet will be sent at an interval of about 20 ms.
Byte
Explanation
F0H
Exclusive status
7EH
ID number (Universal Non-realtime Message)
Device ID (dev: 10H - 1FH)
Sub ID#1 (General Information)
Sub ID#2 (Identity Reply)
dev
06H
02H
41H
ID number (Roland)
6BH 01H
00H 01H
Device family code
Device family number code
01H 03H 00H 00H Software revision level
F7H EOX (End of Exclusive)
❍Identity Reply Message (Fantom-X8)
Receiving Identity Request Message, the Fantom-X8 send this message.
Status
F0H
Data byte
Status
F7H
7EH, dev, 06H, 02H, 41H, 6BH, 01H,
00H, 01H, 02H, 03H, 00H, 00H
Byte
Explanation
F0H
Exclusive status
7EH
ID number (Universal Non-realtime Message)
Device ID (dev: 10H - 1FH)
Sub ID#1 (General Information)
Sub ID#2 (Identity Reply)
dev
06H
02H
41H
ID number (Roland)
6BH 01H
00H 01H
Device family code
Device family number code
02H 03H 00H 00H Software revision level
F7H
EOX (End of Exclusive)
306
MIDI Implementation
■Channel Mode messages
3. Data reception (Sequencer Section)
●All Sound Off (Controller number 120)
3.1 Messages recorded during recording
Status
2nd byte
3rd byte
■Channel Voice Messages
BnH
78H
00H
n=MIDI channel number:
0H - FH (ch.1 - ch.16)
●Note Off
Status
2nd byte
kkH
3rd byte
vvH
●Reset All Controller (Controller number 121)
8nH
Status
2nd byte
3rd byte
9nH
kkH
00H
BnH
79H
00H
n=MIDI channel number:
kk=note number:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
00H - 7FH (0 - 127)
n=MIDI channel number:
0H - FH (ch.1 - ch.16)
vv=note off velocity:
●Omni Off (Controller number 124)
Status
*
Not received when the Note parameter (Recording Select window) is OFF.
2nd byte
3rd byte
BnH
7CH
00H
●Note on
n=MIDI channel number:
0H - FH (ch.1 - ch.16)
Status
2nd byte
kkH
3rd byte
9nH
vvH
*
The same processing will be done as when an All Note Off message is received.
n=MIDI channel number:
kk=note number:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
01H - 7FH (1 - 127)
●Omni On (Controller number 125)
vv=note on velocity:
Status
2nd byte
3rd byte
BnH
7DH
00H
*
Not received when the Note parameter (Recording Select window) is OFF.
n=MIDI channel number:
0H - FH (ch.1 - ch.16)
●Polyphonic Aftertouch
*
The same processing will be done as when an All Note Off message is received.
Status
2nd byte
3rd byte
AnH
kkH
vvH
●Mono (Controller number 126)
n=MIDI channel number:
kk=note number:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
00H - 7FH (0 - 127)
Status
2nd byte
3rd byte
BnH
7EH
mmH
vv=Polyphonic Aftertouch:
n=MIDI channel number:
mm=mono number:
0H - FH (ch.1 - ch.16)
00H - 10H (0 - 16)
*
Not received when the Poly Afertouch parameter (Recording Select window) is OFF.
●Control Change
*
The same processing will be done as when an All Note Off message is received.
Status
2nd byte
3rd byte
BnH
kkH
vvH
●Poly (Controller number 127)
n=MIDI channel number:
kk=Control number:
vv=value:
0H - FH (ch.1 - ch.16)
00H - 78H (0 - 120)
00H - 7FH (0 - 127)
Status
2nd byte
3rd byte
BnH
7FH
00H
n=MIDI channel number:
0H - FH (ch.1 - ch.16)
*
Not received when the Control Change parameter (Recording Select window) is OFF.
*
The same processing will be done as when an All Note Off message is received.
●Program Change
Status
2nd byte
CnH
ppH
n=MIDI channel number:
pp=Program number:
0H - FH (ch.1 - ch.16)
00H - 7FH (prog.1 - prog.128)
*
Not received when the Program Change parameter (Recording Select window) is OFF.
●Channel Aftertouch
Status
2nd byte
DnH
vvH
n=MIDI channel number:
vv=Channel Aftertouch:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
*
Not received when the Channel Aftertouch parameter (Recording Select window) is
OFF.
●Pitch Bend Change
Status
2nd byte
3rd byte
EnH
llH
mmH
n=MIDI channel number:
mm, ll=Pitch Bend value:
0H - FH (ch.1 - ch.16)
00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)
*
Not received when the Pitch Bend parameter (Recording Select window) is OFF.
307
MIDI Implementation
■System Exclusive Messages
3.2 Messages not recorded during recording
■Channel mode messages
Status
Data byte
Status
F0H
iiH, ddH, ......, eeH F7H
F0H:
System Exclusive message status
ii=ID number:
This is the ID number (manufacturer ID) that specifies the
manufacturer whose exclusive message this is. Roland’s manufacturer
ID is 41H. ID numbers 7EH and 7FH are defined in an expansion of
the MIDI standard as Universal Non-real-time messages (7EH) and
Universal Realtime Messages (7FH).
●Local On/Off (Controller number 122)
Status
2nd byte
3rd byte
BnH
7AH
vvH
n=MIDI channel number:
vv=Value:
0H - FH (ch.1 - ch.16)
00H, 7FH (Local Off, Local On)
dd,..., ee = data:
F7H:
00H - 7FH (0 - 127)
EOX (End of System Exclusive)
●All notes off (Controller number 123)
*
*
Not received when the System Exclusive parameter (Recording Select window) is OFF.
Status
2nd byte
3rd byte
MIDI Machine Control and MIDI Time code is not recorded. (Refer to “3.3 Messages
acknowledged for synchronization”)
BnH
7BH
00H
n=MIDI channel number:
0H - FH (ch.1 - ch.16)
*
When an All Note Off message is received, all notes of the corresponding channel that
are on will be sent Note Off’s, and the resulting Note Off messages will be recorded.
3.3 Messages acknowledged for synchronization
■System Common messages
●Tune Request
Status
F6H
●MIDI Time Code Quarter Frame Messages
MIDI Time Code Quarter Frame Messages can be transmitted while the sequencer is
running (Playing or Recording) if the Sync Mode parameter (System/Sync/Tempo) is
MASTER and MTC Sync Output parameter (System/Sync/Tempo) is ON. The transmitted
time counts are summed to MTC Offset Time parameter (System/Sync/Tempo) as the song
top is “00:00:00:00.”
The sequencer synchronizes with the time counts which are summed to MTC Offset Time
parameter (System/Sync/Tempo) as the song top is “00:00:00:00” if the Sync Mode
parameter (System/Sync/Tempo) is SLAVE(MTC).
Status
Second
F1H
mmH (= 0nnndddd)
nnn = Message type :
0 = Frame count LS nibble
1 = Frame count MS nibble
2 = Seconds count LS nibble
3 = Seconds count MS nibble
4 = Minutes count LS nibble
5 = Minutes count MS nibble
6 = Hours count LS nibble
7 = Hours count MS nibble
dddd = 4 bit nibble data : h - FH (0 - 15)
Bit Field is assigned as follows.
Frame Count
xxx
xxxyyyyy
Reserved (000)
Frame No.(0-29)
xxyyyyyy
xx
yyyyy
Seconds Count
Reserved (00)
Seconds (0-59)
yyyyyy
Minutes Count
Hours Count
xxyyyyyy
xx
Reserved (00)
yyyyyy
Minutes (0-59)
xyyzzzzz
x
Reserved (0)
yy
Time Code type
0 = 24 Frames / Sec
1 = 25 Frames / Sec
2 = 30 Frames / Sec (Drop Frame)
3 = 30 Frames / Sec (Non Drop Frame
zzzzz
Hours (0-23)
●Song Position Pointer
Status
2nd byte
3rd byte
llH
F2H
mmH
mm, ll=value:
00 00H - 7F 7FH (0 - 16383)
308
MIDI Implementation
■System Realtime Messages
■System Exclusive Message
●Timing Clock
Status
●MIDI Machine Control (MMC)
F8H
*
Received when the MMC Mode parameter (System/Sync/Tempo) is SLAVE.
*
Received when Sync Mode parameter (System/Sync/Tempo) is set to SLAVE-MIDI.
❍STOP (MCS)
Status
Data byte
Status
F7H
F0H
7FH, dev, 06H, 01H
●Start
Status
Byte
F0H
7FH
7FH
06H
01H
F7H
Remarks
FAH
Exclusive status
Universal System Exclusive Realtime Header
Device ID
*
Received when Sync Mode parameter (System/Sync/Tempo) is set to SLAVE-MIDI or
REMOTE.
MMC command message
STOP (MCS)
●Continue
Status
EOX (End of Exclusive)
FBH
❍DEFERRED PLAY (MCS)
Status
F0H
Data byte
Status
F7H
*
Received when Sync Mode parameter (System/Sync/Tempo) is set to SLAVE-MIDI or
REMOTE.
7FH, dev, 06H, 03H
Byte
F0H
7FH
7FH
06H
03H
F7H
Remarks
●Stop
Exclusive status
Status
Universal System Exclusive Realtime Header
Device ID
FCH
MMC command message
DEFERRED PLAY (MCS)
EOX (End of Exclusive)
*
Received when Sync Mode parameter (System/Sync/Tempo) is set to SLAVE-MIDI or
REMOTE.
❍LOCATE (MCP)
❍Format2—LOCATE [TARGET]
Status
F0H
Data byte
Status
F7H
7FH, dev, 06H, 44H, 06H, 01H,
hrH, mnH, scH, frH, ffH
Byte
F0H
7FH
7FH
06H
44H
06H
01H
hrH
mnH
scH
frH
Remarks
Exclusive status
Universal System Exclusive Realtime Header
Device ID
MMC command message
LOCATE (MCP)
Byte count
“TARGET” sub-Command
Standard Time Specification with subframes
ffH
F7H
EOX (End of Exclusive)
309
MIDI Implementation
■System Exclusive Message
4. Data transmission (Sequencer Section)
●MIDI Time code
4.1 Messages transmitted during playing
Recorded messages are transmitted during playback.
❍Full Message
Full Messages are used, which encode the complete time into a single message.
This message transmitted when the song position moves.
4.2 Soft Thru setting
Messages (except System Common and System Realtime Messages) that are received are
then sent out when Soft Thru parameter (System/Sync/Tempo) is switched to ON.
Status
Data Byte
Status
F7H
F0H, 7FH xxH, 01H, 01H, hrH, mnH, scH, frH
F0H, 7FH : Realtime Universal System Exclusive Header
4.3 Messages that are generated and transmitted
xxH :
01H :
7F (Device ID)
sub-ID #1 (MIDI Time code)
sub-ID #2 (Full Message)
hours and type: 0 yy zzzzz
4.3.1 Messages Appearing When Synchronizing
with Other Devices
01H :
hrH :
yy type:
00 = 24 Flame/sec
01 = 25 Flame/sec
10 = 30 Flame/sec
11 = 30 Flame/sec
Hours (00 - 23)
■System Common Messages
*
Sent when Sync Output parameter (System/Sync/Tempo) is set to ON.
●Song Position Pointer
zzzzz :
mnH :
scH :
Minutes (00 - 59)
Seconds (00 - 59)
Frames (00 - 29)
Status
2nd byte
3rd byte
llH
F2H
mmH
frH :
mm, ll=value:
00 00H - 7F 7FH (0 - 16383)
F7H :
EOX (End of Exclusive)
■System Realtime Messages
●MIDI Machine Control (MMC)
*
Sent when Sync Output parameter (System/Sync/Tempo) is set to ON.
*
Not received when the MMC Mode parameter (System/Sync/Tempo) is Master.
●Timing Clock
❍STOP (MCS)
Status
Status
Data byte
Status
F8H
F0H
7FH, dev, 06H, 01H F7H
●Start
Byte
F0H
7FH
7FH
06H
01H
F7H
Remarks
Status
Exclusive status
FAH
Universal System Exclusive Realtime Header
Device ID
●Continue
Status
MMC command message
STOP (MCS)
FBH
EOX (End of Exclusive)
❍DEFFERRED PLAY (MCS)
●Stop
Status
F0H
Data byte
Status
F7H
Status
7FH, dev, 06H, 03H
FCH
Byte
F0H
7FH
7FH
06H
03H
F7H
Remarks
●Quarter Frame Messages
Exclusive status
Status
2nd byte
Universal System Exclusive Realtime Header
Device ID
F1H
mmH (= 0nnndddd)
MMC command message
DEFERRED PLAY (MCS)
EOX (End of Exclusive)
*
Sent when Sync Mode parameter (System/Sync/Tempo) is set to MASTER and MTC
Sync Output parameter (System/Sync/Tempo) is set to ON. Furthermore, sending a
Quarter Frame Message with “00h00m00s00f00” at the beginning of the song adds the
MTC Offset Time parameter (System/Sync/Tempo).
❍LOCATE (MCP)
❍Format2—LOCATE [TARGET]
Status
F0H
Data byte
Status
7FH, dev, 06H, 44H, 06H, 01H, hrH, mnH, scH, frH, ffH F7H
Byte
F0H
7FH
7FH
06H
44H
06H
01H
hrH
mnH
scH
frH
Remarks
Exclusive status
Universal System Exclusive Realtime Header
Device ID
MMC command message
LOCATE (MCP)
Byte count
“TARGET” sub-Command
Standard Time Specification with subframes
ffH
F7H
EOX (End of Exclusive)
310
MIDI Implementation
|
Address |
Description
|
5. Parameter Address Map
|—————————————+————————————————————————————————————————————————————————————————|
|
00 00 00 | Chord Pattern
|
+——————————————————————————————————————————————————————————————————————————————+
*
Transmission of “#” marked address is divided to some packets. For example, ABH in
hexadecimal notation will be divided to 0AH and 0BH, and is sent/received in this order.
“<*>” marked address or parameters are ignored when the Fantom-X6/X7/X8 received
them.
❍Rhythm Group
+——————————————————————————————————————————————————————————————————————————————+
*
| Offset
|
|
|
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
|
00 00 00 | Rhythm Group
|
+——————————————————————————————————————————————————————————————————————————————+
1. Fantom-X6/X7/X8 (ModelID = 00H 6BH)
❍Setup
+——————————————————————————————————————————————————————————————————————————————+
+——————————————————————————————————————————————————————————————————————————————+
| Offset
| Start
|
|
|
|
|
|
|
Address |
Description
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
| 01 00 00 00 | Setup
|—————————————+————————————————————————————————————————————————————————————————|
| 02 00 00 00 | System
|—————————————+————————————————————————————————————————————————————————————————|
| 10 00 00 00 | Temporary Performance
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
00 00 | 0000 0aaa | Sound Mode
(0 - 5) |
PATCH, PERFORM, GM1, GM2, GS, PIANO<*> |
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
00 01 | 0aaa aaaa | Performance Bank Select MSB (CC# 0)
00 02 | 0aaa aaaa | Performance Bank Select LSB (CC# 32)
00 03 | 0aaa aaaa | Performance Program Number (PC)
(0 - 127) |
(0 - 127) |
(0 - 127) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| 11 00 00 00 | Temporary Patch/Rhythm (Performance Mode Part 1)
| 11 20 00 00 | Temporary Patch/Rhythm (Performance Mode Part 2)
|—————————————+———————————+————————————————————————————————————————————————————|
|
:
|
|
|
|
|
|
|
00 04 | 0aaa aaaa | Kbd Patch Bank Select MSB (CC# 0)
00 05 | 0aaa aaaa | Kbd Patch Bank Select LSB (CC# 32)
00 06 | 0aaa aaaa | Kbd Patch Program Number (PC)
00 07 | 0aaa aaaa | Pad Patch Bank Select MSB (CC# 0)
00 08 | 0aaa aaaa | Pad Patch Bank Select LSB (CC# 32)
00 09 | 0aaa aaaa | Pad Patch Program Number (PC)
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
| 14 60 00 00 | Temporary Patch/Rhythm (Performance Mode Part 16)
| 1E 00 00 00 | Temporary Rhythm Pattern
| 1E 01 00 00 | Temporary Arpeggio (Performance Mode)
| 1E 02 00 00 | Temporary Chord (Performance Mode)
| 1E 03 00 00 | Temporary Rhythm Group (Performance Mode)
| 1E 11 00 00 | Temporary Arpeggio (Patch Mode)
|—————————————+———————————+————————————————————————————————————————————————————|
| 1E 12 00 00 | Temporary Chord (Patch Mode)
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 0A | 0000 000a | MFX1 Switch
(0 - 1) |
| 1E 13 00 00 | Temporary Rhythm Group (Patch Mode)
| 1F 00 00 00 | Temporary Patch/Rhythm (Patch Mode Part 1)
| 1F 20 00 00 | Temporary Patch/Rhythm (Patch Mode Part 2)
|
|
BYPASS, ON
|
00 0B | 0000 000a | MFX2 Switch
(0 - 1) |
|
|
BYPASS, ON
|
+——————————————————————————————————————————————————————————————————————————————+
00 0C | 0000 000a | MFX3 Switch
(0 - 1) |
|
|
BYPASS, ON
|
❍System
00 0D | 0000 000a | Chorus Switch
(0 - 1) |
|
|
OFF, ON
|
+——————————————————————————————————————————————————————————————————————————————+
00 0E | 0000 000a | Reverb Switch
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON |
| Offset
|
|
|
|
|
|
|
Address |
Description
00 0F | 0000 000a | Input Effect Switch
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
|
00 00 00 | System Common
|
|
|
|
00 10 | 0000 000a | Patch Mode Chorus Source
(0 - 1) |
00 02 00 | System Mastering
00 03 00 | System External Input
00 40 00 | System Controller
|
|
KBD, PAD
|
00 11 | 0000 000a | Patch Mode Reverb Source
(0 - 1) |
|
|
KBD, PAD
|
+——————————————————————————————————————————————————————————————————————————————+
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
00 12 | 0000 aaaa | Transpose Value
(59 - 70) |
-5 - +6
(61 - 67) |
-3 - +3 |
❍Temporary Patch/Rhythm
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
00 13 | 0000 0aaa | Octave Shift
|
|
| Offset
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
Address |
Description
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
|
|
|
|
|
|
|
|
00 14 | 0000 0aaa | D Beam Select
(0 - 3) |
|—————————————+————————————————————————————————————————————————————————————————|
|
|
OFF, PAD-TRIG, SOLO-SYN, ASGN
|
|
|
00 00 00 | Temporary Patch
10 00 00 | Temporary Rhythm
|
|
00 15 | 0000 00aa | Knob Select
(0 - 3) |
|
|
OFF, FLT-ENV, ARP-RHY, ASGN
|
+——————————————————————————————————————————————————————————————————————————————+
00 16 | 0000 000a | (reserve) <*>
00 17 | 0aaa aaaa | Arp/Ptn Grid
|
(0 - 8) |
❍Performance
|
|
|
|
04_, 08_, 08L, 08H, 08t, |
16_, 16L, 16H, 16t
|
+——————————————————————————————————————————————————————————————————————————————+
00 18 | 0aaa aaaa | Arp/Ptn Duration
(0 - 9) |
| Offset
|
|
|
|
|
|
|
30, 40, 50, 60, 70, 80, 90, |
|
Address |
Description
100, 120, FUL
(0 - 1) |
OFF, ON |
|
|—————————————+————————————————————————————————————————————————————————————————|
00 19 | 0000 000a | Arpeggio Switch
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 00 | Performance Common
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 02 00 | Performance Common MFX1
00 04 00 | Performance Common Chorus
00 06 00 | Performance Common Reverb
00 08 00 | Performance Common MFX2
00 0A 00 | Performance Common MFX3
00 10 00 | Performance MIDI (Channel 1)
00 11 00 | Performance MIDI (Channel 2)
00 1A | 0aaa aaaa | Arpeggio Bank
(0 - 1) |
|
|
USER, PRESET
|
00 1B | 0aaa aaaa | Arpeggio Style
(0 - 127) |
|
|
1 - 128
|
00 1C | 0aaa aaaa | Arpeggio Motif
(0 - 11) |
UP/L, UP/H, UP/_, dn/L, dn/H, |
dn/_, Ud/L, Ud/H, Ud/_, rn/L, |
|
|
|
|
|
|
:
|
rn/_, PHRASE
(61 - 67) |
-3 - +3
(0 - 1) |
OFF, ON |
|
00 1F 00 | Performance MIDI (Channel 16)
00 20 00 | Performance Part (Part 1)
00 21 00 | Performance Part (Part 2)
00 1D | 0000 0aaa | Arpeggio Octave Range
|
|
|
00 1E | 0000 000a | Arpeggio Hold
:
|
|
|
00 2F 00 | Performance Part (Part 16)
00 50 00 | Performance Zone (Channel 1)
00 51 00 | Performance Zone (Channel 2)
00 1F | 0aaa aaaa | Arpeggio Accent Rate
00 20 | 0aaa aaaa | Arpeggio Velocity
(0 - 100) |
(0 - 127) |
|
|
REAL, 1 - 127
|
:
|
00 21 | 0000 000a | Rhythm Pattern Switch
(0 - 1) |
00 5F 00 | Performance Zone (Channel 16)
00 60 00 | Performance Controller
|
|
OFF, ON
|
00 22 | 0aaa aaaa | Rhythm Pattern Bank
(0 - 1) |
+——————————————————————————————————————————————————————————————————————————————+
|
|
USER, PRESET
|
|
00 23 | 0000 aaaa |
| 0000 bbbb | Rhythm Pattern Style
❍Patch
(0 - 255) |
|
|
1 - 256
|
+——————————————————————————————————————————————————————————————————————————————+
00 25 | 0000 000a | Rhythm Pattern Group Bank
(0 - 1) |
| Offset
|
|
|
|
|
USER, PRESET
|
|
Address |
Description
00 26 | 0aaa aaaa | Rhythm Pattern Group Number
(0 - 31) |
|—————————————+————————————————————————————————————————————————————————————————|
|
|
1 - 32
|
|
|
|
|
|
|
|
|
|
00 00 00 | Patch Common
|
|
|
|
|
|
|
|
|
00 27 | 0aaa aaaa | Rhythm Pattern Accent Rate
00 28 | 0aaa aaaa | Rhythm Pattern Velocity
(0 - 100) |
(0 - 127) |
00 02 00 | Patch Common MFX
00 04 00 | Patch Common Chorus
00 06 00 | Patch Common Reverb
00 10 00 | Patch TMT (Tone Mix Table)
00 20 00 | Patch Tone (Tone 1)
00 22 00 | Patch Tone (Tone 2)
00 24 00 | Patch Tone (Tone 3)
00 26 00 | Patch Tone (Tone 4)
|
|
REAL, 1 - 127
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
00 29 | 0000 000a | Chord Switch
(0 - 1) |
OFF, ON |
|
|
00 2A | 0aaa aaaa | Chord Bank
(0 - 1) |
|
|
USER, PRESET
|
00 2B | 00aa aaaa | Chord Form
(0 - 63) |
+——————————————————————————————————————————————————————————————————————————————+
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
00 2C | 0000 000a | Bender and Modulation Part Select
(0 - 1) |
❍Rhythm
|
|
KBD, PAD
|
00 2D | 0000 000a | Beam Part Select
(0 - 1) |
+——————————————————————————————————————————————————————————————————————————————+
|
|
KBD, PAD
|
| Offset
|
|
|
00 2E | 0000 000a | Knob Part Select
(0 - 1) |
|
Address |
Description
|
|
KBD, PAD
|
|—————————————+————————————————————————————————————————————————————————————————|
|—————————————+———————————+————————————————————————————————————————————————————|
|
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00 00 00 | Rhythm Common
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00 2F | 0000 000a | (reserve) <*>
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00 02 00 | Rhythm Common MFX
00 04 00 | Rhythm Common Chorus
00 06 00 | Rhythm Common Reverb
00 10 00 | Rhythm Tone (Key # 21)
00 12 00 | Rhythm Tone (Key # 22)
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00 30 | 0aaa aaaa | (reserve) <*>
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|—————————————+———————————+————————————————————————————————————————————————————|
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00 31 | 0000 000a | Rolled Chord
(0 - 1) |
OFF, ON |
:
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01 3E 00 | Rhythm Tone (Key # 108)
00 32 | 0000 00aa | Rolled Chord Type
(0 - 2) |
+——————————————————————————————————————————————————————————————————————————————+
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UP, DOWN, ALTERNATE
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00 33 | 00aa aaaa | Arpeggio Step
(0 - 32) |
❍Arpeggio
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AUTO, 1 - 32
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|—————————————+————————————————————————————————————————————————————————————————|
+——————————————————————————————————————————————————————————————————————————————+
| 00 00 00 34 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
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| Offset
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Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
❍System Common
+——————————————————————————————————————————————————————————————————————————————+
| Offset
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00 00 00 | Arpeggio Common
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00 10 00 | Arpeggio Pattern (Note 1)
00 11 00 | Arpeggio Pattern (Note 2)
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:
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Address |
Description
00 1F 00 | Arpeggio Pattern (Note 16)
|—————————————+————————————————————————————————————————————————————————————————|
+——————————————————————————————————————————————————————————————————————————————+
|#
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00 00 | 0000 aaaa |
| 0000 bbbb |
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❍Chord
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| 0000 cccc |
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| 0000 dddd | Master Tune
(24 - 2024) |
+——————————————————————————————————————————————————————————————————————————————+
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-100.0 - 100.0 [cent]
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| Offset
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311
MIDI Implementation
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00 04 | 00aa aaaa | Master Key Shift
(40 - 88) |
-24 - +24 |
❍System External Input
+——————————————————————————————————————————————————————————————————————————————+
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00 05 | 0aaa aaaa | Master Level
(0 - 127) |
(0 - 1) |
00 06 | 0000 000a | Scale Tune Switch
| Offset
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OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
MIX, PARALLEL |
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Address |
Description
00 07 | 0000 000a | Patch Remain
|—————————————+————————————————————————————————————————————————————————————————|
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00 00 | 0aaa aaaa | External Dry Send Level
00 01 | 0aaa aaaa | External Chorus Send Level
00 02 | 0aaa aaaa | External Reverb Send Level
00 03 | 0000 aaaa | External Output Assign
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 1) |
00 08 | 0000 000a | Mix/Parallel
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|—————————————+———————————+————————————————————————————————————————————————————|
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00 09 | 000a aaaa | Performance Control Channel
(0 - 16) |
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MFX, DRY
(0 - 2) |
MFX1, MFX2, MFX3 |
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1 - 16, OFF
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00 04 | 0000 00aa | External Output MFX Select
00 0A | 0000 aaaa | Kbd Patch Rx/Tx Channel
(0 - 15) |
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1 - 16
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|—————————————+———————————+————————————————————————————————————————————————————|
| 00 05 | 0000 aaaa | Input Effect Type (1 - 6) |
|—————————————+———————————+————————————————————————————————————————————————————|
00 0B | 0000 aaaa | Pad Patch Rx/Tx Channel
(0 - 15) |
1 - 16
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|—————————————+———————————+————————————————————————————————————————————————————|
00 0C | 0aaa aaaa | Patch Scale Tune for C (0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
|—————————————+———————————+————————————————————————————————————————————————————|
|#
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00 06 | 0000 aaaa |
| 0000 bbbb |
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| 0000 cccc |
00 0D | 0aaa aaaa | Patch Scale Tune for C#
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| 0000 dddd | Input Effect Parameter 1
(12768 - 52768) |
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-20000 - +20000
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00 0E | 0aaa aaaa | Patch Scale Tune for D
|#
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00 0A | 0000 aaaa |
| 0000 bbbb |
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00 0F | 0aaa aaaa | Patch Scale Tune for D#
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| 0000 cccc |
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| 0000 dddd | Input Effect Parameter 2
(12768 - 52768) |
00 10 | 0aaa aaaa | Patch Scale Tune for E
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-20000 - +20000
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|#
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00 0E | 0000 aaaa |
| 0000 bbbb |
00 11 | 0aaa aaaa | Patch Scale Tune for F
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| 0000 cccc |
00 12 | 0aaa aaaa | Patch Scale Tune for F#
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| 0000 dddd | Input Effect Parameter 3
(12768 - 52768) |
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-20000 - +20000
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00 13 | 0aaa aaaa | Patch Scale Tune for G
|#
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00 12 | 0000 aaaa |
| 0000 bbbb |
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00 14 | 0aaa aaaa | Patch Scale Tune for G#
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| 0000 cccc |
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| 0000 dddd | Input Effect Parameter 4
(12768 - 52768) |
00 15 | 0aaa aaaa | Patch Scale Tune for A
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-20000 - +20000
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|#
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00 16 | 0000 aaaa |
| 0000 bbbb |
00 16 | 0aaa aaaa | Patch Scale Tune for A#
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| 0000 cccc |
00 17 | 0aaa aaaa | Patch Scale Tune for B
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| 0000 dddd | Input Effect Parameter 5
(12768 - 52768) |
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-20000 - +20000
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|#
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00 1A | 0000 aaaa |
| 0000 bbbb |
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00 18 | 0aaa aaaa | System Control 1 Source
(0 - 97) |
OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT
(0 - 97) |
OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT
(0 - 97) |
OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT
(0 - 97) |
OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT
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| 0000 cccc |
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| 0000 dddd | Input Effect Parameter 6
(12768 - 52768) |
00 19 | 0aaa aaaa | System Control 2 Source
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-20000 - +20000
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|#
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00 1E | 0000 aaaa |
| 0000 bbbb |
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00 1A | 0aaa aaaa | System Control 3 Source
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| 0000 cccc |
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| 0000 dddd | Input Effect Parameter 7
(12768 - 52768) |
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-20000 - +20000
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00 1B | 0aaa aaaa | System Control 4 Source
|#
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00 22 | 0000 aaaa |
| 0000 bbbb |
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| 0000 cccc |
|—————————————+———————————+————————————————————————————————————————————————————|
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| 0000 dddd | Input Effect Parameter 8
(12768 - 52768) |
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00 1C | 0000 000a | Receive Program Change
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
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-20000 - +20000
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|#
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00 26 | 0000 aaaa |
| 0000 bbbb |
00 1D | 0000 000a | Receive Bank Select
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| 0000 cccc |
|—————————————+————————————————————————————————————————————————————————————————|
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| 0000 dddd | Input Effect Parameter 9
(12768 - 52768) |
| 00 00 00 1E | Total Size
+——————————————————————————————————————————————————————————————————————————————+
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-20000 - +20000
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|#
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00 2A | 0000 aaaa |
| 0000 bbbb |
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| 0000 cccc |
❍System Mastering
+——————————————————————————————————————————————————————————————————————————————+
| Offset
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| 0000 dddd | Input Effect Parameter 10
(12768 - 52768) |
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-20000 - +20000
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|#
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00 2E | 0000 aaaa |
| 0000 bbbb |
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
00 00 | 0000 000a | Mastering Switch (0 - 1) |
OFF, ON
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| 0000 cccc |
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| 0000 dddd | Input Effect Parameter 11
(12768 - 52768) |
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-20000 - +20000
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00 01 | 0aaa aaaa | Low band Attack time
00 02 | 0aaa aaaa | Low band Release time
00 03 | 00aa aaaa | Low band Threshold
(0 - 100) |
(0 - 100) |
|#
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00 32 | 0000 aaaa |
| 0000 bbbb |
(0 - 36) |
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| 0000 cccc |
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-36, -35, -34, -33, -32, -31, |
-30, -29, -28, -27, -26, -25, |
-24, -23, -22, -21, -20, -19, |
-18, -17, -16, -15, -14, -13, |
-12, -11, -10, -9, -8, -7, |
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| 0000 dddd | Input Effect Parameter 12
(12768 - 52768) |
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-20000 - +20000
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|#
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00 36 | 0000 aaaa |
| 0000 bbbb |
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| 0000 cccc |
-6, -5, -4, -3, -2, -1, 0 [dB]
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| 0000 dddd | Input Effect Parameter 13
(12768 - 52768) |
00 04 | 0000 aaaa | Low band Ratio
(0 - 13) |
1:1.0, 1:1.1, 1:1.2, 1:1.4, |
1:1.6, 1:1.8, 1:2.0, 1:2.5, |
1:3.2, 1:4.0, 1:5.6, 1:8.0, |
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-20000 - +20000
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|#
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00 3A | 0000 aaaa |
| 0000 bbbb |
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| 0000 cccc |
1:16, 1:INF
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| 0000 dddd | Input Effect Parameter 14
(12768 - 52768) |
00 05 | 000a aaaa | Low band Level
(0 - 24) |
0, 1, 2, 3, 4, 5, 6, 7, 8, |
9, 10, 11, 12, 13, 14, 15, |
16, 17, 18, 19, 20, 21, 22, |
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-20000 - +20000
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|#
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00 3E | 0000 aaaa |
| 0000 bbbb |
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| 0000 cccc |
23, 24 [dB]
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| 0000 dddd | Input Effect Parameter 15
(12768 - 52768) |
00 06 | 0aaa aaaa | Mid band Attack time
00 07 | 0aaa aaaa | Mid band Release time
00 08 | 00aa aaaa | Mid band Threshold
(0 - 100) |
(0 - 100) |
(0 - 36) |
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-20000 - +20000
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|#
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00 42 | 0000 aaaa |
| 0000 bbbb |
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-36, -35, -34, -33, -32, -31, |
-30, -29, -28, -27, -26, -25, |
-24, -23, -22, -21, -20, -19, |
-18, -17, -16, -15, -14, -13, |
-12, -11, -10, -9, -8, -7, |
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| 0000 cccc |
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| 0000 dddd | Input Effect Parameter 16
(12768 - 52768) |
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-20000 - +20000
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|#
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00 46 | 0000 aaaa |
| 0000 bbbb |
-6, -5, -4, -3, -2, -1, 0 [dB]
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| 0000 cccc |
00 09 | 0000 aaaa | Mid band Ratio
(0 - 13) |
1:1.0, 1:1.1, 1:1.2, 1:1.4, |
1:1.6, 1:1.8, 1:2.0, 1:2.5, |
1:3.2, 1:4.0, 1:5.6, 1:8.0, |
|
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| 0000 dddd | Input Effect Parameter 17
(12768 - 52768) |
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-20000 - +20000
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|#
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00 4A | 0000 aaaa |
| 0000 bbbb |
1:16, 1:INF
|
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| 0000 cccc |
00 0A | 000a aaaa | Mid band Level
(0 - 24) |
0, 1, 2, 3, 4, 5, 6, 7, 8, |
9, 10, 11, 12, 13, 14, 15, |
16, 17, 18, 19, 20, 21, 22, |
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| 0000 dddd | Input Effect Parameter 18
(12768 - 52768) |
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-20000 - +20000
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|#
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00 4E | 0000 aaaa |
| 0000 bbbb |
23, 24 [dB]
|
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| 0000 cccc |
00 0B | 0aaa aaaa | High band Attack time
00 0C | 0aaa aaaa | High band Release time
00 0D | 00aa aaaa | High band Threshold
(0 - 100) |
(0 - 100) |
(0 - 36) |
|
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| 0000 dddd | Input Effect Parameter 19
(12768 - 52768) |
|
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-20000 - +20000
|
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|#
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00 52 | 0000 aaaa |
| 0000 bbbb |
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-36, -35, -34, -33, -32, -31, |
-30, -29, -28, -27, -26, -25, |
-24, -23, -22, -21, -20, -19, |
-18, -17, -16, -15, -14, -13, |
-12, -11, -10, -9, -8, -7, |
|
| 0000 cccc |
|
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| 0000 dddd | Input Effect Parameter 20
(12768 - 52768) |
-20000 - +20000 |
|
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|—————————————+————————————————————————————————————————————————————————————————|
-6, -5, -4, -3, -2, -1, 0 [dB]
|
| 00 00 00 56 | Total Size
|
00 0E | 0000 aaaa | High band Ratio
(0 - 13) |
1:1.0, 1:1.1, 1:1.2, 1:1.4, |
1:1.6, 1:1.8, 1:2.0, 1:2.5, |
1:3.2, 1:4.0, 1:5.6, 1:8.0, |
+——————————————————————————————————————————————————————————————————————————————+
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❍System Controller
+——————————————————————————————————————————————————————————————————————————————+
1:16, 1:INF
|
00 0F | 000a aaaa | High band Level
(0 - 24) |
0, 1, 2, 3, 4, 5, 6, 7, 8, |
9, 10, 11, 12, 13, 14, 15, |
16, 17, 18, 19, 20, 21, 22, |
| Offset
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Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
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00 00 | 0000 000a | Transmit Program Change
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON |
23, 24 [dB]
|
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00 10 | 0000 0aaa | Split Freq Low
(0 - 6) |
00 01 | 0000 000a | Transmit Bank Select
|
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200, 250, 315, 400, 500, |
|
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630, 800 [Hz]
|
00 02 | 0aaa aaaa | Keyboard Velocity
(0 - 127) |
00 11 | 0000 0aaa | Split Freq High
(0 - 6) |
|
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REAL, 1 - 127
|
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|
2000, 2500, 3150, 4000, 5000, |
00 03 | 0000 00aa | Keyboard Sens
(0 - 2) |
6300, 8000 [Hz]
|
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LIGHT, MEDIUM, HEAVY
|
|—————————————+————————————————————————————————————————————————————————————————|
00 04 | 0aaa aaaa | Aftertouch Sens
(0 - 100) |
| 00 00 00 12 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
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00 05 | 0000 0aaa | Hold Pedal Polarity
(0 - 1) |
STANDARD, REVERSE |
|
|
312
MIDI Implementation
|
|
00 06 | 0000 000a | Continuous Hold Pedal
(0 - 1) |
OFF, ON
|
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00 42 | 0aaa aaaa | Pad 13 Velocity
(0 - 127) |
|
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REAL, 1 - 127
|
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|—————————————+———————————+————————————————————————————————————————————————————|
00 43 | 0aaa aaaa | (reserve) <*>
|
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00 07 | 0aaa aaaa | Pedal Assign
(0 - 111) |
CC01 - CC31, CC33 - CC95, |
BEND-UP, BEND-DOWN, AFT, |
OCT-UP, OCT-DOWN, |
00 44 | 0aaa aaaa | Pad 14 Note Number
(0 - 127) |
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C-1 - G9
|
00 45 | 0aaa aaaa | Pad 14 Velocity
(0 - 127) |
|
|
REAL, 1 - 127
|
|
START/STOP, PUNCH-I/O, TAP-TEMPO, |
PROG-UP, PROG-DOWN, |
00 46 | 0aaa aaaa | (reserve) <*>
00 47 | 0aaa aaaa | Pad 15 Note Number
(0 - 127) |
FAV-UP, FAV-DOWN, ARP-RHY-SW, |
RHY-START/STOP, CHD-SW, |
|
|
C-1 - G9
|
00 48 | 0aaa aaaa | Pad 15 Velocity
(0 - 127) |
AFAV-UP, AFAV-DOWN, SEQ-LOOP
(0 - 1) |
STANDARD, REVERSE
|
|
|
REAL, 1 - 127
|
|
00 08 | 0000 0aaa | Pedal Polarity
00 49 | 0aaa aaaa | (reserve) <*>
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00 4A | 0aaa aaaa | Pad 16 Note Number
(0 - 127) |
C-1 - G9
|—————————————+———————————+————————————————————————————————————————————————————|
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00 09 | 0000 aaaa | Beam Sens
00 0A | 0aaa aaaa | Beam Assign
(1 - 10) |
(0 - 104) |
CC01 - CC31, CC33 - CC95, |
BEND-UP, BEND-DOWN, |
00 4B | 0aaa aaaa | Pad 16 Velocity
(0 - 127) |
REAL, 1 - 127 |
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|
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 4C | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
START/STOP, TAP-TEMPO, |
ARP-GRID, ARP-DUR, ARP-MOTIF, |
ARP-OCT-UP, ARP-OCT-DW, ARP-STEP, |
❍Performance Common
+——————————————————————————————————————————————————————————————————————————————+
| Offset
AFT
|
00 0B | 0aaa aaaa | Beam Range Lower
(0 - 127) |
|
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00 0C | 0aaa aaaa | Beam Range Upper
00 0D | 0000 aaaa | Beam Trigger Pad
(0 - 127) |
(0 - 15) |
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
00 00 | 0aaa aaaa | Performance Name 1 (32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
|—————————————+———————————+————————————————————————————————————————————————————|
|
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1 - 16
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00 0E | 0aaa aaaa | Beam Trigger Velo
00 0F | 0aaa aaaa | Beam Trigger Mode
(1 - 127) |
(0 - 1) |
|
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00 01 | 0aaa aaaa | Performance Name 2
|
|
MOMENTARY, LATCH
|
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|—————————————+———————————+————————————————————————————————————————————————————|
00 02 | 0aaa aaaa | Performance Name 3
|
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00 10 | 0aaa aaaa | Knob 1 Assign
(0 - 103) |
CC01 - CC31, CC33 - CC95, |
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00 03 | 0aaa aaaa | Performance Name 4
BEND, AFT, ARP-STYLE, ARP-GRID, |
ARP-DUR, ARP-MOTIF, CHORD-FORM, |
MASTER-LEVEL, ARP-STEP, DIGI-IN
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00 04 | 0aaa aaaa | Performance Name 5
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00 11 | 0aaa aaaa | Knob 2 Assign
(0 - 103) |
CC01 - CC31, CC33 - CC95, |
00 05 | 0aaa aaaa | Performance Name 6
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BEND, AFT, ARP-STYLE, ARP-GRID, |
ARP-DUR, ARP-MOTIF, CHORD-FORM, |
MASTER-LEVEL, ARP-STEP, DIGI-IN
00 06 | 0aaa aaaa | Performance Name 7
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00 07 | 0aaa aaaa | Performance Name 8
00 12 | 0aaa aaaa | Knob 3 Assign
(0 - 103) |
CC01 - CC31, CC33 - CC95, |
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00 08 | 0aaa aaaa | Performance Name 9
BEND, AFT, ARP-STYLE, ARP-GRID, |
ARP-DUR, ARP-MOTIF, CHORD-FORM, |
MASTER-LEVEL, ARP-STEP, DIGI-IN
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00 09 | 0aaa aaaa | Performance Name 10
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00 13 | 0aaa aaaa | Knob 4 Assign
(0 - 103) |
CC01 - CC31, CC33 - CC95, |
00 0A | 0aaa aaaa | Performance Name 11
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BEND, AFT, ARP-STYLE, ARP-GRID, |
ARP-DUR, ARP-MOTIF, CHORD-FORM, |
MASTER-LEVEL, ARP-STEP, DIGI-IN
00 0B | 0aaa aaaa | Performance Name 12
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|—————————————+———————————+————————————————————————————————————————————————————|
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00 0C | 00aa aaaa | Solo Part Select
(0 - 16) |
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00 14 | 0aaa aaaa | Switch 1 Assign
(0 - 13) |
TRNS-DW, TRNS-UP, TAP-TEMPO, |
MONO/POLY, PORTAMENTO, HOLD1, |
MFX1-SW, MFX2-SW, MFX3-SW, |
CHO-SW, REV-SW, MAS-SW, |
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OFF, 1 - 16
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00 0D | 000a aaaa | MFX1 Control Channel
(0 - 16) |
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1 - 16, OFF
|
00 0E | 0000 000a | (reserve) <*>
(1 - 0) |
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(1 - 0) |
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SEQ-LOOP, RHY-START/STOP
|
00 0F | 0000 000a | (reserve) <*>
00 15 | 0aaa aaaa | Switch 2 Assign
(0 - 13) |
TRNS-DW, TRNS-UP, TAP-TEMPO, |
MONO/POLY, PORTAMENTO, HOLD1, |
MFX1-SW, MFX2-SW, MFX3-SW, |
CHO-SW, REV-SW, MAS-SW, |
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|—————————————+———————————+————————————————————————————————————————————————————|
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00 10 | 0aaa aaaa | Voice Reserve 1
(0 - 64) |
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0 - 63, FULL
|
00 11 | 0aaa aaaa | Voice Reserve 2
(0 - 64) |
SEQ-LOOP, RHY-START/STOP
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0 - 63, FULL
|
|—————————————+———————————+————————————————————————————————————————————————————|
00 12 | 0aaa aaaa | Voice Reserve 3
(0 - 64) |
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00 16 | 0aaa aaaa | Pad Velocity
(0 - 127) |
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0 - 63, FULL
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REAL, 1 - 127
|
00 13 | 0aaa aaaa | Voice Reserve 4
(0 - 64) |
00 17 | 0000 00aa | Pad Sens
(0 - 2) |
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0 - 63, FULL
|
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LIGHT, MEDIUM, HEAVY
|
(0 - 100) |
(0 - 7) |
00 14 | 0aaa aaaa | Voice Reserve 5
(0 - 64) |
00 18 | 0aaa aaaa | Pad Aftertouch Sens
00 19 | 0000 aaaa | Pad Roll Resolution
|
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0 - 63, FULL
|
00 15 | 0aaa aaaa | Voice Reserve 6
(0 - 64) |
|—————————————+———————————+————————————————————————————————————————————————————|
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0 - 63, FULL
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00 1A | 0aaa aaaa | (reserve) <*>
00 1B | 0aaa aaaa | (reserve) <*>
00 1C | 0aaa aaaa | (reserve) <*>
00 1D | 0aaa aaaa | Pad 1 Note Number
|
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00 16 | 0aaa aaaa | Voice Reserve 7
(0 - 64) |
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0 - 63, FULL
|
00 17 | 0aaa aaaa | Voice Reserve 8
(0 - 64) |
(0 - 127) |
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0 - 63, FULL
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C-1 - G9
|
00 18 | 0aaa aaaa | Voice Reserve 9
(0 - 64) |
00 1E | 0aaa aaaa | Pad 1 Velocity
(0 - 127) |
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0 - 63, FULL
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REAL, 1 - 127
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00 19 | 0aaa aaaa | Voice Reserve 10
(0 - 64) |
00 1F | 0aaa aaaa | (reserve) <*>
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0 - 63, FULL
|
00 20 | 0aaa aaaa | Pad 2 Note Number
(0 - 127) |
00 1A | 0aaa aaaa | Voice Reserve 11
(0 - 64) |
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C-1 - G9
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0 - 63, FULL
|
00 21 | 0aaa aaaa | Pad 2 Velocity
(0 - 127) |
00 1B | 0aaa aaaa | Voice Reserve 12
(0 - 64) |
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REAL, 1 - 127
|
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0 - 63, FULL
|
00 22 | 0aaa aaaa | (reserve) <*>
00 1C | 0aaa aaaa | Voice Reserve 13
(0 - 64) |
00 23 | 0aaa aaaa | Pad 3 Note Number
(0 - 127) |
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0 - 63, FULL
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C-1 - G9
|
00 1D | 0aaa aaaa | Voice Reserve 14
(0 - 64) |
00 24 | 0aaa aaaa | Pad 3 Velocity
(0 - 127) |
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0 - 63, FULL
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REAL, 1 - 127
|
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00 1E | 0aaa aaaa | Voice Reserve 15
(0 - 64) |
00 25 | 0aaa aaaa | (reserve) <*>
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0 - 63, FULL
|
00 26 | 0aaa aaaa | Pad 4 Note Number
(0 - 127) |
00 1F | 0aaa aaaa | Voice Reserve 16
(0 - 64) |
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C-1 - G9
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0 - 63, FULL
|
00 27 | 0aaa aaaa | Pad 4 Velocity
(0 - 127) |
00 20 | 0aaa aaaa | (reserve) <*>
(0 - 64) |
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REAL, 1 - 127
|
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00 28 | 0aaa aaaa | (reserve) <*>
00 21 | 0aaa aaaa | (reserve) <*>
(0 - 64) |
00 29 | 0aaa aaaa | Pad 5 Note Number
(0 - 127) |
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C-1 - G9
|
00 22 | 0aaa aaaa | (reserve) <*>
(0 - 64) |
00 2A | 0aaa aaaa | Pad 5 Velocity
(0 - 127) |
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REAL, 1 - 127
|
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00 23 | 0aaa aaaa | (reserve) <*>
(0 - 64) |
00 2B | 0aaa aaaa | (reserve) <*>
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00 2C | 0aaa aaaa | Pad 6 Note Number
(0 - 127) |
00 24 | 0aaa aaaa | (reserve) <*>
(0 - 64) |
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C-1 - G9
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00 2D | 0aaa aaaa | Pad 6 Velocity
(0 - 127) |
00 25 | 0aaa aaaa | (reserve) <*>
(0 - 64) |
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REAL, 1 - 127
|
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00 2E | 0aaa aaaa | (reserve) <*>
00 26 | 0aaa aaaa | (reserve) <*>
(0 - 64) |
00 2F | 0aaa aaaa | Pad 7 Note Number
(0 - 127) |
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C-1 - G9
|
00 27 | 0aaa aaaa | (reserve) <*>
(0 - 64) |
00 30 | 0aaa aaaa | Pad 7 Velocity
(0 - 127) |
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REAL, 1 - 127
|
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00 28 | 0aaa aaaa | (reserve) <*>
(0 - 64) |
00 31 | 0aaa aaaa | (reserve) <*>
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00 32 | 0aaa aaaa | Pad 8 Note Number
(0 - 127) |
00 29 | 0aaa aaaa | (reserve) <*>
(0 - 64) |
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C-1 - G9
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00 33 | 0aaa aaaa | Pad 8 Velocity
(0 - 127) |
00 2A | 0aaa aaaa | (reserve) <*>
(0 - 64) |
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REAL, 1 - 127
|
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00 34 | 0aaa aaaa | (reserve) <*>
00 2B | 0aaa aaaa | (reserve) <*>
(0 - 64) |
00 35 | 0aaa aaaa | Pad 9 Note Number
(0 - 127) |
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C-1 - G9
|
00 2C | 0aaa aaaa | (reserve) <*>
(0 - 64) |
00 36 | 0aaa aaaa | Pad 9 Velocity
(0 - 127) |
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REAL, 1 - 127
|
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00 2D | 0aaa aaaa | (reserve) <*>
(0 - 64) |
00 37 | 0aaa aaaa | (reserve) <*>
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00 38 | 0aaa aaaa | Pad 10 Note Number
(0 - 127) |
00 2E | 0aaa aaaa | (reserve) <*>
(0 - 64) |
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C-1 - G9
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(0 - 64) |
|
00 39 | 0aaa aaaa | Pad 10 Velocity
(0 - 127) |
00 2F | 0aaa aaaa | (reserve) <*>
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REAL, 1 - 127
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00 3A | 0aaa aaaa | (reserve) <*>
|—————————————+———————————+————————————————————————————————————————————————————|
00 3B | 0aaa aaaa | Pad 11 Note Number
(0 - 127) |
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00 30 | 00aa aaaa | MFX1 Source
(0 - 16) |
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C-1 - G9
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PERFORM, 1 - 16
|
00 3C | 0aaa aaaa | Pad 11 Velocity
(0 - 127) |
00 31 | 00aa aaaa | MFX2 Source
(0 - 16) |
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REAL, 1 - 127
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PERFORM, 1 - 16
|
00 3D | 0aaa aaaa | (reserve) <*>
00 32 | 00aa aaaa | MFX3 Source
(0 - 16) |
00 3E | 0aaa aaaa | Pad 12 Note Number
(0 - 127) |
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|
PERFORM, 1 - 16
|
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C-1 - G9
|
00 33 | 00aa aaaa | Chorus Source
(0 - 16) |
00 3F | 0aaa aaaa | Pad 12 Velocity
(0 - 127) |
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PERFORM, 1 - 16
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REAL, 1 - 127
|
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00 34 | 00aa aaaa | Reverb Source
(0 - 16) |
00 40 | 0aaa aaaa | (reserve) <*>
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|
PERFORM, 1 - 16
|
00 41 | 0aaa aaaa | Pad 13 Note Number
(0 - 127) |
C-1 - G9
|—————————————+———————————+————————————————————————————————————————————————————|
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00 35 | 00aa aaaa | MFX2 Control Channel
(0 - 16) |
313
MIDI Implementation
|
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1 - 16, OFF
|
|
| 0000 bbbb |
|
|
00 36 | 00aa aaaa | MFX3 Control Channel
(0 - 16) |
|
| 0000 cccc |
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|
1 - 16, OFF
|
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|
| 0000 dddd | MFX Parameter 18
(12768 - 52768) |
00 37 | 0000 aaaa | MFX Structure
(0 - 15) |
1 - 16
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|
-20000 - +20000
|
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|#
|
00 59 | 0000 aaaa |
| 0000 bbbb |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 38 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
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| 0000 cccc |
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| 0000 dddd | MFX Parameter 19
(12768 - 52768) |
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-20000 - +20000
|
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|#
|
00 5D | 0000 aaaa |
| 0000 bbbb |
❍Performance Common MFX
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
| 0000 cccc |
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| 0000 dddd | MFX Parameter 20
(12768 - 52768) |
|
Address |
Description
|
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-20000 - +20000
|
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|
|—————————————+————————————————————————————————————————————————————————————————|
|#
|
00 61 | 0000 aaaa |
| 0000 bbbb |
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00 00 | 0aaa aaaa | MFX Type
(0 - 78) |
0 - 127
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 3) |
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|
| 0000 cccc |
00 01 | 0aaa aaaa | MFX Dry Send Level
00 02 | 0aaa aaaa | MFX Chorus Send Level
00 03 | 0aaa aaaa | MFX Reverb Send Level
00 04 | 0000 00aa | MFX Output Assign
|
| 0000 dddd | MFX Parameter 21
(12768 - 52768) |
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|
-20000 - +20000
|
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|
|#
|
00 65 | 0000 aaaa |
| 0000 bbbb |
|
|
A, B, ---, ---
|
|
| 0000 cccc |
|—————————————+———————————+————————————————————————————————————————————————————|
|
| 0000 dddd | MFX Parameter 22
(12768 - 52768) |
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00 05 | 0aaa aaaa | MFX Control 1 Source
(0 - 101) |
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-20000 - +20000
|
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OFF, CC01 - CC31, CC33 - CC95, |
|#
|
00 69 | 0000 aaaa |
| 0000 bbbb |
BEND, AFT, SYS1 - SYS4
|
00 06 | 0aaa aaaa | MFX Control 1 Sens
(1 - 127) |
|
| 0000 cccc |
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-63 - +63
|
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| 0000 dddd | MFX Parameter 23
(12768 - 52768) |
00 07 | 0aaa aaaa | MFX Control 2 Source
(0 - 101) |
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-20000 - +20000
|
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OFF, CC01 - CC31, CC33 - CC95, |
|#
|
00 6D | 0000 aaaa |
| 0000 bbbb |
BEND, AFT, SYS1 - SYS4
|
00 08 | 0aaa aaaa | MFX Control 2 Sens
(1 - 127) |
|
| 0000 cccc |
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|
-63 - +63
|
|
| 0000 dddd | MFX Parameter 24
(12768 - 52768) |
00 09 | 0aaa aaaa | MFX Control 3 Source
(0 - 101) |
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-20000 - +20000
|
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OFF, CC01 - CC31, CC33 - CC95, |
|#
|
00 71 | 0000 aaaa |
| 0000 bbbb |
BEND, AFT, SYS1 - SYS4
|
00 0A | 0aaa aaaa | MFX Control 3 Sens
(1 - 127) |
|
| 0000 cccc |
|
|
-63 - +63
|
|
| 0000 dddd | MFX Parameter 25
(12768 - 52768) |
00 0B | 0aaa aaaa | MFX Control 4 Source
(0 - 101) |
|
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|
-20000 - +20000
|
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|
OFF, CC01 - CC31, CC33 - CC95, |
|#
|
00 75 | 0000 aaaa |
| 0000 bbbb |
BEND, AFT, SYS1 - SYS4
(1 - 127) |
-63 - +63
|
00 0C | 0aaa aaaa | MFX Control 4 Sens
|
| 0000 cccc |
|
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|
|
| 0000 dddd | MFX Parameter 26
(12768 - 52768) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
-20000 - +20000
|
|
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|
|
00 0D | 000a aaaa | MFX Control Assign 1
(0 - 16) |
|#
|
00 79 | 0000 aaaa |
| 0000 bbbb |
|
|
|
OFF, 1 - 16
|
|
00 0E | 000a aaaa | MFX Control Assign 2
(0 - 16) |
|
| 0000 cccc |
|
|
|
OFF, 1 - 16
|
|
| 0000 dddd | MFX Parameter 27
(12768 - 52768) |
|
00 0F | 000a aaaa | MFX Control Assign 3
(0 - 16) |
|
|
|
-20000 - +20000
|
|
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|
|
|
|
OFF, 1 - 16
|
|#
|
00 7D | 0000 aaaa |
| 0000 bbbb |
|
00 10 | 000a aaaa | MFX Control Assign 4
(0 - 16) |
|
|
|
OFF, 1 - 16
|
|
|
|
|
| 0000 cccc |
|#
|
00 11 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 28
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 cccc |
|#
|
01 01 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 1
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 15 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 29
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 cccc |
|#
|
01 05 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 2
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 19 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 30
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 cccc |
|#
|
01 09 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 3
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 1D | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 31
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 cccc |
|#
|
01 0D | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 4
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 21 | 0000 aaaa |
| 0000 bbbb |
| 0000 dddd | MFX Parameter 32
(12768 - 52768) |
-20000 - +20000 |
|
|
|
|
| 0000 cccc |
|—————————————+————————————————————————————————————————————————————————————————|
|
| 0000 dddd | MFX Parameter 5
(12768 - 52768) |
-20000 - +20000
| 00 00 01 11 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
|
|
|
|
|
|#
|
00 25 | 0000 aaaa |
| 0000 bbbb |
❍Performance Common Chorus
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 6
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|#
|
00 29 | 0000 aaaa |
| 0000 bbbb |
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
|
| 0000 cccc |
|
|
|
|
|
|
00 00 | 0000 aaaa | Chorus Type
(0 - 3) |
(0 - 127) |
(0 - 3) |
|
| 0000 dddd | MFX Parameter 7
(12768 - 52768) |
-20000 - +20000
00 01 | 0aaa aaaa | Chorus Level
00 02 | 0000 00aa | Chorus Output Assign
|
|
|
|
|
|
|
|#
|
00 2D | 0000 aaaa |
| 0000 bbbb |
|
|
A, B, ---, ---
|
00 03 | 0000 00aa | Chorus Output Select
(0 - 2) |
|
| 0000 cccc |
|
|
MAIN, REV, MAIN+REV
|
|
| 0000 dddd | MFX Parameter 8
(12768 - 52768) |
-20000 - +20000
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|#
|
00 04 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|#
|
00 31 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 1
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 9
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 08 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 35 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 2
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 10
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 0C | 0000 aaaa |
| 0000 bbbb |
|#
|
00 39 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 3
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 11
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 10 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 3D | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 4
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 12
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 14 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 41 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 5
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 13
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 18 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 45 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 6
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 14
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 1C | 0000 aaaa |
| 0000 bbbb |
|#
|
00 49 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 7
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 15
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 20 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 4D | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 8
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 16
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 24 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 51 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 9
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 17
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|#
|
00 28 | 0000 aaaa |
| 0000 bbbb |
|#
00 55 | 0000 aaaa |
314
MIDI Implementation
|
| 0000 cccc |
|
|#
|
00 3B | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
| 0000 dddd | Chorus Parameter 10
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 2C | 0000 aaaa |
| 0000 bbbb |
|
|
| 0000 dddd | Reverb Parameter 15
(12768 - 52768) |
|
|
-20000 - +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 3F | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Chorus Parameter 11
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 30 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Reverb Parameter 16
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 43 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Chorus Parameter 12
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 34 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Reverb Parameter 17
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 47 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Chorus Parameter 13
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 38 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Reverb Parameter 18
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 4B | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Chorus Parameter 14
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 3C | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Reverb Parameter 19
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 4F | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Chorus Parameter 15
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 40 | 0000 aaaa |
| 0000 bbbb |
| 0000 dddd | Reverb Parameter 20
(12768 - 52768) |
-20000 - +20000 |
|
|
|
|
| 0000 cccc |
|—————————————+————————————————————————————————————————————————————————————————|
|
| 0000 dddd | Chorus Parameter 16
(12768 - 52768) |
| 00 00 00 53 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 44 | 0000 aaaa |
| 0000 bbbb |
❍Performance MIDI
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 17
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|#
|
00 48 | 0000 aaaa |
| 0000 bbbb |
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
|
| 0000 cccc |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 | 0000 000a | Receive Program Change
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
|
| 0000 dddd | Chorus Parameter 18
(12768 - 52768) |
|
|
|
|
|
|
-20000 - +20000
|
|
|
|
00 01 | 0000 000a | Receive Bank Select
|#
|
00 4C | 0000 aaaa |
| 0000 bbbb |
|
|
|
00 02 | 0000 000a | Receive Bender
|
| 0000 cccc |
|
|
|
|
| 0000 dddd | Chorus Parameter 19
(12768 - 52768) |
00 03 | 0000 000a | Receive Polyphonic Key Pressure
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|#
|
00 50 | 0000 aaaa |
| 0000 bbbb |
00 04 | 0000 000a | Receive Channel Pressure
|
|
|
|
|
| 0000 cccc |
00 05 | 0000 000a | Receive Modulation
| 0000 dddd | Chorus Parameter 20
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
00 06 | 0000 000a | Receive Volume
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
| 00 00 00 54 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
00 07 | 0000 000a | Receive Pan
|
|
|
00 08 | 0000 000a | Receive Expression
|
|
|
❍Performance Common Reverb
+——————————————————————————————————————————————————————————————————————————————+
| Offset
00 09 | 0000 000a | Receive Hold-1
|
|
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
Address |
Description
|
|
|
|
00 0A | 0000 000a | Phase Lock
(0 - 1) |
OFF, ON
(0 - 4) |
OFF, 1 - 4 |
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
|
|
00 00 | 0000 aaaa | Reverb Type
(0 - 5) |
(0 - 127) |
(0 - 3) |
00 0B | 0000 0aaa | Velocity Curve Type
00 01 | 0aaa aaaa | Reverb Level
00 02 | 0000 00aa | Reverb Output Assign
|
|
|—————————————+————————————————————————————————————————————————————————————————|
|
|
A, B, ---, ---
|
| 00 00 00 0C | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|—————————————+———————————+————————————————————————————————————————————————————|
|#
|
00 03 | 0000 aaaa |
| 0000 bbbb |
|
|
|
❍Performance Part
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 1
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|#
|
00 07 | 0000 aaaa |
| 0000 bbbb |
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
|
| 0000 cccc |
|
|
|
|
|
|
|
|
00 00 | 0000 aaaa | Receive Channel
(0 - 15) |
1 - 16
(0 - 1) |
|
| 0000 dddd | Reverb Parameter 2
(12768 - 52768) |
|
|
|
|
|
|
-20000 - +20000
|
|
|
|
00 01 | 0000 000a | Receive Switch
|#
|
00 0B | 0000 aaaa |
| 0000 bbbb |
|
|
OFF, ON
|
00 02 | 0000 0000 | (reserve) <*>
(1 - 0) |
|
| 0000 cccc |
|
|
|
(1 - 0) |
|
|
| 0000 dddd | Reverb Parameter 3
(12768 - 52768) |
00 03 | 0000 0000 | (reserve) <*>
|
|
|
-20000 - +20000
|
|
|
|
|
|
|#
|
00 0F | 0000 aaaa |
| 0000 bbbb |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
00 04 | 0aaa aaaa | Patch Bank Select MSB (CC# 0)
00 05 | 0aaa aaaa | Patch Bank Select LSB (CC# 32)
00 06 | 0aaa aaaa | Patch Program Number (PC)
(0 - 127) |
(0 - 127) |
(0 - 127) |
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 4
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|#
|
00 13 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
|
|
|
|
|
|
|
|
|
00 07 | 0aaa aaaa | Part Level (CC# 7)
00 08 | 0aaa aaaa | Part Pan (CC# 10)
(0 - 127) |
(0 - 127) |
|
| 0000 cccc |
|
|
L64 - 63R
(16 - 112) |
-48 - +48
(14 - 114) |
-50 - +50 |
|
|
| 0000 dddd | Reverb Parameter 5
(12768 - 52768) |
00 09 | 0aaa aaaa | Part Coarse Tune (RPN# 2)
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|#
|
00 17 | 0000 aaaa |
| 0000 bbbb |
00 0A | 0aaa aaaa | Part Fine Tune (RPN# 1)
|
|
|
| 0000 cccc |
00 0B | 0000 00aa | Part Mono/Poly (MONO ON/POLY ON)
(0 - 2) |
|
| 0000 dddd | Reverb Parameter 6
(12768 - 52768) |
|
|
MONO, POLY, PATCH
|
|
|
|
-20000 - +20000
|
|
|
|
00 0C | 0000 00aa | Part Legato Switch (CC# 68)
(0 - 2) |
|#
|
00 1B | 0000 aaaa |
| 0000 bbbb |
|
|
OFF, ON, PATCH
|
00 0D | 000a aaaa | Part Pitch Bend Range (RPN# 0)
(0 - 25) |
|
| 0000 cccc |
|
|
0 - 24, PATCH
|
|
| 0000 dddd | Reverb Parameter 7
(12768 - 52768) |
00 0E | 0000 00aa | Part Portamento Switch (CC# 65)
(0 - 2) |
|
|
|
-20000 - +20000
|
|
|
|
|
|
OFF, ON, PATCH
|
|
|#
|
00 1F | 0000 aaaa |
| 0000 bbbb |
00 0F | 0000 aaaa |
| 0000 bbbb | Part Portamento Time (CC# 5)
(0 - 128) |
|
| 0000 cccc |
|
|
0 - 127, PATCH
|
|
| 0000 dddd | Reverb Parameter 8
(12768 - 52768) |
00 11 | 0aaa aaaa | Part Cutoff Offset (CC# 74)
(0 - 127) |
|
|
|
-20000 - +20000
|
|
|
|
|
|
-64 - +63
|
|#
|
00 23 | 0000 aaaa |
| 0000 bbbb |
00 12 | 0aaa aaaa | Part Resonance Offset (CC# 71)
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
| 0000 cccc |
00 13 | 0aaa aaaa | Part Attack Time Offset (CC# 73)
|
| 0000 dddd | Reverb Parameter 9
(12768 - 52768) |
|
|
|
|
|
|
-20000 - +20000
|
|
|
|
00 14 | 0aaa aaaa | Part Release Time Offset (CC# 72)
|#
|
00 27 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
| 0000 cccc |
|
|
|
|
|
|
|
|
|
|
00 15 | 0000 0aaa | Part Octave Shift
(61 - 67) |
-3 - +3
(1 - 127) |
|
| 0000 dddd | Reverb Parameter 10
(12768 - 52768) |
|
|
|
|
|
|
-20000 - +20000
|
|
|
|
00 16 | 0aaa aaaa | Part Velocity Sens Offset
|#
|
00 2B | 0000 aaaa |
| 0000 bbbb |
|
|
-63 - +63
|
|
|
|
|
00 17 | 0aaa aaaa | (reserve) <*>
00 18 | 0aaa aaaa | (reserve) <*>
00 19 | 0aaa aaaa | (reserve) <*>
00 1A | 0aaa aaaa | (reserve) <*>
00 1B | 0000 000a | Mute Switch
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 11
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 2F | 0000 aaaa |
| 0000 bbbb |
(0 - 1) |
OFF, MUTE |
|
|
|
| 0000 cccc |
|—————————————+———————————+————————————————————————————————————————————————————|
|
| 0000 dddd | Reverb Parameter 12
(12768 - 52768) |
|
|
|
|
|
|
|
|
|
00 1C | 0aaa aaaa | Part Dry Send Level
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 13) |
|
|
|
-20000 - +20000
|
|
|
|
00 1D | 0aaa aaaa | Part Chorus Send Level (CC# 93)
00 1E | 0aaa aaaa | Part Reverb Send Level (CC# 91)
00 1F | 0000 aaaa | Part Output Assign
|#
|
00 33 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
|
|
|
|
|
MFX, A, B, ---, ---, |
1, 2, 3, 4, ---, ---, ---, ---, |
|
| 0000 dddd | Reverb Parameter 13
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
PATCH
(0 - 2) |
MFX1, MFX2, MFX3 |
|
|#
|
00 37 | 0000 aaaa |
| 0000 bbbb |
00 20 | 0000 00aa | Part Output MFX Select
|
|
|
| 0000 cccc |
|—————————————+———————————+————————————————————————————————————————————————————|
|
| 0000 dddd | Reverb Parameter 14
(12768 - 52768) |
-20000 - +20000
|
|
00 21 | 0aaa aaaa | Part Decay Time Offset (CC# 75)
(0 - 127) |
-64 - +63 |
|
|
|
|
|
|
315
MIDI Implementation
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
MONO/POLY, PORTAMENTO, HOLD1, |
MFX1-SW, MFX2-SW, MFX3-SW, |
CHO-SW, REV-SW, MAS-SW, |
|
|
|
|
|
|
00 22 | 0aaa aaaa | Part Vibrato Rate (CC# 76)
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63 |
|
|
|
00 23 | 0aaa aaaa | Part Vibrato Depth (CC# 77)
SEQ-LOOP, RHY-START/STOP
|
|
|
|
00 0C | 0aaa aaaa | Switch 2 Assign
(0 - 13) |
TRNS-DW, TRNS-UP, TAP-TEMPO, |
MONO/POLY, PORTAMENTO, HOLD1, |
MFX1-SW, MFX2-SW, MFX3-SW, |
CHO-SW, REV-SW, MAS-SW, |
00 24 | 0aaa aaaa | Part Vibrato Delay (CC# 78)
|
|
|
|
|
|
|
|
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
00 25 | 0aaa aaaa | Part Scale Tune for C (0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
SEQ-LOOP, RHY-START/STOP
|
00 26 | 0aaa aaaa | Part Scale Tune for C#
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 0D | 0000 000a | (reserve) <*>
00 0E | 0aaa aaaa | Arp/Ptn Grid
|
(0 - 8) |
04_, 08_, 08L, 08H, 08t, |
00 27 | 0aaa aaaa | Part Scale Tune for D
|
|
|
|
|
|
|
00 28 | 0aaa aaaa | Part Scale Tune for D#
16_, 16L, 16H, 16t
|
|
|
|
00 0F | 0aaa aaaa | Arp/Ptn Duration
(0 - 9) |
00 29 | 0aaa aaaa | Part Scale Tune for E
|
|
|
|
30, 40, 50, 60, 70, 80, 90, |
|
|
|
100, 120, FUL
(0 - 1) |
OFF, ON |
|
00 2A | 0aaa aaaa | Part Scale Tune for F
00 10 | 0000 000a | Arpeggio Switch
|
|
|
|
|
00 2B | 0aaa aaaa | Part Scale Tune for F#
00 11 | 0aaa aaaa | Arpeggio Bank
(0 - 1) |
|
|
|
|
|
USER, PRESET
|
00 2C | 0aaa aaaa | Part Scale Tune for G
00 12 | 0aaa aaaa | Arpeggio Style
(0 - 127) |
|
|
|
|
|
1 - 128
|
00 2D | 0aaa aaaa | Part Scale Tune for G#
00 13 | 0aaa aaaa | Arpeggio Motif
(0 - 11) |
UP/L, UP/H, UP/_, dn/L, dn/H, |
dn/_, Ud/L, Ud/H, Ud/_, rn/L, |
|
|
|
|
|
|
|
|
|
00 2E | 0aaa aaaa | Part Scale Tune for A
|
|
|
rn/_, PHRASE
(61 - 67) |
-3 - +3
(0 - 1) |
OFF, ON |
|
00 2F | 0aaa aaaa | Part Scale Tune for A#
00 14 | 0000 0aaa | Arpeggio Octave Range
|
|
|
|
|
|
00 30 | 0aaa aaaa | Part Scale Tune for B
00 15 | 0000 000a | Arpeggio Hold
|
|
|
|
|
00 16 | 0aaa aaaa | Arpeggio Accent Rate
00 17 | 0aaa aaaa | Arpeggio Velocity
(0 - 100) |
(0 - 127) |
| 00 00 00 31 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
REAL, 1 - 127
|
00 18 | 0000 aaaa | Arpeggio Zone Number
(0 - 15) |
|
|
ZONE1 - ZONE16
|
❍Performance Zone
+——————————————————————————————————————————————————————————————————————————————+
00 19 | 0000 000a | Rhythm Pattern Switch
(0 - 1) |
|
|
OFF, ON
|
| Offset
|
|
|
00 1A | 0aaa aaaa | Rhythm Pattern Group Bank
(0 - 1) |
|
Address |
Description
|
|
USER, PRESET
|
|—————————————+————————————————————————————————————————————————————————————————|
00 1B | 0aaa aaaa | Rhythm Pattern Group Number
(0 - 31) |
1 - 32
|
|
|
|
00 00 | 000a aaaa | (reserve) <*>
00 01 | 0000 000a | Zone Switch
|
|
|
|
(0 - 1) |
00 1C | 0aaa aaaa | Rhythm Pattern Accent Rate
00 1D | 0aaa aaaa | Rhythm Pattern Velocity
(0 - 100) |
(0 - 127) |
|
|
OFF, ON
|
|
00 02 | 0000 000a | (reserve) <*>
|
|
REAL, 1 - 127
|
|—————————————+———————————+————————————————————————————————————————————————————|
|—————————————+———————————+————————————————————————————————————————————————————|
|#
|
|
|
|#
|
|
|#
|
|
00 03 | 0000 aaaa |
| 0000 bbbb | External Bank Select MSB (CC# 0)
|
|
|
|
|
|
00 1E | 0000 000a | Chord Switch
(0 - 1) |
OFF, ON |
(0 - 1) |
(0 - 128) |
|
|
|
|
0 - 127, NO-SEND
|
(0 - 127) |
|
00 1F | 0aaa aaaa | Chord Group
00 05 | 0aaa aaaa | External Bank Select LSB (CC# 32)
00 06 | 0000 aaaa |
|
|
USER, PRESET
|
00 20 | 00aa aaaa | Chord Form
(0 - 63) |
| 0000 bbbb | External Program Number (PC)
|
(0 - 128) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
0 - 127, NO-SEND
|
|
|
|
|
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|
|
00 21 | 0aaa aaaa | (reserve) <*>
00 22 | 0aaa aaaa | (reserve) <*>
00 23 | 000a aaaa | Pad Transmit Channel
|
|
00 08 | 0000 aaaa |
| 0000 bbbb | External Level (CC# 7)
(0 - 128) |
(0 - 15) |
|
|
0 - 127, NO-SEND
|
|
|
|
1 - 16
|
|
|#
|
00 0A | 0000 aaaa |
| 0000 bbbb | External Pan (CC# 10)
00 24 | 0aaa aaaa | (reserve) <*>
(0 - 128) |
00 25 | 0aaa aaaa | Pad 1 Note Number
(0 - 127) |
C-1 - G9
(0 - 127) |
|
|
|
L64 - 63R, NO-SEND
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
00 26 | 0aaa aaaa | Pad 1 Velocity
|
|
|
|
00 0C | 0aaa aaaa | Keyboard Range Lower
(0 - 127) |
|
|
REAL, 1 - 127
|
|
|
|
C-1 - UPPER
|
00 27 | 0aaa aaaa | (reserve) <*>
00 0D | 0aaa aaaa | Keyboard Range Upper
(0 - 127) |
00 28 | 0aaa aaaa | Pad 2 Note Number
(0 - 127) |
|
|
LOWER - G9
|
|
|
C-1 - G9
|
|—————————————+———————————+————————————————————————————————————————————————————|
00 0E | 0000 000a | Control Bender (0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
00 29 | 0aaa aaaa | Pad 2 Velocity
(0 - 127) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
REAL, 1 - 127
|
|
|
|
|
00 2A | 0aaa aaaa | (reserve) <*>
00 0F | 0000 000a | Control Aftertouch
00 2B | 0aaa aaaa | Pad 3 Note Number
(0 - 127) |
|
|
|
|
|
C-1 - G9
|
00 10 | 0000 000a | Control Modulation
00 2C | 0aaa aaaa | Pad 3 Velocity
(0 - 127) |
|
|
|
|
|
REAL, 1 - 127
|
|
00 11 | 0000 000a | Control Hold Pedal
00 2D | 0aaa aaaa | (reserve) <*>
|
|
|
00 2E | 0aaa aaaa | Pad 4 Note Number
(0 - 127) |
00 12 | 0000 000a | Control Pedal
|
|
C-1 - G9
|
|
|
OFF, ON
|
|
00 2F | 0aaa aaaa | Pad 4 Velocity
(0 - 127) |
00 13 | 0000 000a | (reserve) <*>
00 14 | 0000 000a | Control D Beam
|
|
REAL, 1 - 127
|
|
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
00 30 | 0aaa aaaa | (reserve) <*>
|
|
|
00 31 | 0aaa aaaa | Pad 5 Note Number
(0 - 127) |
00 15 | 0000 000a | Control Knob 1
|
|
C-1 - G9
|
|
|
|
00 32 | 0aaa aaaa | Pad 5 Velocity
(0 - 127) |
00 16 | 0000 000a | Control Knob 2
|
|
REAL, 1 - 127
|
|
|
|
|
00 33 | 0aaa aaaa | (reserve) <*>
00 17 | 0000 000a | Control Knob 3
00 34 | 0aaa aaaa | Pad 6 Note Number
(0 - 127) |
|
|
|
|
|
C-1 - G9
|
00 18 | 0000 000a | Control Knob 4
00 35 | 0aaa aaaa | Pad 6 Velocity
(0 - 127) |
|
|
OFF, ON
|
|
|
|
|
REAL, 1 - 127
|
|
00 19 | 0000 000a | (reserve) <*>
00 1A | 0000 000a | (reserve) <*>
00 36 | 0aaa aaaa | (reserve) <*>
00 37 | 0aaa aaaa | Pad 7 Note Number
(0 - 127) |
|—————————————+————————————————————————————————————————————————————————————————|
|
|
C-1 - G9
|
| 00 00 00 1B | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
00 38 | 0aaa aaaa | Pad 7 Velocity
(0 - 127) |
|
|
REAL, 1 - 127
|
|
00 39 | 0aaa aaaa | (reserve) <*>
00 3A | 0aaa aaaa | Pad 8 Note Number
(0 - 127) |
❍Performance Controller
+——————————————————————————————————————————————————————————————————————————————+
|
|
C-1 - G9
|
00 3B | 0aaa aaaa | Pad 8 Velocity
(0 - 127) |
| Offset
|
|
|
|
|
REAL, 1 - 127
|
|
|
Address |
Description
00 3C | 0aaa aaaa | (reserve) <*>
|—————————————+————————————————————————————————————————————————————————————————|
00 3D | 0aaa aaaa | Pad 9 Note Number
(0 - 127) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 | 0000 000a | (reserve) <*>
00 01 | 0aaa aaaa | Beam Assign
|
(0 - 104) |
CC01 - CC31, CC33 - CC95, |
BEND-UP, BEND-DOWN, |
|
|
C-1 - G9
|
00 3E | 0aaa aaaa | Pad 9 Velocity
(0 - 127) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
REAL, 1 - 127
|
|
00 3F | 0aaa aaaa | (reserve) <*>
START/STOP, TAP-TEMPO, |
ARP-GRID, ARP-DUR, ARP-MOTIF, |
ARP-OCT-UP, ARP-OCT-DW, ARP_STEP, |
00 40 | 0aaa aaaa | Pad 10 Note Number
(0 - 127) |
|
|
C-1 - G9
|
00 41 | 0aaa aaaa | Pad 10 Velocity
(0 - 127) |
AFT
|
|
|
REAL, 1 - 127
|
|
00 02 | 0aaa aaaa | Beam Range Lower
00 03 | 0aaa aaaa | Beam Range Upper
00 04 | 0000 aaaa | Beam Trigger Pad
(0 - 127) |
(0 - 127) |
(0 - 15) |
00 42 | 0aaa aaaa | (reserve) <*>
00 43 | 0aaa aaaa | Pad 11 Note Number
(0 - 127) |
|
|
C-1 - G9
|
|
|
1 - 15
|
00 44 | 0aaa aaaa | Pad 11 Velocity
(0 - 127) |
00 05 | 0aaa aaaa | Beam Trigger Velo
00 06 | 0aaa aaaa | Beam Trigger Mode
(1 - 127) |
(0 - 1) |
|
|
REAL, 1 - 127
|
|
00 45 | 0aaa aaaa | (reserve) <*>
|
|
MOMENTARY, LATCH
|
00 46 | 0aaa aaaa | Pad 12 Note Number
(0 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
C-1 - G9
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 07 | 0aaa aaaa | Knob 1 Assign
(0 - 103) |
CC01 - CC31, CC33 - CC95, |
00 47 | 0aaa aaaa | Pad 12 Velocity
(0 - 127) |
|
|
|
|
|
|
|
|
|
|
REAL, 1 - 127
|
|
BEND, AFT, ARP-STYLE, ARP-GRID, |
ARP-DUR, ARP-MOTIF, CHORD-FORM, |
00 48 | 0aaa aaaa | (reserve) <*>
00 49 | 0aaa aaaa | Pad 13 Note Number
(0 - 127) |
MASTER-LEVEL, ARP-STEP, DIGI-IN
|
|
|
C-1 - G9
|
00 08 | 0aaa aaaa | Knob 2 Assign
(0 - 103) |
CC01 - CC31, CC33 - CC95, |
00 4A | 0aaa aaaa | Pad 13 Velocity
(0 - 127) |
|
|
|
|
|
|
|
|
|
|
REAL, 1 - 127
|
|
BEND, AFT, ARP-STYLE, ARP-GRID, |
ARP-DUR, ARP-MOTIF, CHORD-FORM, |
00 4B | 0aaa aaaa | (reserve) <*>
00 4C | 0aaa aaaa | Pad 14 Note Number
(0 - 127) |
MASTER-LEVEL, ARP-STEP, DIGI-IN
|
|
|
C-1 - G9
|
00 09 | 0aaa aaaa | Knob 3 Assign
(0 - 103) |
CC01 - CC31, CC33 - CC95, |
00 4D | 0aaa aaaa | Pad 14 Velocity
(0 - 127) |
|
|
|
|
|
|
|
|
|
|
REAL, 1 - 127
|
|
BEND, AFT, ARP-STYLE, ARP-GRID, |
ARP-DUR, ARP-MOTIF, CHORD-FORM, |
00 4E | 0aaa aaaa | (reserve) <*>
00 4F | 0aaa aaaa | Pad 15 Note Number
(0 - 127) |
MASTER-LEVEL, ARP-STEP, DIGI-IN
|
|
|
C-1 - G9
|
00 0A | 0aaa aaaa | Knob 4 Assign
(0 - 103) |
CC01 - CC31, CC33 - CC95, |
00 50 | 0aaa aaaa | Pad 15 Velocity
(0 - 127) |
|
|
|
|
|
|
|
|
|
|
REAL, 1 - 127
|
|
BEND, AFT, ARP-STYLE, ARP-GRID, |
ARP-DUR, ARP-MOTIF, CHORD-FORM, |
00 51 | 0aaa aaaa | (reserve) <*>
00 52 | 0aaa aaaa | Pad 16 Note Number
(0 - 127) |
C-1 - G9
MASTER-LEVEL, ARP-STEP, DIGI-IN
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
00 53 | 0aaa aaaa | Pad 16 Velocity
(0 - 127) |
REAL, 1 - 127
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
00 0B | 0aaa aaaa | Switch 1 Assign
(0 - 13) |
TRNS-DW, TRNS-UP, TAP-TEMPO, |
|
|
|
|
|
316
MIDI Implementation
|#
|
00 54 | 0000 aaaa |
| 0000 bbbb | Recommended Tempo
|
|—————————————+————————————————————————————————————————————————————————————————|
(20 - 250) |
|
|
|
|
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|
|
00 00 | 0000 000a | Chord Note1
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
00 56 | 0000 000a | Rolled Chord
(0 - 1) |
OFF, ON
(0 - 2) |
UP, DOWN, ALTERNATE
00 01 | 0000 000a | Chord Note2
|
|
|
|
|
|
00 57 | 0000 00aa | Rolled Chord Type
00 02 | 0000 000a | Chord Note3
|
|
|
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
00 03 | 0000 000a | Chord Note4
| 00 00 00 58 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
|
00 04 | 0000 000a | Chord Note5
|
|
|
00 05 | 0000 000a | Chord Note6
❍Arpeggio Common
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
00 06 | 0000 000a | Chord Note7
|
|
|
|
|
|
|
Address |
Description
00 07 | 0000 000a | Chord Note8
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|#
|
00 00 | 0000 aaaa |
| 0000 bbbb | End Step
|
00 08 | 0000 000a | Chord Note9
(1 - 32) |
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
00 09 | 0000 000a | Chord Note10
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 02 | 0aaa aaaa | Arpeggio Name 1
(32 - 127) |
|
|
|
|
|
|
00 0A | 0000 000a | Chord Note11
00 03 | 0aaa aaaa | Arpeggio Name 2
(32 - 127) |
|
|
|
|
|
|
00 0B | 0000 000a | Chord Note12
00 04 | 0aaa aaaa | Arpeggio Name 3
(32 - 127) |
|
|
|
|
|
|
00 0C | 0000 000a | Chord Note13
00 05 | 0aaa aaaa | Arpeggio Name 4
(32 - 127) |
|
|
|
|
|
|
00 0D | 0000 000a | Chord Note14
00 06 | 0aaa aaaa | Arpeggio Name 5
(32 - 127) |
|
|
|
|
|
|
00 0E | 0000 000a | Chord Note15
00 07 | 0aaa aaaa | Arpeggio Name 6
(32 - 127) |
|
|
|
|
|
|
00 0F | 0000 000a | Chord Note16
00 08 | 0aaa aaaa | Arpeggio Name 7
(32 - 127) |
|
|
|
|
|
|
00 10 | 0000 000a | Chord Note17
00 09 | 0aaa aaaa | Arpeggio Name 8
(32 - 127) |
|
|
|
|
|
|
00 11 | 0000 000a | Chord Note18
00 0A | 0aaa aaaa | Arpeggio Name 9
(32 - 127) |
|
|
|
|
|
|
00 12 | 0000 000a | Chord Note19
00 0B | 0aaa aaaa | Arpeggio Name 10
(32 - 127) |
|
|
|
|
|
|
00 13 | 0000 000a | Chord Note20
00 0C | 0aaa aaaa | Arpeggio Name 11
(32 - 127) |
|
|
|
|
|
|
00 14 | 0000 000a | Chord Note21
00 0D | 0aaa aaaa | Arpeggio Name 12
(32 - 127) |
|
|
|
|
|
|
00 15 | 0000 000a | Chord Note22
00 0E | 0aaa aaaa | Arpeggio Name 13
(32 - 127) |
|
|
|
|
|
|
00 16 | 0000 000a | Chord Note23
00 0F | 0aaa aaaa | Arpeggio Name 14
(32 - 127) |
|
|
|
|
|
|
00 17 | 0000 000a | Chord Note24
00 10 | 0aaa aaaa | Arpeggio Name 15
(32 - 127) |
|
|
|
|
|
|
(32 - 127) |
|
00 18 | 0000 000a | Chord Note25
00 11 | 0aaa aaaa | Arpeggio Name 16
|
|
|
|
|
00 19 | 0000 000a | Chord Note26
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
| 00 00 00 12 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
00 1A | 0000 000a | Chord Note27
|
|
|
00 1B | 0000 000a | Chord Note28
|
|
|
❍Arpeggio Pattern
+——————————————————————————————————————————————————————————————————————————————+
| Offset
00 1C | 0000 000a | Chord Note29
|
|
|
|
|
|
00 1D | 0000 000a | Chord Note30
|
Address |
Description
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
00 1E | 0000 000a | Chord Note31
|#
|
00 00 | 0000 aaaa |
| 0000 bbbb | Original Note
|
|
|
|
(0 - 128) |
00 1F | 0000 000a | Chord Note32
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|#
|
|#
|
|#
|
|#
|
|#
|
|#
|
|#
|
|#
|
|#
|
|#
|
|#
|
|#
|
|#
|
|#
|
|#
|
|#
|
|#
|
|#
|
|#
|
|#
|
|#
|
|#
|
|#
|
|#
|
|#
|
|#
|
|#
|
|#
|
|#
|
|#
|
|#
|
00 02 | 0000 aaaa |
| 0000 bbbb | Step1 Data
00 04 | 0000 aaaa |
| 0000 bbbb | Step2 Data
00 06 | 0000 aaaa |
| 0000 bbbb | Step3 Data
00 08 | 0000 aaaa |
| 0000 bbbb | Step4 Data
00 0A | 0000 aaaa |
| 0000 bbbb | Step5 Data
00 0C | 0000 aaaa |
| 0000 bbbb | Step6 Data
00 0E | 0000 aaaa |
| 0000 bbbb | Step7 Data
00 10 | 0000 aaaa |
| 0000 bbbb | Step8 Data
00 12 | 0000 aaaa |
| 0000 bbbb | Step9 Data
00 14 | 0000 aaaa |
| 0000 bbbb | Step10 Data
00 16 | 0000 aaaa |
| 0000 bbbb | Step11 Data
00 18 | 0000 aaaa |
| 0000 bbbb | Step12 Data
00 1A | 0000 aaaa |
| 0000 bbbb | Step13 Data
00 1C | 0000 aaaa |
| 0000 bbbb | Step14 Data
00 1E | 0000 aaaa |
| 0000 bbbb | Step15 Data
00 20 | 0000 aaaa |
| 0000 bbbb | Step16 Data
00 22 | 0000 aaaa |
| 0000 bbbb | Step17 Data
00 24 | 0000 aaaa |
| 0000 bbbb | Step18 Data
00 26 | 0000 aaaa |
| 0000 bbbb | Step19 Data
00 28 | 0000 aaaa |
| 0000 bbbb | Step20 Data
00 2A | 0000 aaaa |
| 0000 bbbb | Step21 Data
00 2C | 0000 aaaa |
| 0000 bbbb | Step22 Data
00 2E | 0000 aaaa |
| 0000 bbbb | Step23 Data
00 30 | 0000 aaaa |
| 0000 bbbb | Step24 Data
00 32 | 0000 aaaa |
| 0000 bbbb | Step25 Data
00 34 | 0000 aaaa |
| 0000 bbbb | Step26 Data
00 36 | 0000 aaaa |
| 0000 bbbb | Step27 Data
00 38 | 0000 aaaa |
| 0000 bbbb | Step28 Data
00 3A | 0000 aaaa |
| 0000 bbbb | Step29 Data
00 3C | 0000 aaaa |
| 0000 bbbb | Step30 Data
00 3E | 0000 aaaa |
| 0000 bbbb | Step31 Data
00 40 | 0000 aaaa |
| 0000 bbbb | Step32 Data
|
00 20 | 0000 000a | Chord Note33
(0 - 128) |
|
|
|
|
00 21 | 0000 000a | Chord Note34
(0 - 128) |
|
|
|
|
00 22 | 0000 000a | Chord Note35
(0 - 128) |
|
|
|
|
00 23 | 0000 000a | Chord Note36
(0 - 128) |
|
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|
|
00 24 | 0000 000a | Chord Note37
(0 - 128) |
|
|
|
|
00 25 | 0000 000a | Chord Note38
(0 - 128) |
|
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|
|
00 26 | 0000 000a | Chord Note39
(0 - 128) |
|
|
|
|
00 27 | 0000 000a | Chord Note40
(0 - 128) |
|
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|
|
00 28 | 0000 000a | Chord Note41
(0 - 128) |
|
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|
00 29 | 0000 000a | Chord Note42
(0 - 128) |
|
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|
00 2A | 0000 000a | Chord Note43
(0 - 128) |
|
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|
00 2B | 0000 000a | Chord Note44
(0 - 128) |
|
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|
|
00 2C | 0000 000a | Chord Note45
(0 - 128) |
|
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|
00 2D | 0000 000a | Chord Note46
(0 - 128) |
|
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|
00 2E | 0000 000a | Chord Note47
(0 - 128) |
|
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|
00 2F | 0000 000a | Chord Note48
(0 - 128) |
|
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|
|
00 30 | 0000 000a | Chord Note49
(0 - 128) |
|
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|
00 31 | 0000 000a | Chord Note50
(0 - 128) |
|
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|
|
00 32 | 0000 000a | Chord Note51
(0 - 128) |
|
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|
00 33 | 0000 000a | Chord Note52
(0 - 128) |
|
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|
00 34 | 0000 000a | Chord Note53
(0 - 128) |
|
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|
00 35 | 0000 000a | Chord Note54
(0 - 128) |
|
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|
|
00 36 | 0000 000a | Chord Note55
(0 - 128) |
|
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|
|
00 37 | 0000 000a | Chord Note56
(0 - 128) |
|
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|
|
00 38 | 0000 000a | Chord Note57
(0 - 128) |
|
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|
00 39 | 0000 000a | Chord Note58
(0 - 128) |
|
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|
|
00 3A | 0000 000a | Chord Note59
(0 - 128) |
|
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|
00 3B | 0000 000a | Chord Note60
(0 - 128) |
|
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|
|
00 3C | 0000 000a | Chord Note61
(0 - 128) |
|
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|
|
(0 - 128) |
|
00 3D | 0000 000a | Chord Note62
|
|
|
00 3E | 0000 000a | Chord Note63
(0 - 128) |
|
(0 - 128) |
|
|
|
|#
|
00 3F | 0000 000a | Chord Note64
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
00 40 | 0000 000a | Chord Note65
| 00 00 00 42 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
|
00 41 | 0000 000a | Chord Note66
|
|
|
00 42 | 0000 000a | Chord Note67
❍Chord Pattern
|
|
|
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
00 43 | 0000 000a | Chord Note68
|
|
|
|
|
OFF, ON
|
Address |
Description
00 44 | 0000 000a | Chord Note69
(0 - 1) |
317
MIDI Implementation
|
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OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
|
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|
01 09 | 0aaa aaaa | Chord Pattern Name 10
(32 - 127) |
00 45 | 0000 000a | Chord Note70
|
|
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|
|
01 0A | 0aaa aaaa | Chord Pattern Name 11
(32 - 127) |
00 46 | 0000 000a | Chord Note71
|
|
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|
01 0B | 0aaa aaaa | Chord Pattern Name 12
(32 - 127) |
00 47 | 0000 000a | Chord Note72
|
|
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|
01 0C | 0aaa aaaa | Chord Pattern Name 13
(32 - 127) |
00 48 | 0000 000a | Chord Note73
|
|
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|
01 0D | 0aaa aaaa | Chord Pattern Name 14
(32 - 127) |
00 49 | 0000 000a | Chord Note74
|
|
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|
01 0E | 0aaa aaaa | Chord Pattern Name 15
(32 - 127) |
00 4A | 0000 000a | Chord Note75
|
|
|
(32 - 127) |
|
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|
01 0F | 0aaa aaaa | Chord Pattern Name 16
00 4B | 0000 000a | Chord Note76
|
|
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|
|—————————————+————————————————————————————————————————————————————————————————|
00 4C | 0000 000a | Chord Note77
| 00 00 01 10 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
|
00 4D | 0000 000a | Chord Note78
|
|
|
❍Rhythm Group
00 4E | 0000 000a | Chord Note79
|
|
|
+——————————————————————————————————————————————————————————————————————————————+
| Offset
00 4F | 0000 000a | Chord Note80
|
|
|
|
|
|
|
Address |
Description
00 50 | 0000 000a | Chord Note81
|—————————————+————————————————————————————————————————————————————————————————|
|
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|
00 00 | 0aaa aaaa | Rhythm Group Name 1
(32 - 127) |
00 51 | 0000 000a | Chord Note82
|
|
|
|
|
|
00 01 | 0aaa aaaa | Rhythm Group Name 2
(32 - 127) |
00 52 | 0000 000a | Chord Note83
|
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|
00 02 | 0aaa aaaa | Rhythm Group Name 3
(32 - 127) |
00 53 | 0000 000a | Chord Note84
|
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|
00 03 | 0aaa aaaa | Rhythm Group Name 4
(32 - 127) |
00 54 | 0000 000a | Chord Note85
|
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|
00 04 | 0aaa aaaa | Rhythm Group Name 5
(32 - 127) |
00 55 | 0000 000a | Chord Note86
|
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|
|
00 05 | 0aaa aaaa | Rhythm Group Name 6
(32 - 127) |
00 56 | 0000 000a | Chord Note87
|
|
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|
|
|
00 06 | 0aaa aaaa | Rhythm Group Name 7
(32 - 127) |
00 57 | 0000 000a | Chord Note88
|
|
|
|
|
|
00 07 | 0aaa aaaa | Rhythm Group Name 8
(32 - 127) |
00 58 | 0000 000a | Chord Note89
|
|
|
|
|
|
00 08 | 0aaa aaaa | Rhythm Group Name 9
(32 - 127) |
00 59 | 0000 000a | Chord Note90
|
|
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|
|
|
00 09 | 0aaa aaaa | Rhythm Group Name 10
(32 - 127) |
00 5A | 0000 000a | Chord Note91
|
|
|
|
|
|
00 0A | 0aaa aaaa | Rhythm Group Name 11
(32 - 127) |
00 5B | 0000 000a | Chord Note92
|
|
|
|
|
|
00 0B | 0aaa aaaa | Rhythm Group Name 12
(32 - 127) |
00 5C | 0000 000a | Chord Note93
|
|
|
|
|
|
00 0C | 0aaa aaaa | Rhythm Group Name 13
(32 - 127) |
00 5D | 0000 000a | Chord Note94
|
|
|
|
|
|
00 0D | 0aaa aaaa | Rhythm Group Name 14
(32 - 127) |
00 5E | 0000 000a | Chord Note95
|
|
|
|
|
|
00 0E | 0aaa aaaa | Rhythm Group Name 15
(32 - 127) |
00 5F | 0000 000a | Chord Note96
|
|
|
(32 - 127) |
|
|
|
|
00 0F | 0aaa aaaa | Rhythm Group Name 16
00 60 | 0000 000a | Chord Note97
|
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
00 61 | 0000 000a | Chord Note98
|
|
|
00 10 | 0aaa aaaa | Recommended Rhythm Bank Select MSB
00 11 | 0aaa aaaa | Recommended Rhythm Bank Select LSB
00 12 | 0aaa aaaa | Recommended Rhythm Program Number
(0 - 127) |
(0 - 127) |
(0 - 127) |
|
|
|
00 62 | 0000 000a | Chord Note99
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
00 63 | 0000 000a | Chord Note100
|
|
|
|
|
|
|
|
|#
|
|
|
|
|
|
|
|
|
|#
|
|
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|
|
|
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|
|
|#
|
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|
|#
|
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|#
|
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|#
|
|
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|#
|
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|
|
|
00 13 | 0aaa aaaa | Pad 1 Mode
(0 - 2) |
|
|
|
|
|
OFF, NOTE, PTN
|
00 64 | 0000 000a | Chord Note101
00 14 | 0aaa aaaa | Pad 1 Note Number
(0 - 127) |
|
|
|
|
|
C-1 - G9
(0 - 127) |
REAL, 1 - 127
(0 - 1) |
USER, PRESET
|
00 65 | 0000 000a | Chord Note102
00 15 | 0aaa aaaa | Pad 1 Velocity
|
|
|
|
|
|
00 66 | 0000 000a | Chord Note103
00 16 | 0000 000a | Pad 1 Rhythm Pattern Group
|
|
|
|
|
|
|
00 67 | 0000 000a | Chord Note104
00 17 | 0000 aaaa |
| 0000 bbbb | Pad 1 Rhythm Pattern Number
00 19 | 0aaa aaaa | Pad 2 Mode
|
|
|
(0 - 255) |
(0 - 2) |
00 68 | 0000 000a | Chord Note105
|
|
|
|
|
OFF, NOTE, PTN
|
00 69 | 0000 000a | Chord Note106
00 1A | 0aaa aaaa | Pad 2 Note Number
(0 - 127) |
|
|
|
|
|
C-1 - G9
(0 - 127) |
REAL, 1 - 127
(0 - 1) |
USER, PRESET
|
00 6A | 0000 000a | Chord Note107
00 1B | 0aaa aaaa | Pad 2 Velocity
|
|
|
|
|
|
00 6B | 0000 000a | Chord Note108
00 1C | 0000 000a | Pad 2 Rhythm Pattern Group
|
|
|
|
|
|
|
00 6C | 0000 000a | Chord Note109
00 1D | 0000 aaaa |
| 0000 bbbb | Pad 2 Rhythm Pattern Number
00 1F | 0aaa aaaa | Pad 3 Mode
|
|
|
(0 - 255) |
(0 - 2) |
00 6D | 0000 000a | Chord Note110
|
|
|
|
|
OFF, NOTE, PTN
|
00 6E | 0000 000a | Chord Note111
00 20 | 0aaa aaaa | Pad 3 Note Number
(0 - 127) |
|
|
|
|
|
C-1 - G9
(0 - 127) |
REAL, 1 - 127
(0 - 1) |
USER, PRESET
|
00 6F | 0000 000a | Chord Note112
00 21 | 0aaa aaaa | Pad 3 Velocity
|
|
|
|
|
|
00 70 | 0000 000a | Chord Note113
00 22 | 0000 000a | Pad 3 Rhythm Pattern Group
|
|
|
|
|
|
|
00 71 | 0000 000a | Chord Note114
00 23 | 0000 aaaa |
| 0000 bbbb | Pad 3 Rhythm Pattern Number
00 25 | 0aaa aaaa | Pad 4 Mode
|
|
|
(0 - 255) |
(0 - 2) |
00 72 | 0000 000a | Chord Note115
|
|
|
|
|
OFF, NOTE, PTN
|
00 73 | 0000 000a | Chord Note116
00 26 | 0aaa aaaa | Pad 4 Note Number
(0 - 127) |
|
|
|
|
|
C-1 - G9
(0 - 127) |
REAL, 1 - 127
(0 - 1) |
USER, PRESET
|
00 74 | 0000 000a | Chord Note117
00 27 | 0aaa aaaa | Pad 4 Velocity
|
|
|
|
|
|
00 75 | 0000 000a | Chord Note118
00 28 | 0000 000a | Pad 4 Rhythm Pattern Group
|
|
|
|
|
|
|
00 76 | 0000 000a | Chord Note119
00 29 | 0000 aaaa |
| 0000 bbbb | Pad 4 Rhythm Pattern Number
00 2B | 0aaa aaaa | Pad 5 Mode
|
|
|
(0 - 255) |
(0 - 2) |
00 77 | 0000 000a | Chord Note120
|
|
|
|
|
OFF, NOTE, PTN
|
00 78 | 0000 000a | Chord Note121
00 2C | 0aaa aaaa | Pad 5 Note Number
(0 - 127) |
|
|
|
|
|
C-1 - G9
(0 - 127) |
REAL, 1 - 127
(0 - 1) |
USER, PRESET
|
00 79 | 0000 000a | Chord Note122
00 2D | 0aaa aaaa | Pad 5 Velocity
|
|
|
|
|
|
00 7A | 0000 000a | Chord Note123
00 2E | 0000 000a | Pad 5 Rhythm Pattern Group
|
|
|
|
|
|
|
00 7B | 0000 000a | Chord Note124
00 2F | 0000 aaaa |
| 0000 bbbb | Pad 5 Rhythm Pattern Number
00 31 | 0aaa aaaa | Pad 6 Mode
|
|
|
(0 - 255) |
(0 - 2) |
00 7C | 0000 000a | Chord Note125
|
|
|
|
|
OFF, NOTE, PTN
|
00 7D | 0000 000a | Chord Note126
00 32 | 0aaa aaaa | Pad 6 Note Number
(0 - 127) |
|
|
|
|
|
C-1 - G9
(0 - 127) |
REAL, 1 - 127
(0 - 1) |
USER, PRESET
|
00 7E | 0000 000a | Chord Note127
00 33 | 0aaa aaaa | Pad 6 Velocity
|
|
|
|
|
|
00 7F | 0000 000a | Chord Note128
00 34 | 0000 000a | Pad 6 Rhythm Pattern Group
|
|
|
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
00 35 | 0000 aaaa |
| 0000 bbbb | Pad 6 Rhythm Pattern Number
00 37 | 0aaa aaaa | Pad 7 Mode
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
01 00 | 0aaa aaaa | Chord Pattern Name 1
(32 - 127) |
(0 - 255) |
(0 - 2) |
|
|
|
01 01 | 0aaa aaaa | Chord Pattern Name 2
(32 - 127) |
|
|
OFF, NOTE, PTN
|
|
|
|
00 38 | 0aaa aaaa | Pad 7 Note Number
(0 - 127) |
01 02 | 0aaa aaaa | Chord Pattern Name 3
(32 - 127) |
|
|
C-1 - G9
(0 - 127) |
REAL, 1 - 127
(0 - 1) |
USER, PRESET
|
|
|
|
00 39 | 0aaa aaaa | Pad 7 Velocity
01 03 | 0aaa aaaa | Chord Pattern Name 4
(32 - 127) |
|
|
|
|
|
|
00 3A | 0000 000a | Pad 7 Rhythm Pattern Group
01 04 | 0aaa aaaa | Chord Pattern Name 5
(32 - 127) |
|
|
|
|
|
|
|
00 3B | 0000 aaaa |
| 0000 bbbb | Pad 7 Rhythm Pattern Number
00 3D | 0aaa aaaa | Pad 8 Mode
01 05 | 0aaa aaaa | Chord Pattern Name 6
(32 - 127) |
(0 - 255) |
(0 - 2) |
|
|
|
01 06 | 0aaa aaaa | Chord Pattern Name 7
(32 - 127) |
|
|
OFF, NOTE, PTN
|
|
|
|
00 3E | 0aaa aaaa | Pad 8 Note Number
(0 - 127) |
01 07 | 0aaa aaaa | Chord Pattern Name 8
(32 - 127) |
|
|
C-1 - G9
(0 - 127) |
|
|
|
|
(32 - 127) |
|
00 3F | 0aaa aaaa | Pad 8 Velocity
01 08 | 0aaa aaaa | Chord Pattern Name 9
|
|
REAL, 1 - 127
|
|
|
00 40 | 0000 000a | Pad 8 Rhythm Pattern Group
(0 - 1) |
318
MIDI Implementation
|
|
|
USER, PRESET
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
|
|
|
OFF, ON
|
|#
|
00 41 | 0000 aaaa |
| 0000 bbbb | Pad 8 Rhythm Pattern Number
00 43 | 0aaa aaaa | Pad 9 Mode
00 18 | 0000 000a | Legato Retrigger
(0 - 1) |
(0 - 255) |
(0 - 2) |
|
|
OFF, ON
|
|
00 19 | 0000 000a | Portamento Switch
(0 - 1) |
OFF, ON |
|
|
|
OFF, NOTE, PTN
|
|
|
|
00 44 | 0aaa aaaa | Pad 9 Note Number
(0 - 127) |
00 1A | 0000 000a | Portamento Mode
(0 - 1) |
|
|
|
C-1 - G9
|
|
|
NORMAL, LEGATO
|
|
00 45 | 0aaa aaaa | Pad 9 Velocity
(0 - 127) |
00 1B | 0000 000a | Portamento Type
(0 - 1) |
|
|
|
REAL, 1 - 127
|
|
|
RATE, TIME
|
|
00 46 | 0000 000a | Pad 9 Rhythm Pattern Group
(0 - 1) |
USER, PRESET
00 1C | 0000 000a | Portamento Start
(0 - 1) |
|
|
|
|
|
|
|
PITCH, NOTE
|
|#
|
00 47 | 0000 aaaa |
| 0000 bbbb | Pad 9 Rhythm Pattern Number
00 49 | 0aaa aaaa | Pad 10 Mode
00 1D | 0aaa aaaa | Portamento Time
00 1E | 0000 000a | (reserve) <*>
00 1F | 0000 aaaa |
(0 - 127) |
(0 - 255) |
(0 - 2) |
|
|
|
|
|
|
|
|
OFF, NOTE, PTN
|
| 0000 bbbb | (reserve) <*>
00 21 | 0000 000a | (reserve) <*>
|
00 4A | 0aaa aaaa | Pad 10 Note Number
(0 - 127) |
|
|
|
C-1 - G9
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 4B | 0aaa aaaa | Pad 10 Velocity
(0 - 127) |
|
|
|
|
|
|
|
|
|
|
00 22 | 0aaa aaaa | Cutoff Offset
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
|
|
|
REAL, 1 - 127
|
|
|
|
|
00 4C | 0000 000a | Pad 10 Rhythm Pattern Group
(0 - 1) |
USER, PRESET
00 23 | 0aaa aaaa | Resonance Offset
|
|
|
|
|
|
|
|
|#
|
00 4D | 0000 aaaa |
| 0000 bbbb | Pad 10 Rhythm Pattern Number
00 4F | 0aaa aaaa | Pad 11 Mode
00 24 | 0aaa aaaa | Attack Time Offset
(0 - 255) |
(0 - 2) |
|
|
|
|
00 25 | 0aaa aaaa | Release Time Offset
|
|
|
OFF, NOTE, PTN
|
|
|
|
|
00 50 | 0aaa aaaa | Pad 11 Note Number
(0 - 127) |
00 26 | 0aaa aaaa | Velocity Sens Offset
|
|
|
C-1 - G9
|
|
|
|
|
00 51 | 0aaa aaaa | Pad 11 Velocity
(0 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
REAL, 1 - 127
|
|
|
|
|
00 27 | 0000 aaaa | Patch Output Assign
(0 - 13) |
MFX, A, B, ---, ---, |
|
00 52 | 0000 000a | Pad 11 Rhythm Pattern Group
(0 - 1) |
USER, PRESET
|
|
|
|
|
|
|
|
|
|
|
1, 2, 3, 4, ---, ---, ---, ---, |
|#
|
00 53 | 0000 aaaa |
| 0000 bbbb | Pad 11 Rhythm Pattern Number
00 55 | 0aaa aaaa | Pad 12 Mode
TONE
|
(0 - 255) |
(0 - 2) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
00 28 | 0000 000a | TMT Control Switch
(0 - 1) |
OFF, ON |
(0 - 48) |
(0 - 48) |
|
|
|
OFF, NOTE, PTN
|
|
|
|
00 56 | 0aaa aaaa | Pad 12 Note Number
(0 - 127) |
00 29 | 00aa aaaa | Pitch Bend Range Up
00 2A | 00aa aaaa | Pitch Bend Range Down
|
|
|
C-1 - G9
|
|
00 57 | 0aaa aaaa | Pad 12 Velocity
(0 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
00 2B | 0aaa aaaa | Matrix Control 1 Source (0 - 109) |
|
|
|
REAL, 1 - 127
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
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|
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|
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|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
|
|
|
|
00 58 | 0000 000a | Pad 12 Rhythm Pattern Group
(0 - 1) |
USER, PRESET
|
|
|
|
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT, SYS1 - SYS4, VELOCITY, |
KEYFOLLOW, TEMPO, LFO1, LFO2, |
|
|
|
|
|
|#
|
00 59 | 0000 aaaa |
| 0000 bbbb | Pad 12 Rhythm Pattern Number
00 5B | 0aaa aaaa | Pad 13 Mode
(0 - 255) |
(0 - 2) |
PIT-ENV, TVF-ENV, TVA-ENV
|
|
00 2C | 00aa aaaa | Matrix Control 1 Destination 1
(0 - 34) |
|
|
|
OFF, NOTE, PTN
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
|
00 5C | 0aaa aaaa | Pad 13 Note Number
(0 - 127) |
|
|
|
C-1 - G9
|
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
|
00 5D | 0aaa aaaa | Pad 13 Velocity
(0 - 127) |
|
|
|
REAL, 1 - 127
|
|
00 5E | 0000 000a | Pad 13 Rhythm Pattern Group
(0 - 1) |
USER, PRESET
|
|
|
|
|
|#
|
00 5F | 0000 aaaa |
| 0000 bbbb | Pad 13 Rhythm Pattern Number
00 61 | 0aaa aaaa | Pad 14 Mode
(0 - 255) |
(0 - 2) |
|
TIME
(1 - 127) |
-63 - +63
(0 - 34) |
|
|
|
|
OFF, NOTE, PTN
|
00 2D | 0aaa aaaa | Matrix Control 1 Sens 1
|
00 62 | 0aaa aaaa | Pad 14 Note Number
(0 - 127) |
|
|
|
|
|
|
C-1 - G9
|
00 2E | 00aa aaaa | Matrix Control 1 Destination 2
|
00 63 | 0aaa aaaa | Pad 14 Velocity
(0 - 127) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
|
|
|
REAL, 1 - 127
|
|
00 64 | 0000 000a | Pad 14 Rhythm Pattern Group
(0 - 1) |
USER, PRESET
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
|
|
|
|
|
|#
|
00 65 | 0000 aaaa |
| 0000 bbbb | Pad 14 Rhythm Pattern Number
00 67 | 0aaa aaaa | Pad 15 Mode
(0 - 255) |
(0 - 2) |
|
|
|
|
OFF, NOTE, PTN
|
|
00 68 | 0aaa aaaa | Pad 15 Note Number
(0 - 127) |
|
|
|
C-1 - G9
|
TIME
(1 - 127) |
-63 - +63
(0 - 34) |
|
|
00 69 | 0aaa aaaa | Pad 15 Velocity
(0 - 127) |
00 2F | 0aaa aaaa | Matrix Control 1 Sens 2
|
|
|
REAL, 1 - 127
|
|
|
|
|
00 6A | 0000 000a | Pad 15 Rhythm Pattern Group
(0 - 1) |
USER, PRESET
00 30 | 00aa aaaa | Matrix Control 1 Destination 3
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
|#
|
00 6B | 0000 aaaa |
| 0000 bbbb | Pad 15 Rhythm Pattern Number
00 6D | 0aaa aaaa | Pad 16 Mode
(0 - 255) |
(0 - 2) |
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
|
|
|
|
OFF, NOTE, PTN
|
|
00 6E | 0aaa aaaa | Pad 16 Note Number
(0 - 127) |
|
|
|
C-1 - G9
|
|
00 6F | 0aaa aaaa | Pad 16 Velocity
(0 - 127) |
|
|
|
REAL, 1 - 127
|
|
00 70 | 0000 000a | Pad 16 Rhythm Pattern Group
(0 - 1) |
USER, PRESET
TIME
(1 - 127) |
-63 - +63
(0 - 34) |
|
|
|
|
|
|
00 31 | 0aaa aaaa | Matrix Control 1 Sens 3
|#
|
00 71 | 0000 aaaa |
| 0000 bbbb | Pad 16 Rhythm Pattern Number
|
|
|
(0 - 255) |
00 32 | 00aa aaaa | Matrix Control 1 Destination 4
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
| 00 00 00 73 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
❍Patch Common
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
TIME
(1 - 127) |
-63 - +63
|—————————————+———————————+————————————————————————————————————————————————————|
00 34 | 0aaa aaaa | Matrix Control 2 Source (0 - 109) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 | 0aaa aaaa | Patch Name 1
(32 - 127) |
00 33 | 0aaa aaaa | Matrix Control 1 Sens 4
|
|
32 - 127 [ASCII]
|
|
|
|
00 01 | 0aaa aaaa | Patch Name 2
(32 - 127) |
|
|
32 - 127 [ASCII]
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 02 | 0aaa aaaa | Patch Name 3
(32 - 127) |
|
|
|
|
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT, SYS1 - SYS4, VELOCITY, |
KEYFOLLOW, TEMPO, LFO1, LFO2, |
|
|
32 - 127 [ASCII]
|
00 03 | 0aaa aaaa | Patch Name 4
(32 - 127) |
|
|
32 - 127 [ASCII]
|
PIT-ENV, TVF-ENV, TVA-ENV
|
00 04 | 0aaa aaaa | Patch Name 5
(32 - 127) |
00 35 | 00aa aaaa | Matrix Control 2 Destination 1
(0 - 34) |
|
|
32 - 127 [ASCII]
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
00 05 | 0aaa aaaa | Patch Name 6
(32 - 127) |
|
|
32 - 127 [ASCII]
|
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
00 06 | 0aaa aaaa | Patch Name 7
(32 - 127) |
|
|
32 - 127 [ASCII]
|
00 07 | 0aaa aaaa | Patch Name 8
(32 - 127) |
|
|
32 - 127 [ASCII]
|
00 08 | 0aaa aaaa | Patch Name 9
(32 - 127) |
|
|
32 - 127 [ASCII]
|
00 09 | 0aaa aaaa | Patch Name 10
(32 - 127) |
TIME
(1 - 127) |
-63 - +63
(0 - 34) |
|
|
|
32 - 127 [ASCII]
|
00 36 | 0aaa aaaa | Matrix Control 2 Sens 1
00 0A | 0aaa aaaa | Patch Name 11
(32 - 127) |
|
|
|
|
|
32 - 127 [ASCII]
|
00 37 | 00aa aaaa | Matrix Control 2 Destination 2
00 0B | 0aaa aaaa | Patch Name 12
(32 - 127) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
|
|
32 - 127 [ASCII]
|
00 0C | 0aaa aaaa | Patch Category
(0 - 127) |
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 0D | 0000 000a | (reserve) <*>
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 0E | 0aaa aaaa | Patch Level
00 0F | 0aaa aaaa | Patch Pan
(0 - 127) |
(0 - 127) |
L64 - 63R
(0 - 1) |
|
|
|
00 10 | 0000 000a | Patch Priority
TIME
(1 - 127) |
-63 - +63
(0 - 34) |
|
|
|
LAST, LOUDEST
|
00 38 | 0aaa aaaa | Matrix Control 2 Sens 2
00 11 | 0aaa aaaa | Patch Coarse Tune
(16 - 112) |
-48 - +48
(14 - 114) |
-50 - +50
(61 - 67) |
-3 - +3
(0 - 3) |
|
|
|
|
|
|
00 39 | 00aa aaaa | Matrix Control 2 Destination 3
00 12 | 0aaa aaaa | Patch Fine Tune
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
|
|
|
00 13 | 0000 0aaa | Octave Shift
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
|
|
|
00 14 | 0000 00aa | Stretch Tune Depth
|
|
OFF, 1 - 3
|
(0 - 127) |
(0 - 1) |
00 15 | 0aaa aaaa | Analog Feel
00 16 | 0000 000a | Mono/Poly
|
|
MONO, POLY
|
00 17 | 0000 000a | Legato Switch
(0 - 1) |
TIME
|
319
MIDI Implementation
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 3A | 0aaa aaaa | Matrix Control 2 Sens 3
(1 - 127) |
-63 - +63
(0 - 34) |
| Offset
|
|
|
|
|
|
|
Address |
Description
00 3B | 00aa aaaa | Matrix Control 2 Destination 4
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
|
|
|
|
|
|
00 00 | 0aaa aaaa | MFX Type
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 3) |
00 01 | 0aaa aaaa | MFX Dry Send Level
00 02 | 0aaa aaaa | MFX Chorus Send Level
00 03 | 0aaa aaaa | MFX Reverb Send Level
00 04 | 0000 00aa | MFX Output Assign
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
|
|
A, B, ---, ---
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 05 | 0aaa aaaa | MFX Control 1 Source
(0 - 101) |
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
TIME
(1 - 127) |
-63 - +63
|
BEND, AFT, SYS1 - SYS4
|
00 3C | 0aaa aaaa | Matrix Control 2 Sens 4
00 06 | 0aaa aaaa | MFX Control 1 Sens
(1 - 127) |
|
|
|
|
|
-63 - +63
|
|—————————————+———————————+————————————————————————————————————————————————————|
00 3D | 0aaa aaaa | Matrix Control 3 Source (0 - 109) |
00 07 | 0aaa aaaa | MFX Control 2 Source
(0 - 101) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
|
|
|
|
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT, SYS1 - SYS4, VELOCITY, |
KEYFOLLOW, TEMPO, LFO1, LFO2, |
BEND, AFT, SYS1 - SYS4
|
00 08 | 0aaa aaaa | MFX Control 2 Sens
(1 - 127) |
|
|
-63 - +63
|
PIT-ENV, TVF-ENV, TVA-ENV
|
00 09 | 0aaa aaaa | MFX Control 3 Source
(0 - 101) |
00 3E | 00aa aaaa | Matrix Control 3 Destination 1
(0 - 34) |
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
BEND, AFT, SYS1 - SYS4
|
00 0A | 0aaa aaaa | MFX Control 3 Sens
(1 - 127) |
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
|
|
-63 - +63
|
00 0B | 0aaa aaaa | MFX Control 4 Source
(0 - 101) |
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT, SYS1 - SYS4
(1 - 127) |
-63 - +63 |
|
00 0C | 0aaa aaaa | MFX Control 4 Sens
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
TIME
(1 - 127) |
-63 - +63
(0 - 34) |
|
|
00 0D | 000a aaaa | MFX Control Assign 1
(0 - 16) |
00 3F | 0aaa aaaa | Matrix Control 3 Sens 1
|
|
|
OFF, 1 - 16
|
|
|
|
|
00 0E | 000a aaaa | MFX Control Assign 2
(0 - 16) |
00 40 | 00aa aaaa | Matrix Control 3 Destination 2
|
|
|
OFF, 1 - 16
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
|
00 0F | 000a aaaa | MFX Control Assign 3
(0 - 16) |
|
|
|
OFF, 1 - 16
|
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
|
00 10 | 000a aaaa | MFX Control Assign 4
(0 - 16) |
|
|
|
OFF, 1 - 16
|
|
|
|
|#
|
00 11 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 1
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
TIME
(1 - 127) |
-63 - +63
(0 - 34) |
|
|#
|
00 15 | 0000 aaaa |
| 0000 bbbb |
00 41 | 0aaa aaaa | Matrix Control 3 Sens 2
|
|
|
|
| 0000 cccc |
00 42 | 00aa aaaa | Matrix Control 3 Destination 3
|
| 0000 dddd | MFX Parameter 2
(12768 - 52768) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 19 | 0000 aaaa |
| 0000 bbbb |
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 3
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 1D | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
TIME
(1 - 127) |
-63 - +63
(0 - 34) |
|
|
| 0000 dddd | MFX Parameter 4
(12768 - 52768) |
00 43 | 0aaa aaaa | Matrix Control 3 Sens 3
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|#
|
00 21 | 0000 aaaa |
| 0000 bbbb |
00 44 | 00aa aaaa | Matrix Control 3 Destination 4
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 5
(12768 - 52768) |
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 25 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 6
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 29 | 0000 aaaa |
| 0000 bbbb |
TIME
(1 - 127) |
-63 - +63
|—————————————+———————————+————————————————————————————————————————————————————|
00 46 | 0aaa aaaa | Matrix Control 4 Source (0 - 109) |
|
00 45 | 0aaa aaaa | Matrix Control 3 Sens 4
|
| 0000 cccc |
|
|
|
|
| 0000 dddd | MFX Parameter 7
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 2D | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT, SYS1 - SYS4, VELOCITY, |
KEYFOLLOW, TEMPO, LFO1, LFO2, |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 8
(12768 - 52768) |
PIT-ENV, TVF-ENV, TVA-ENV
|
|
|
|
-20000 - +20000
|
|
|
|
00 47 | 00aa aaaa | Matrix Control 4 Destination 1
(0 - 34) |
|#
|
00 31 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
|
| 0000 cccc |
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
|
| 0000 dddd | MFX Parameter 9
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 35 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 10
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
TIME
(1 - 127) |
-63 - +63
(0 - 34) |
|
|#
|
00 39 | 0000 aaaa |
| 0000 bbbb |
00 48 | 0aaa aaaa | Matrix Control 4 Sens 1
|
|
|
|
| 0000 cccc |
00 49 | 00aa aaaa | Matrix Control 4 Destination 2
|
| 0000 dddd | MFX Parameter 11
(12768 - 52768) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 3D | 0000 aaaa |
| 0000 bbbb |
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 12
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 41 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
TIME
(1 - 127) |
-63 - +63
(0 - 34) |
|
|
| 0000 dddd | MFX Parameter 13
(12768 - 52768) |
00 4A | 0aaa aaaa | Matrix Control 4 Sens 2
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|#
|
00 45 | 0000 aaaa |
| 0000 bbbb |
00 4B | 00aa aaaa | Matrix Control 4 Destination 3
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 14
(12768 - 52768) |
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 49 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 15
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 4D | 0000 aaaa |
| 0000 bbbb |
TIME
(1 - 127) |
-63 - +63
(0 - 34) |
|
00 4C | 0aaa aaaa | Matrix Control 4 Sens 3
|
| 0000 cccc |
|
|
|
|
| 0000 dddd | MFX Parameter 16
(12768 - 52768) |
00 4D | 00aa aaaa | Matrix Control 4 Destination 4
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
|#
|
00 51 | 0000 aaaa |
| 0000 bbbb |
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 17
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 55 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 18
(12768 - 52768) |
TIME
(1 - 127) |
-63 - +63
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
-20000 - +20000
|
|
|
|
00 4E | 0aaa aaaa | Matrix Control 4 Sens 4
|#
|
00 59 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
| 0000 cccc |
| 00 00 00 4F | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
| 0000 dddd | MFX Parameter 19
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 5D | 0000 aaaa |
| 0000 bbbb |
❍Patch Common MFX
+——————————————————————————————————————————————————————————————————————————————+
|
|
| 0000 cccc |
| 0000 dddd | MFX Parameter 20
(12768 - 52768) |
320
MIDI Implementation
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 34 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|#
|
00 61 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
|
| 0000 dddd | Chorus Parameter 13
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 21
(12768 - 52768) |
-20000 - +20000
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 38 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 65 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 14
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 22
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 3C | 0000 aaaa |
| 0000 bbbb |
|#
|
00 69 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 15
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 23
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 40 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 6D | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 16
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 24
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 44 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 71 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 17
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 25
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 48 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 75 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 18
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 26
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 4C | 0000 aaaa |
| 0000 bbbb |
|#
|
00 79 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 19
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 27
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 50 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 7D | 0000 aaaa |
| 0000 bbbb |
|
|
| 0000 cccc |
|
| 0000 cccc |
| 0000 dddd | Chorus Parameter 20
(12768 - 52768) |
-20000 - +20000 |
|
| 0000 dddd | MFX Parameter 28
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
|#
|
01 01 | 0000 aaaa |
| 0000 bbbb |
| 00 00 00 54 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 29
(12768 - 52768) |
-20000 - +20000
❍Patch Common Reverb
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
|
|
|
|
|#
|
01 05 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
| 0000 cccc |
|
Address |
Description
|
| 0000 dddd | MFX Parameter 30
(12768 - 52768) |
-20000 - +20000
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
00 00 | 0000 aaaa | Reverb Type
(0 - 5) |
(0 - 127) |
(0 - 3) |
|#
|
01 09 | 0000 aaaa |
| 0000 bbbb |
00 01 | 0aaa aaaa | Reverb Level
00 02 | 0000 00aa | Reverb Output Assign
|
| 0000 cccc |
|
|
A, B, ---, ---
|
|
| 0000 dddd | MFX Parameter 31
(12768 - 52768) |
-20000 - +20000
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|#
|
00 03 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|#
|
01 0D | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 1
(12768 - 52768) |
| 0000 dddd | MFX Parameter 32
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|#
|
00 07 | 0000 aaaa |
| 0000 bbbb |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 01 11 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 2
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 0B | 0000 aaaa |
| 0000 bbbb |
❍Patch Common Chorus
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
| 0000 cccc |
|
|
|
|
| 0000 dddd | Reverb Parameter 3
(12768 - 52768) |
|
Address |
Description
|
|
|
-20000 - +20000
|
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
|#
|
00 0F | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
00 00 | 0000 aaaa | Chorus Type
(0 - 3) |
(0 - 127) |
(0 - 3) |
00 01 | 0aaa aaaa | Chorus Level
00 02 | 0000 00aa | Chorus Output Assign
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 4
(12768 - 52768) |
|
|
A, B, ---, ---
|
|
|
|
-20000 - +20000
|
|
|
|
00 03 | 0000 00aa | Chorus Output Select
(0 - 2) |
|#
|
00 13 | 0000 aaaa |
| 0000 bbbb |
|
|
MAIN, REV, MAIN+REV
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
| 0000 cccc |
|#
|
00 04 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
| 0000 dddd | Reverb Parameter 5
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 17 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Chorus Parameter 1
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 08 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Reverb Parameter 6
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 1B | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Chorus Parameter 2
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 0C | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Reverb Parameter 7
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 1F | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Chorus Parameter 3
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 10 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Reverb Parameter 8
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 23 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Chorus Parameter 4
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 14 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Reverb Parameter 9
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 27 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Chorus Parameter 5
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 18 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Reverb Parameter 10
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 2B | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Chorus Parameter 6
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 1C | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Reverb Parameter 11
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 2F | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Chorus Parameter 7
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 20 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Reverb Parameter 12
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 33 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Chorus Parameter 8
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 24 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Reverb Parameter 13
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 37 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Chorus Parameter 9
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 28 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Reverb Parameter 14
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 3B | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Chorus Parameter 10
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 2C | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Reverb Parameter 15
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 3F | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Chorus Parameter 11
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 30 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Reverb Parameter 16
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 43 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Chorus Parameter 12
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
| 0000 cccc |
321
MIDI Implementation
|
| 0000 dddd | Reverb Parameter 17
(12768 - 52768) |
|
|
|
|
|
00 0F | 0aaa aaaa | Tone Chorus Send Level (non MFX)
00 10 | 0aaa aaaa | Tone Reverb Send Level (non MFX)
00 11 | 0000 aaaa | Tone Output Assign
(0 - 127) |
(0 - 127) |
(0 - 12) |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 47 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
MFX, A, B, ---, ---, |
1, 2, 3, 4, ---, ---, ---, --- |
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 18
(12768 - 52768) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 12 | 0000 000a | Tone Receive Bender
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON |
|#
|
00 4B | 0000 aaaa |
| 0000 bbbb |
|
|
|
00 13 | 0000 000a | Tone Receive Expression
|
| 0000 cccc |
|
|
|
|
| 0000 dddd | Reverb Parameter 19
(12768 - 52768) |
-20000 - +20000
00 14 | 0000 000a | Tone Receive Hold-1
|
|
|
|
|
|
|
|
|
|#
|
00 4F | 0000 aaaa |
| 0000 bbbb |
00 15 | 0000 000a | Tone Receive Pan Mode
(0 - 1) |
|
|
CONTINUOUS, KEY-ON
|
|
|
| 0000 cccc |
00 16 | 0000 000a | Tone Redamper Switch
(0 - 1) |
| 0000 dddd | Reverb Parameter 20
(12768 - 52768) |
-20000 - +20000
|
|
OFF, ON
|
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 17 | 0000 00aa | Tone Control 1 Switch 1
(0 - 2) |
| 00 00 00 53 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
OFF, ON, REVERSE
|
00 18 | 0000 00aa | Tone Control 1 Switch 2
(0 - 2) |
|
|
OFF, ON, REVERSE
|
00 19 | 0000 00aa | Tone Control 1 Switch 3
(0 - 2) |
❍Patch TMT (Tone Mix Table)
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
OFF, ON, REVERSE
|
00 1A | 0000 00aa | Tone Control 1 Switch 4
(0 - 2) |
|
|
|
|
|
OFF, ON, REVERSE
|
|
Address |
Description
00 1B | 0000 00aa | Tone Control 2 Switch 1
(0 - 2) |
|—————————————+————————————————————————————————————————————————————————————————|
|
|
OFF, ON, REVERSE
|
|
|
|
|
|
|
|
|
00 00 | 0000 aaaa | Structure Type 1 & 2
(0 - 9) |
1 - 10
00 1C | 0000 00aa | Tone Control 2 Switch 2
(0 - 2) |
|
|
|
|
|
OFF, ON, REVERSE
|
00 01 | 0000 00aa | Booster 1 & 2
(0 - 3) |
00 1D | 0000 00aa | Tone Control 2 Switch 3
(0 - 2) |
|
|
0, +6, +12, +18 [dB]
|
|
|
OFF, ON, REVERSE
|
00 02 | 0000 aaaa | Structure Type 3 & 4
(0 - 9) |
00 1E | 0000 00aa | Tone Control 2 Switch 4
(0 - 2) |
|
|
1 - 10
|
|
|
OFF, ON, REVERSE
|
00 03 | 0000 00aa | Booster 3 & 4
(0 - 3) |
0, +6, +12, +18 [dB]
00 1F | 0000 00aa | Tone Control 3 Switch 1
(0 - 2) |
|
|
|
|
|
OFF, ON, REVERSE
|
|—————————————+———————————+————————————————————————————————————————————————————|
00 20 | 0000 00aa | Tone Control 3 Switch 2
(0 - 2) |
|
|
00 04 | 0000 00aa | TMT Velocity Control
(0 - 3) |
OFF, ON, RANDOM, CYCLE
|
|
OFF, ON, REVERSE
|
|
|
|
00 21 | 0000 00aa | Tone Control 3 Switch 3
(0 - 2) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
OFF, ON, REVERSE
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 05 | 0000 000a | TMT1 Tone Switch
(0 - 1) |
OFF, ON
00 22 | 0000 00aa | Tone Control 3 Switch 4
(0 - 2) |
|
|
|
|
|
OFF, ON, REVERSE
|
00 06 | 0aaa aaaa | TMT1 Keyboard Range Lower
(0 - 127) |
00 23 | 0000 00aa | Tone Control 4 Switch 1
(0 - 2) |
|
|
C-1 - UPPER
|
|
|
OFF, ON, REVERSE
|
00 07 | 0aaa aaaa | TMT1 Keyboard Range Upper
(0 - 127) |
00 24 | 0000 00aa | Tone Control 4 Switch 2
(0 - 2) |
|
|
LOWER - G9
|
|
|
OFF, ON, REVERSE
|
00 08 | 0aaa aaaa | TMT1 Keyboard Fade Width Lower
00 09 | 0aaa aaaa | TMT1 Keyboard Fade Width Upper
00 0A | 0aaa aaaa | TMT1 Velocity Range Lower
(0 - 127) |
(0 - 127) |
(1 - 127) |
00 25 | 0000 00aa | Tone Control 4 Switch 3
(0 - 2) |
|
|
OFF, ON, REVERSE
|
00 26 | 0000 00aa | Tone Control 4 Switch 4
(0 - 2) |
|
|
1 - UPPER
|
|
|
OFF, ON, REVERSE
|
00 0B | 0aaa aaaa | TMT1 Velocity Range Upper
(1 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
LOWER - 127
|
(0 - 127) |
(0 - 127) |
|
|
00 27 | 0000 00aa | Wave Group Type
(0 - 3) |
00 0C | 0aaa aaaa | TMT1 Velocity Fade Width Lower
00 0D | 0aaa aaaa | TMT1 Velocity Fade Width Upper
|
|
INT, SRX, SAMPLE, MULTISAMPLE
|
|
|
|
|#
|
00 28 | 0000 aaaa |
| 0000 bbbb |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 0E | 0000 000a | TMT2 Tone Switch
(0 - 1) |
OFF, ON
|
| 0000 cccc |
|
|
|
|
| 0000 dddd | Wave Group ID
(0 - 16384) |
00 0F | 0aaa aaaa | TMT2 Keyboard Range Lower
(0 - 127) |
|
|
|
OFF, 1 - 16384
|
|
|
|
|
|
C-1 - UPPER
|
|#
|
00 2C | 0000 aaaa |
| 0000 bbbb |
00 10 | 0aaa aaaa | TMT2 Keyboard Range Upper
(0 - 127) |
|
|
LOWER - G9
|
|
| 0000 cccc |
00 11 | 0aaa aaaa | TMT2 Keyboard Fade Width Lower
00 12 | 0aaa aaaa | TMT2 Keyboard Fade Width Upper
00 13 | 0aaa aaaa | TMT2 Velocity Range Lower
(0 - 127) |
(0 - 127) |
(1 - 127) |
|
| 0000 dddd | Wave Number L (Mono)
(0 - 16384) |
OFF, 1 - 16384
|
|
|
|
|
|
|
|#
|
00 30 | 0000 aaaa |
| 0000 bbbb |
|
|
1 - UPPER
|
00 14 | 0aaa aaaa | TMT2 Velocity Range Upper
(1 - 127) |
|
| 0000 cccc |
|
|
LOWER - 127
|
(0 - 127) |
(0 - 127) |
|
| 0000 dddd | Wave Number R
(0 - 16384) |
OFF, 1 - 16384 |
00 15 | 0aaa aaaa | TMT2 Velocity Fade Width Lower
00 16 | 0aaa aaaa | TMT2 Velocity Fade Width Upper
|
|
|
|
00 34 | 0000 00aa | Wave Gain
(0 - 3) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
-6, 0, +6, +12 [dB]
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 17 | 0000 000a | TMT3 Tone Switch
(0 - 1) |
OFF, ON
|
00 35 | 0000 000a | Wave FXM Switch
(0 - 1) |
|
|
|
|
|
|
OFF, ON
|
00 18 | 0aaa aaaa | TMT3 Keyboard Range Lower
(0 - 127) |
|
00 36 | 0000 00aa | Wave FXM Color
(0 - 3) |
1 - 4 |
|
|
C-1 - UPPER
|
|
|
|
00 19 | 0aaa aaaa | TMT3 Keyboard Range Upper
(0 - 127) |
|
00 37 | 000a aaaa | Wave FXM Depth
00 38 | 0000 000a | Wave Tempo Sync
(0 - 16) |
(0 - 1) |
|
|
LOWER - G9
|
|
00 1A | 0aaa aaaa | TMT3 Keyboard Fade Width Lower
00 1B | 0aaa aaaa | TMT3 Keyboard Fade Width Upper
00 1C | 0aaa aaaa | TMT3 Velocity Range Lower
(0 - 127) |
(0 - 127) |
(1 - 127) |
|
|
|
OFF, ON
(44 - 84) |
-200 - +200 |
|
|
00 39 | 00aa aaaa | Wave Pitch Keyfollow
|
|
|
|
|
1 - UPPER
|
|—————————————+———————————+————————————————————————————————————————————————————|
00 1D | 0aaa aaaa | TMT3 Velocity Range Upper
(1 - 127) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 3A | 000a aaaa | Pitch Env Depth
(52 - 76) |
-12 - +12
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(54 - 74) |
|
|
LOWER - 127
|
(0 - 127) |
(0 - 127) |
|
|
|
00 1E | 0aaa aaaa | TMT3 Velocity Fade Width Lower
00 1F | 0aaa aaaa | TMT3 Velocity Fade Width Upper
00 3B | 0aaa aaaa | Pitch Env Velocity Sens
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
00 3C | 0aaa aaaa | Pitch Env Time 1 Velocity Sens
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 20 | 0000 000a | TMT4 Tone Switch
(0 - 1) |
OFF, ON
|
|
|
|
|
|
00 3D | 0aaa aaaa | Pitch Env Time 4 Velocity Sens
00 21 | 0aaa aaaa | TMT4 Keyboard Range Lower
(0 - 127) |
|
|
|
|
|
C-1 - UPPER
|
00 3E | 000a aaaa | Pitch Env Time Keyfollow
00 22 | 0aaa aaaa | TMT4 Keyboard Range Upper
(0 - 127) |
|
|
-100 - +100
|
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(1 - 127) |
|
|
LOWER - G9
|
00 3F | 0aaa aaaa | Pitch Env Time 1
00 40 | 0aaa aaaa | Pitch Env Time 2
00 41 | 0aaa aaaa | Pitch Env Time 3
00 42 | 0aaa aaaa | Pitch Env Time 4
00 43 | 0aaa aaaa | Pitch Env Level 0
00 23 | 0aaa aaaa | TMT4 Keyboard Fade Width Lower
00 24 | 0aaa aaaa | TMT4 Keyboard Fade Width Upper
00 25 | 0aaa aaaa | TMT4 Velocity Range Lower
(0 - 127) |
(0 - 127) |
(1 - 127) |
|
|
1 - UPPER
|
00 26 | 0aaa aaaa | TMT4 Velocity Range Upper
(1 - 127) |
|
|
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
|
|
|
LOWER - 127
|
(0 - 127) |
(0 - 127) |
00 44 | 0aaa aaaa | Pitch Env Level 1
00 27 | 0aaa aaaa | TMT4 Velocity Fade Width Lower
00 28 | 0aaa aaaa | TMT4 Velocity Fade Width Upper
|
|
|
00 45 | 0aaa aaaa | Pitch Env Level 2
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
| 00 00 00 29 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
00 46 | 0aaa aaaa | Pitch Env Level 3
|
|
|
00 47 | 0aaa aaaa | Pitch Env Level 4
|
|
|
❍Patch Tone
|—————————————+———————————+————————————————————————————————————————————————————|
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 48 | 0000 0aaa | TVF Filter Type
(0 - 6) |
|
|
|
|
|
|
|
OFF, LPF, BPF, HPF, PKG, LPF2, |
|
Address |
Description
LPF3
|
|—————————————+————————————————————————————————————————————————————————————————|
00 49 | 0aaa aaaa | TVF Cutoff Frequency
00 4A | 00aa aaaa | TVF Cutoff Keyfollow
(0 - 127) |
(44 - 84) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
|
00 00 | 0aaa aaaa | Tone Level
(0 - 127) |
(16 - 112) |
00 01 | 0aaa aaaa | Tone Coarse Tune
|
|
-200 - +200
|
|
|
-48 - +48
(14 - 114) |
-50 - +50
(0 - 30) |
|
00 4B | 0000 0aaa | TVF Cutoff Velocity Curve
(0 - 7) |
00 02 | 0aaa aaaa | Tone Fine Tune
|
|
FIXED, 1 - 7
(1 - 127) |
-63 - +63
|
|
|
|
00 4C | 0aaa aaaa | TVF Cutoff Velocity Sens
00 03 | 000a aaaa | Tone Random Pitch Depth
|
|
|
|
|
|
|
|
|
|
|
|
|
0, 1, 2, 3, 4, 5, 6, 7, 8, 9, |
10, 20, 30, 40, 50, 60, 70, 80, |
90, 100, 200, 300, 400, 500, |
600, 700, 800, 900, 1000, 1100, |
00 4D | 0aaa aaaa | TVF Resonance
(0 - 127) |
(1 - 127) |
00 4E | 0aaa aaaa | TVF Resonance Velocity Sens
|
|
-63 - +63
(1 - 127) |
-63 - +63 |
|
00 4F | 0aaa aaaa | TVF Env Depth
1200
(0 - 127) |
L64 - 63R
(54 - 74) |
|
|
|
00 04 | 0aaa aaaa | Tone Pan
00 50 | 0000 0aaa | TVF Env Velocity Curve
(0 - 7) |
|
|
|
|
|
FIXED, 1 - 7
|
00 05 | 000a aaaa | Tone Pan Keyfollow
00 51 | 0aaa aaaa | TVF Env Velocity Sens
(1 - 127) |
|
|
-100 - +100
|
(0 - 63) |
(1 - 127) |
|
|
-63 - +63
|
00 06 | 00aa aaaa | Tone Random Pan Depth
00 07 | 0aaa aaaa | Tone Alternate Pan Depth
00 52 | 0aaa aaaa | TVF Env Time 1 Velocity Sens
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(54 - 74) |
|
|
|
|
|
L63 - 63R
|
00 53 | 0aaa aaaa | TVF Env Time 4 Velocity Sens
00 08 | 0000 000a | Tone Env Mode
(0 - 1) |
|
|
|
|
|
NO-SUS, SUSTAIN
|
00 54 | 000a aaaa | TVF Env Time Keyfollow
00 09 | 0000 00aa | Tone Delay Mode
(0 - 3) |
|
|
-100 - +100
|
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
|
|
|
|
NORMAL, HOLD, KEY-OFF-NORMAL, |
00 55 | 0aaa aaaa | TVF Env Time 1
00 56 | 0aaa aaaa | TVF Env Time 2
00 57 | 0aaa aaaa | TVF Env Time 3
00 58 | 0aaa aaaa | TVF Env Time 4
00 59 | 0aaa aaaa | TVF Env Level 0
00 5A | 0aaa aaaa | TVF Env Level 1
00 5B | 0aaa aaaa | TVF Env Level 2
00 5C | 0aaa aaaa | TVF Env Level 3
00 5D | 0aaa aaaa | TVF Env Level 4
KEY-OFF-DECAY
|
|
00 0A | 0000 aaaa |
| 0000 bbbb | Tone Delay Time
(0 - 149) |
0 - 127, MUSICAL-NOTES |
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
00 0C | 0aaa aaaa | Tone Dry Send Level
00 0D | 0aaa aaaa | Tone Chorus Send Level (MFX)
00 0E | 0aaa aaaa | Tone Reverb Send Level (MFX)
(0 - 127) |
(0 - 127) |
(0 - 127) |
322
MIDI Implementation
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
32 - 127 [ASCII]
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 5E | 000a aaaa | Bias Level
(54 - 74) |
00 09 | 0aaa aaaa | Rhythm Name 10
(32 - 127) |
|
|
-100 - +100
|
|
|
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII] |
|
00 5F | 0aaa aaaa | Bias Position
(0 - 127) |
00 0A | 0aaa aaaa | Rhythm Name 11
|
|
C-1 - G9
(0 - 3) |
LOWER, UPPER, LOWER&UPPER, ALL
|
|
|
|
00 60 | 0000 00aa | Bias Direction
00 0B | 0aaa aaaa | Rhythm Name 12
|
|
|
|
|
00 61 | 0000 0aaa | TVA Level Velocity Curve
(0 - 7) |
FIXED, 1 - 7
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|#
|
00 0C | 0aaa aaaa | Rhythm Level
00 0D | 0000 000a | (reserve) <*>
00 0E | 0000 aaaa |
| 0000 bbbb | (reserve) <*>
00 10 | 0000 000a | (reserve) <*>
(0 - 127) |
00 62 | 0aaa aaaa | TVA Level Velocity Sens
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(54 - 74) |
|
|
|
|
|
|
|
00 63 | 0aaa aaaa | TVA Env Time 1 Velocity Sens
|
|
|
|
00 64 | 0aaa aaaa | TVA Env Time 4 Velocity Sens
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
00 11 | 0000 aaaa | Rhythm Output Assign
(0 - 13) |
MFX, A, B, ---, ---, |
00 65 | 000a aaaa | TVA Env Time Keyfollow
|
|
|
|
|
|
|
|
-100 - +100
|
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
1, 2, 3, 4, ---, ---, ---, ---, |
00 66 | 0aaa aaaa | TVA Env Time 1
00 67 | 0aaa aaaa | TVA Env Time 2
00 68 | 0aaa aaaa | TVA Env Time 3
00 69 | 0aaa aaaa | TVA Env Time 4
00 6A | 0aaa aaaa | TVA Env Level 1
00 6B | 0aaa aaaa | TVA Env Level 2
00 6C | 0aaa aaaa | TVA Env Level 3
TONE
|
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 12 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
❍Rhythm Common MFX
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|#
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 6D | 0000 aaaa | LFO1 Waveform
(0 - 12) |
SIN, TRI, SAW-UP, SAW-DW, SQR, |
RND, BEND-UP, BEND-DW, TRP, S&H, |
|
|
|
|
|
|
|
|
|
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
CHS, VSIN, STEP
|
|
|
|
|
|
|
|
00 00 | 0aaa aaaa | MFX Type
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 3) |
00 6E | 0000 aaaa |
| 0000 bbbb | LFO1 Rate
00 01 | 0aaa aaaa | MFX Dry Send Level
00 02 | 0aaa aaaa | MFX Chorus Send Level
00 03 | 0aaa aaaa | MFX Reverb Send Level
00 04 | 0000 00aa | MFX Output Assign
(0 - 149) |
|
|
0 - 127, MUSICAL-NOTES
|
00 70 | 0000 0aaa | LFO1 Offset
(0 - 4) |
|
|
-100, -50, 0, +50, +100
|
(0 - 127) |
(0 - 127) |
(54 - 74) |
|
|
A, B, ---, ---
|
00 71 | 0aaa aaaa | LFO1 Rate Detune
00 72 | 0aaa aaaa | LFO1 Delay Time
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 05 | 0aaa aaaa | MFX Control 1 Source
(0 - 101) |
00 73 | 000a aaaa | LFO1 Delay Time Keyfollow
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
|
|
-100 - +100
|
BEND, AFT, SYS1 - SYS4
|
00 74 | 0000 00aa | LFO1 Fade Mode
(0 - 3) |
00 06 | 0aaa aaaa | MFX Control 1 Sens
(1 - 127) |
|
|
ON-IN, ON-OUT, OFF-IN, OFF-OUT
|
(0 - 127) |
(0 - 1) |
|
|
-63 - +63
|
00 75 | 0aaa aaaa | LFO1 Fade Time
00 76 | 0000 000a | LFO1 Key Trigger
00 07 | 0aaa aaaa | MFX Control 2 Source
(0 - 101) |
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
|
|
OFF, ON
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
|
BEND, AFT, SYS1 - SYS4
|
00 77 | 0aaa aaaa | LFO1 Pitch Depth
00 08 | 0aaa aaaa | MFX Control 2 Sens
(1 - 127) |
|
|
|
|
|
-63 - +63
|
00 78 | 0aaa aaaa | LFO1 TVF Depth
00 09 | 0aaa aaaa | MFX Control 3 Source
(0 - 101) |
|
|
|
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
00 79 | 0aaa aaaa | LFO1 TVA Depth
BEND, AFT, SYS1 - SYS4
|
|
|
|
00 0A | 0aaa aaaa | MFX Control 3 Sens
(1 - 127) |
00 7A | 0aaa aaaa | LFO1 Pan Depth
|
|
-63 - +63
|
|
|
|
00 0B | 0aaa aaaa | MFX Control 4 Source
(0 - 101) |
00 7B | 0000 aaaa | LFO2 Waveform
(0 - 12) |
SIN, TRI, SAW-UP, SAW-DW, SQR, |
RND, BEND-UP, BEND-DW, TRP, S&H, |
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
|
|
|
|
|
|
BEND, AFT, SYS1 - SYS4
(1 - 127) |
-63 - +63 |
|
00 0C | 0aaa aaaa | MFX Control 4 Sens
CHS, VSIN, STEP
|
|
|
|
00 7C | 0000 aaaa |
| 0000 bbbb | LFO2 Rate
|—————————————+———————————+————————————————————————————————————————————————————|
(0 - 149) |
|
00 0D | 000a aaaa | MFX Control Assign 1
(0 - 16) |
|
|
0 - 127, MUSICAL-NOTES
|
|
|
|
OFF, 1 - 16
|
00 7E | 0000 0aaa | LFO2 Offset
(0 - 4) |
|
00 0E | 000a aaaa | MFX Control Assign 2
(0 - 16) |
|
|
-100, -50, 0, +50, +100
|
(0 - 127) |
(0 - 127) |
(54 - 74) |
|
|
|
OFF, 1 - 16
|
00 7F | 0aaa aaaa | LFO2 Rate Detune
01 00 | 0aaa aaaa | LFO2 Delay Time
|
00 0F | 000a aaaa | MFX Control Assign 3
(0 - 16) |
|
|
|
OFF, 1 - 16
|
01 01 | 000a aaaa | LFO2 Delay Time Keyfollow
|
00 10 | 000a aaaa | MFX Control Assign 4
(0 - 16) |
|
|
-100 - +100
|
|
|
|
OFF, 1 - 16
|
|
|
|
01 02 | 0000 00aa | LFO2 Fade Mode
(0 - 3) |
|#
|
00 11 | 0000 aaaa |
| 0000 bbbb |
|
|
ON-IN, ON-OUT, OFF-IN, OFF-OUT
|
(0 - 127) |
(0 - 1) |
01 03 | 0aaa aaaa | LFO2 Fade Time
01 04 | 0000 000a | LFO2 Key Trigger
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 1
(12768 - 52768) |
-20000 - +20000
|
|
OFF, ON
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
|
|
|
|
|
|
|
|
01 05 | 0aaa aaaa | LFO2 Pitch Depth
|#
|
00 15 | 0000 aaaa |
| 0000 bbbb |
|
|
|
01 06 | 0aaa aaaa | LFO2 TVF Depth
|
| 0000 cccc |
|
|
|
|
| 0000 dddd | MFX Parameter 2
(12768 - 52768) |
-20000 - +20000
01 07 | 0aaa aaaa | LFO2 TVA Depth
|
|
|
|
|
|
|
|
|
|
|#
|
00 19 | 0000 aaaa |
| 0000 bbbb |
01 08 | 0aaa aaaa | LFO2 Pan Depth
|
|
|
|
| 0000 cccc |
|—————————————+———————————+————————————————————————————————————————————————————|
|
| 0000 dddd | MFX Parameter 3
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
01 09 | 0000 aaaa | LFO Step Type
01 0A | 0aaa aaaa | LFO Step1
(0 - 1) |
|
|
|
|
|
|
|
(28 - 100) |
|#
|
00 1D | 0000 aaaa |
| 0000 bbbb |
|
|
-36 - +36
|
01 0B | 0aaa aaaa | LFO Step2
(28 - 100) |
-36 - +36
(28 - 100) |
-36 - +36
(28 - 100) |
-36 - +36
(28 - 100) |
-36 - +36
(28 - 100) |
-36 - +36
(28 - 100) |
-36 - +36
(28 - 100) |
-36 - +36
(28 - 100) |
-36 - +36
(28 - 100) |
-36 - +36
(28 - 100) |
-36 - +36
(28 - 100) |
-36 - +36
(28 - 100) |
-36 - +36
(28 - 100) |
-36 - +36
(28 - 100) |
-36 - +36
(28 - 100) |
-36 - +36
|—————————————+————————————————————————————————————————————————————————————————|
|
| 0000 cccc |
|
|
|
|
| 0000 dddd | MFX Parameter 4
(12768 - 52768) |
-20000 - +20000
01 0C | 0aaa aaaa | LFO Step3
|
|
|
|
|
|
|
|
|
|
|#
|
00 21 | 0000 aaaa |
| 0000 bbbb |
01 0D | 0aaa aaaa | LFO Step4
|
|
|
|
| 0000 cccc |
01 0E | 0aaa aaaa | LFO Step5
|
| 0000 dddd | MFX Parameter 5
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
01 0F | 0aaa aaaa | LFO Step6
|#
|
00 25 | 0000 aaaa |
| 0000 bbbb |
|
|
|
01 10 | 0aaa aaaa | LFO Step7
|
| 0000 cccc |
|
|
|
|
| 0000 dddd | MFX Parameter 6
(12768 - 52768) |
-20000 - +20000
01 11 | 0aaa aaaa | LFO Step8
|
|
|
|
|
|
|
|
|
|
|#
|
00 29 | 0000 aaaa |
| 0000 bbbb |
01 12 | 0aaa aaaa | LFO Step9
|
|
|
|
| 0000 cccc |
01 13 | 0aaa aaaa | LFO Step10
|
| 0000 dddd | MFX Parameter 7
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
01 14 | 0aaa aaaa | LFO Step11
|#
|
00 2D | 0000 aaaa |
| 0000 bbbb |
|
|
|
01 15 | 0aaa aaaa | LFO Step12
|
| 0000 cccc |
|
|
|
|
| 0000 dddd | MFX Parameter 8
(12768 - 52768) |
-20000 - +20000
01 16 | 0aaa aaaa | LFO Step13
|
|
|
|
|
|
|
|
|
|
|#
|
00 31 | 0000 aaaa |
| 0000 bbbb |
01 17 | 0aaa aaaa | LFO Step14
|
|
|
|
| 0000 cccc |
01 18 | 0aaa aaaa | LFO Step15
|
| 0000 dddd | MFX Parameter 9
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
01 19 | 0aaa aaaa | LFO Step16
|#
|
00 35 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
| 0000 cccc |
| 00 00 01 1A | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
| 0000 dddd | MFX Parameter 10
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|#
|
00 39 | 0000 aaaa |
| 0000 bbbb |
❍Rhythm Common
+——————————————————————————————————————————————————————————————————————————————+
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 11
(12768 - 52768) |
-20000 - +20000
| Offset
|
|
|
|
|
|
|
|
|
|
|
Address |
Description
|#
|
00 3D | 0000 aaaa |
| 0000 bbbb |
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 | 0aaa aaaa | Rhythm Name 1
(32 - 127) |
|
| 0000 cccc |
|
|
32 - 127 [ASCII]
|
|
| 0000 dddd | MFX Parameter 12
(12768 - 52768) |
-20000 - +20000
00 01 | 0aaa aaaa | Rhythm Name 2
(32 - 127) |
|
|
|
|
|
|
|
|
|
32 - 127 [ASCII]
|
|#
|
00 41 | 0000 aaaa |
| 0000 bbbb |
00 02 | 0aaa aaaa | Rhythm Name 3
(32 - 127) |
|
|
32 - 127 [ASCII]
|
|
| 0000 cccc |
00 03 | 0aaa aaaa | Rhythm Name 4
(32 - 127) |
|
| 0000 dddd | MFX Parameter 13
(12768 - 52768) |
-20000 - +20000
|
|
32 - 127 [ASCII]
|
|
|
|
|
|
|
|
00 04 | 0aaa aaaa | Rhythm Name 5
(32 - 127) |
|#
|
00 45 | 0000 aaaa |
| 0000 bbbb |
|
|
32 - 127 [ASCII]
|
00 05 | 0aaa aaaa | Rhythm Name 6
(32 - 127) |
|
| 0000 cccc |
|
|
32 - 127 [ASCII]
|
|
| 0000 dddd | MFX Parameter 14
(12768 - 52768) |
-20000 - +20000
00 06 | 0aaa aaaa | Rhythm Name 7
(32 - 127) |
|
|
|
|
|
|
|
|
|
32 - 127 [ASCII]
|
|#
|
00 49 | 0000 aaaa |
| 0000 bbbb |
00 07 | 0aaa aaaa | Rhythm Name 8
(32 - 127) |
|
|
32 - 127 [ASCII]
|
|
|
| 0000 cccc |
| 0000 dddd | MFX Parameter 15
00 08 | 0aaa aaaa | Rhythm Name 9
(32 - 127) |
(12768 - 52768) |
323
MIDI Implementation
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 20 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|#
|
00 4D | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
|
| 0000 dddd | Chorus Parameter 8
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 16
(12768 - 52768) |
-20000 - +20000
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 24 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 51 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 9
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 17
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 28 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 55 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 10
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 18
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 2C | 0000 aaaa |
| 0000 bbbb |
|#
|
00 59 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 11
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 19
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 30 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 5D | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 12
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 20
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 34 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 61 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 13
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 21
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 38 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 65 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 14
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 22
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 3C | 0000 aaaa |
| 0000 bbbb |
|#
|
00 69 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 15
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 23
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 40 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 6D | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 16
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 24
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 44 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 71 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 17
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 25
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 48 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 75 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 18
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 26
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 4C | 0000 aaaa |
| 0000 bbbb |
|#
|
00 79 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 19
(12768 - 52768) |
|
| 0000 dddd | MFX Parameter 27
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 50 | 0000 aaaa |
| 0000 bbbb |
|#
|
00 7D | 0000 aaaa |
| 0000 bbbb |
|
|
| 0000 cccc |
|
| 0000 cccc |
| 0000 dddd | Chorus Parameter 20
(12768 - 52768) |
-20000 - +20000 |
|
| 0000 dddd | MFX Parameter 28
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
|#
|
01 01 | 0000 aaaa |
| 0000 bbbb |
| 00 00 00 54 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 29
(12768 - 52768) |
-20000 - +20000
❍Rhythm Common Reverb
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
|
|
|
|
|#
|
01 05 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
| 0000 cccc |
|
Address |
Description
|
| 0000 dddd | MFX Parameter 30
(12768 - 52768) |
-20000 - +20000
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
00 00 | 0000 aaaa | Reverb Type
(0 - 5) |
(0 - 127) |
(0 - 3) |
|#
|
01 09 | 0000 aaaa |
| 0000 bbbb |
00 01 | 0aaa aaaa | Reverb Level
00 02 | 0000 00aa | Reverb Output Assign
|
| 0000 cccc |
|
|
A, B, ---, ---
|
|
| 0000 dddd | MFX Parameter 31
(12768 - 52768) |
-20000 - +20000
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|#
|
00 03 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|#
|
01 0D | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 1
(12768 - 52768) |
| 0000 dddd | MFX Parameter 32
(12768 - 52768) |
-20000 - +20000
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|#
|
00 07 | 0000 aaaa |
| 0000 bbbb |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 01 11 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 2
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 0B | 0000 aaaa |
| 0000 bbbb |
❍Rhythm Common Chorus
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
| 0000 cccc |
|
|
|
|
| 0000 dddd | Reverb Parameter 3
(12768 - 52768) |
|
Address |
Description
|
|
|
-20000 - +20000
|
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
|#
|
00 0F | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
00 00 | 0000 aaaa | Chorus Type
(0 - 3) |
(0 - 127) |
(0 - 3) |
00 01 | 0aaa aaaa | Chorus Level
00 02 | 0000 00aa | Chorus Output Assign
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 4
(12768 - 52768) |
|
|
A, B, ---, ---
|
|
|
|
-20000 - +20000
|
|
|
|
00 03 | 0000 00aa | Chorus Output Select
(0 - 2) |
|#
|
00 13 | 0000 aaaa |
| 0000 bbbb |
|
|
MAIN, REV, MAIN+REV
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
| 0000 cccc |
|#
|
00 04 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
| 0000 dddd | Reverb Parameter 5
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 17 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Chorus Parameter 1
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 08 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Reverb Parameter 6
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 1B | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Chorus Parameter 2
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 0C | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Reverb Parameter 7
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 1F | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Chorus Parameter 3
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 10 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Reverb Parameter 8
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 23 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Chorus Parameter 4
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 14 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Reverb Parameter 9
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 27 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Chorus Parameter 5
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 18 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Reverb Parameter 10
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 2B | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Chorus Parameter 6
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 1C | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Reverb Parameter 11
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 2F | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Chorus Parameter 7
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
| 0000 cccc |
324
MIDI Implementation
|
| 0000 dddd | Reverb Parameter 12
(12768 - 52768) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
|
|
|
|
|
|
|#
|
|
|
|
|#
|
|
|
|
|#
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
|
|
|
|#
|
|
|
|
|#
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
|
|
|
|#
|
|
|
|
|#
|
|
|
|
|
| 0000 dddd | WMT1 Wave Number R
(0 - 16384) |
OFF, 1 - 16384 |
|
|
|
-20000 - +20000
|
|
|
|
|
|
|#
|
00 33 | 0000 aaaa |
| 0000 bbbb |
00 2F | 0000 00aa | WMT1 Wave Gain
(0 - 3) |
|
|
-6, 0, +6, +12 [dB]
|
|
| 0000 cccc |
00 30 | 0000 000a | WMT1 Wave FXM Switch
(0 - 1) |
|
| 0000 dddd | Reverb Parameter 13
(12768 - 52768) |
|
|
OFF, ON
|
|
|
|
-20000 - +20000
|
|
|
|
00 31 | 0000 00aa | WMT1 Wave FXM Color
(0 - 3) |
1 - 4 |
|#
|
00 37 | 0000 aaaa |
| 0000 bbbb |
|
|
00 32 | 000a aaaa | WMT1 Wave FXM Depth
00 33 | 0000 000a | WMT1 Wave Tempo Sync
(0 - 16) |
(0 - 1) |
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 14
(12768 - 52768) |
-20000 - +20000
|
|
OFF, ON
(16 - 112) |
-48 - +48
(14 - 114) |
-50 - +50
(0 - 127) |
L64 - 63R
(0 - 1) |
OFF, ON
(0 - 2) |
|
|
|
|
|
|
|
|
00 34 | 0aaa aaaa | WMT1 Wave Coarse Tune
|#
|
00 3B | 0000 aaaa |
| 0000 bbbb |
|
|
|
00 35 | 0aaa aaaa | WMT1 Wave Fine Tune
|
| 0000 cccc |
|
|
|
|
| 0000 dddd | Reverb Parameter 15
(12768 - 52768) |
-20000 - +20000
00 36 | 0aaa aaaa | WMT1 Wave Pan
|
|
|
|
|
|
|
|
|
|
|#
|
00 3F | 0000 aaaa |
| 0000 bbbb |
00 37 | 0000 000a | WMT1 Wave Random Pan Switch
|
|
|
|
| 0000 cccc |
00 38 | 0000 00aa | WMT1 Wave Alternate Pan Switch
|
| 0000 dddd | Reverb Parameter 16
(12768 - 52768) |
-20000 - +20000
|
|
OFF, ON, REVERSE
|
(0 - 127) |
(1 - 127) |
|
|
|
|
|
|
|
00 39 | 0aaa aaaa | WMT1 Wave Level
|#
|
00 43 | 0000 aaaa |
| 0000 bbbb |
00 3A | 0aaa aaaa | WMT1 Velocity Range Lower
|
|
1 - UPPER
|
|
| 0000 cccc |
00 3B | 0aaa aaaa | WMT1 Velocity Range Upper
(1 - 127) |
|
| 0000 dddd | Reverb Parameter 17
(12768 - 52768) |
-20000 - +20000
|
|
LOWER - 127
|
(0 - 127) |
(0 - 127) |
(0 - 1) |
|
|
|
|
|
|
|
00 3C | 0aaa aaaa | WMT1 Velocity Fade Width Lower
00 3D | 0aaa aaaa | WMT1 Velocity Fade Width Upper
00 3E | 0000 000a | WMT2 Wave Switch
|#
|
00 47 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
|
OFF, ON
|
|
| 0000 dddd | Reverb Parameter 18
(12768 - 52768) |
-20000 - +20000
00 3F | 0000 00aa | WMT2 Wave Group Type
(0 - 3) |
|
|
|
|
|
|
|
|
|
INT, SRX, SAMPLE, MULTISAMPLE
|
|
|#
|
00 4B | 0000 aaaa |
| 0000 bbbb |
00 40 | 0000 aaaa |
| 0000 bbbb |
|
|
|
| 0000 cccc |
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 19
(12768 - 52768) |
-20000 - +20000
| 0000 dddd | WMT2 Wave Group ID
(0 - 16384) |
|
|
|
|
|
|
|
|
|
OFF, 1 - 16384
|
|
|
|
|#
|
00 4F | 0000 aaaa |
| 0000 bbbb |
00 44 | 0000 aaaa |
| 0000 bbbb |
|
|
| 0000 cccc |
| 0000 cccc |
| 0000 dddd | Reverb Parameter 20
(12768 - 52768) |
-20000 - +20000
| 0000 dddd | WMT2 Wave Number L (Mono)
(0 - 16384) |
OFF, 1 - 16384
|
|
|
|
|
|
|
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
00 48 | 0000 aaaa |
| 0000 bbbb |
| 00 00 00 53 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
| 0000 cccc |
| 0000 dddd | WMT2 Wave Number R
(0 - 16384) |
OFF, 1 - 16384 |
|
|
❍Rhythm Tone
00 4C | 0000 00aa | WMT2 Wave Gain
(0 - 3) |
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
-6, 0, +6, +12 [dB]
|
|
|
|
00 4D | 0000 000a | WMT2 Wave FXM Switch
(0 - 1) |
|
Address |
Description
|
|
OFF, ON
|
|—————————————+————————————————————————————————————————————————————————————————|
00 4E | 0000 00aa | WMT2 Wave FXM Color
(0 - 3) |
1 - 4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 | 0aaa aaaa | Tone Name 1
(32 - 127) |
|
|
|
|
32 - 127 [ASCII]
|
00 4F | 000a aaaa | WMT2 Wave FXM Depth
00 50 | 0000 000a | WMT2 Wave Tempo Sync
(0 - 16) |
(0 - 1) |
00 01 | 0aaa aaaa | Tone Name 2
(32 - 127) |
|
|
32 - 127 [ASCII]
|
|
|
OFF, ON
(16 - 112) |
-48 - +48
(14 - 114) |
-50 - +50
(0 - 127) |
L64 - 63R
(0 - 1) |
OFF, ON
(0 - 2) |
|
00 02 | 0aaa aaaa | Tone Name 3
(32 - 127) |
00 51 | 0aaa aaaa | WMT2 Wave Coarse Tune
|
|
32 - 127 [ASCII]
|
|
|
|
00 03 | 0aaa aaaa | Tone Name 4
(32 - 127) |
00 52 | 0aaa aaaa | WMT2 Wave Fine Tune
|
|
32 - 127 [ASCII]
|
|
|
|
00 04 | 0aaa aaaa | Tone Name 5
(32 - 127) |
00 53 | 0aaa aaaa | WMT2 Wave Pan
|
|
32 - 127 [ASCII]
|
|
|
|
00 05 | 0aaa aaaa | Tone Name 6
(32 - 127) |
00 54 | 0000 000a | WMT2 Wave Random Pan Switch
|
|
32 - 127 [ASCII]
|
|
|
|
00 06 | 0aaa aaaa | Tone Name 7
(32 - 127) |
00 55 | 0000 00aa | WMT2 Wave Alternate Pan Switch
|
|
32 - 127 [ASCII]
|
|
|
OFF, ON, REVERSE
|
(0 - 127) |
(1 - 127) |
00 07 | 0aaa aaaa | Tone Name 8
(32 - 127) |
00 56 | 0aaa aaaa | WMT2 Wave Level
|
|
32 - 127 [ASCII]
|
00 57 | 0aaa aaaa | WMT2 Velocity Range Lower
00 08 | 0aaa aaaa | Tone Name 9
(32 - 127) |
|
|
1 - UPPER
|
|
|
32 - 127 [ASCII]
|
00 58 | 0aaa aaaa | WMT2 Velocity Range Upper
(1 - 127) |
00 09 | 0aaa aaaa | Tone Name 10
(32 - 127) |
|
|
LOWER - 127
|
(0 - 127) |
(0 - 127) |
(0 - 1) |
|
|
32 - 127 [ASCII]
|
00 59 | 0aaa aaaa | WMT2 Velocity Fade Width Lower
00 5A | 0aaa aaaa | WMT2 Velocity Fade Width Upper
00 5B | 0000 000a | WMT3 Wave Switch
00 0A | 0aaa aaaa | Tone Name 11
(32 - 127) |
|
|
32 - 127 [ASCII]
|
00 0B | 0aaa aaaa | Tone Name 12
(32 - 127) |
|
|
OFF, ON
|
|
|
32 - 127 [ASCII]
|
00 5C | 0000 00aa | WMT3 Wave Group Type
(0 - 3) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
INT, SRX, SAMPLE, MULTISAMPLE
|
|
|
|
|
|
00 0C | 0000 000a | Assign Type
(0 - 1) |
00 5D | 0000 aaaa |
| 0000 bbbb |
|
|
MULTI, SINGLE
|
|
|
00 0D | 000a aaaa | Mute Group
(0 - 31) |
| 0000 cccc |
|
|
OFF, 1 - 31
|
| 0000 dddd | WMT3 Wave Group ID
(0 - 16384) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
OFF, 1 - 16384
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 0E | 0aaa aaaa | Tone Level
(0 - 127) |
(0 - 127) |
00 61 | 0000 aaaa |
| 0000 bbbb |
00 0F | 0aaa aaaa | Tone Coarse Tune
|
|
C-1 - G9
(14 - 114) |
-50 - +50
(0 - 30) |
|
| 0000 cccc |
00 10 | 0aaa aaaa | Tone Fine Tune
| 0000 dddd | WMT3 Wave Number L (Mono)
(0 - 16384) |
OFF, 1 - 16384
|
|
|
|
|
|
|
|
|
00 11 | 000a aaaa | Tone Random Pitch Depth
00 65 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|
|
|
0, 1, 2, 3, 4, 5, 6, 7, 8, 9, |
10, 20, 30, 40, 50, 60, 70, 80, |
90, 100, 200, 300, 400, 500, |
600, 700, 800, 900, 1000, 1100, |
| 0000 cccc |
| 0000 dddd | WMT3 Wave Number R
(0 - 16384) |
OFF, 1 - 16384 |
|
|
1200
(0 - 127) |
L64 - 63R
|
00 69 | 0000 00aa | WMT3 Wave Gain
(0 - 3) |
00 12 | 0aaa aaaa | Tone Pan
|
|
-6, 0, +6, +12 [dB]
|
|
|
|
00 6A | 0000 000a | WMT3 Wave FXM Switch
(0 - 1) |
00 13 | 00aa aaaa | Tone Random Pan Depth
00 14 | 0aaa aaaa | Tone Alternate Pan Depth
(0 - 63) |
(1 - 127) |
|
|
OFF, ON
|
00 6B | 0000 00aa | WMT3 Wave FXM Color
(0 - 3) |
1 - 4 |
|
|
L63 - 63R
(0 - 1) |
NO-SUS, SUSTAIN |
|
|
|
00 15 | 0000 000a | Tone Env Mode
00 6C | 000a aaaa | WMT3 Wave FXM Depth
00 6D | 0000 000a | WMT3 Wave Tempo Sync
(0 - 16) |
(0 - 1) |
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
OFF, ON
(16 - 112) |
-48 - +48
(14 - 114) |
-50 - +50
(0 - 127) |
L64 - 63R
(0 - 1) |
OFF, ON
(0 - 2) |
|
|
|
|
|
|
|
|
|
00 16 | 0aaa aaaa | Tone Dry Send Level
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 12) |
00 6E | 0aaa aaaa | WMT3 Wave Coarse Tune
00 17 | 0aaa aaaa | Tone Chorus Send Level
00 18 | 0aaa aaaa | Tone Reverb Send Level
00 19 | 0aaa aaaa | Tone Chorus Send Level (non MFX)
00 1A | 0aaa aaaa | Tone Reverb Send Level (non MFX)
00 1B | 0000 aaaa | Tone Output Assign
|
|
|
00 6F | 0aaa aaaa | WMT3 Wave Fine Tune
|
|
|
00 70 | 0aaa aaaa | WMT3 Wave Pan
|
|
|
|
|
|
|
MFX, A, B, ---, ---, |
1, 2, 3, 4, ---, ---, ---, ---
00 71 | 0000 000a | WMT3 Wave Random Pan Switch
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
00 72 | 0000 00aa | WMT3 Wave Alternate Pan Switch
|
|
|
|
|
|
|
00 1C | 00aa aaaa | Tone Pitch Bend Range
00 1D | 0000 000a | Tone Receive Expression
(0 - 48) |
(0 - 1) |
|
|
OFF, ON, REVERSE
|
(0 - 127) |
(1 - 127) |
00 73 | 0aaa aaaa | WMT3 Wave Level
|
|
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
CONTINUOUS, KEY-ON
|
00 74 | 0aaa aaaa | WMT3 Velocity Range Lower
00 1E | 0000 000a | Tone Receive Hold-1
|
|
1 - UPPER
|
|
|
|
00 75 | 0aaa aaaa | WMT3 Velocity Range Upper
(1 - 127) |
00 1F | 0000 000a | Tone Receive Pan Mode
|
|
LOWER - 127
|
(0 - 127) |
(0 - 127) |
(0 - 1) |
|
|
|
00 76 | 0aaa aaaa | WMT3 Velocity Fade Width Lower
00 77 | 0aaa aaaa | WMT3 Velocity Fade Width Upper
00 78 | 0000 000a | WMT4 Wave Switch
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
00 20 | 0000 00aa | WMT Velocity Control
(0 - 2) |
OFF, ON, RANDOM
|
|
|
|
|
OFF, ON
|
|—————————————+———————————+————————————————————————————————————————————————————|
00 79 | 0000 00aa | WMT4 Wave Group Type
(0 - 3) |
|
00 21 | 0000 000a | WMT1 Wave Switch
(0 - 1) |
OFF, ON
|
|
INT, SRX, SAMPLE, MULTISAMPLE
|
|
|
|
|
|
00 7A | 0000 aaaa |
| 0000 bbbb |
|
00 22 | 0000 00aa | WMT1 Wave Group Type
(0 - 3) |
|
|
|
|
|
INT, SRX, SAMPLE, MULTISAMPLE
|
|
| 0000 cccc |
|#
|
00 23 | 0000 aaaa |
| 0000 bbbb |
| 0000 dddd | WMT4 Wave Group ID
(0 - 16384) |
|
|
|
|
OFF, 1 - 16384
|
|
|
|
|
| 0000 cccc |
00 7E | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | WMT1 Wave Group ID
(0 - 16384) |
|
|
|
OFF, 1 - 16384
|
|
|
|
| 0000 cccc |
|#
|
00 27 | 0000 aaaa |
| 0000 bbbb |
| 0000 dddd | WMT4 Wave Number L (Mono)
(0 - 16384) |
OFF, 1 - 16384
|
|
|
|
|
|
|
| 0000 cccc |
01 02 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | WMT1 Wave Number L (Mono)
(0 - 16384) |
OFF, 1 - 16384
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 2B | 0000 aaaa |
| 0000 bbbb |
| 0000 dddd | WMT4 Wave Number R
(0 - 16384) |
|
|
OFF, 1 - 16384
|
|
| 0000 cccc |
01 06 | 0000 00aa | WMT4 Wave Gain
(0 - 3) |
325
MIDI Implementation
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
-6, 0, +6, +12 [dB]
(0 - 1) |
OFF, ON
(0 - 3) |
1 - 4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
40 01 12 | 0aaa aaaa | Voice Reserve 3
40 01 13 | 0aaa aaaa | Voice Reserve 4
40 01 14 | 0aaa aaaa | Voice Reserve 5
40 01 15 | 0aaa aaaa | Voice Reserve 6
40 01 16 | 0aaa aaaa | Voice Reserve 7
40 01 17 | 0aaa aaaa | Voice Reserve 8
40 01 18 | 0aaa aaaa | Voice Reserve 9
40 01 19 | 0aaa aaaa | Voice Reserve 10
40 01 1A | 0aaa aaaa | Voice Reserve 11
40 01 1B | 0aaa aaaa | Voice Reserve 12
40 01 1C | 0aaa aaaa | Voice Reserve 13
40 01 1D | 0aaa aaaa | Voice Reserve 14
40 01 1E | 0aaa aaaa | Voice Reserve 15
40 01 1F | 0aaa aaaa | Voice Reserve 16
(0 - 24) |
(0 - 24) |
(0 - 24) |
(0 - 24) |
(0 - 24) |
(0 - 24) |
(0 - 24) |
(0 - 24) |
(0 - 24) |
(0 - 24) |
(0 - 24) |
(0 - 24) |
(0 - 24) |
(0 - 24) |
01 07 | 0000 000a | WMT4 Wave FXM Switch
|
|
|
01 08 | 0000 00aa | WMT4 Wave FXM Color
|
|
01 09 | 000a aaaa | WMT4 Wave FXM Depth
01 0A | 0000 000a | WMT4 Wave Tempo Sync
(0 - 16) |
(0 - 1) |
|
|
OFF, ON
(16 - 112) |
-48 - +48
(14 - 114) |
-50 - +50
(0 - 127) |
L64 - 63R
(0 - 1) |
OFF, ON
(0 - 2) |
|
01 0B | 0aaa aaaa | WMT4 Wave Coarse Tune
|
|
|
01 0C | 0aaa aaaa | WMT4 Wave Fine Tune
|
|
|
01 0D | 0aaa aaaa | WMT4 Wave Pan
|
|
|
01 0E | 0000 000a | WMT4 Wave Random Pan Switch
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
40 01 30 | 0aaa aaaa | Reverb Macro
(0 - 7) |
(0 - 7) |
(0 - 7) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
01 0F | 0000 00aa | WMT4 Wave Alternate Pan Switch
40 01 31 | 0aaa aaaa | Reverb Character
40 01 32 | 0aaa aaaa | Reverb Pre-LPF
40 01 33 | 0aaa aaaa | Reverb Level
|
|
OFF, ON, REVERSE
|
(0 - 127) |
(1 - 127) |
01 10 | 0aaa aaaa | WMT4 Wave Level
01 11 | 0aaa aaaa | WMT4 Velocity Range Lower
40 01 34 | 0aaa aaaa | Reverb Time
40 01 35 | 0aaa aaaa | Reverb Delay Feedback
40 01 36 | 0aaa aaaa | Reverb Send Level to Chorus<*>
|
|
1 - UPPER
|
01 12 | 0aaa aaaa | WMT4 Velocity Range Upper
(1 - 127) |
|
|
LOWER - 127
|
(0 - 127) |
(0 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
01 13 | 0aaa aaaa | WMT4 Velocity Fade Width Lower
01 14 | 0aaa aaaa | WMT4 Velocity Fade Width Upper
|
|
|
|
|
|
|
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40 01 38 | 0aaa aaaa | Chorus Macro
40 01 39 | 0aaa aaaa | Chorus Pre-LPF
40 01 3A | 0aaa aaaa | Chorus Level
40 01 3B | 0aaa aaaa | Chorus Feedback
40 01 3C | 0aaa aaaa | Chorus Delay
40 01 3D | 0aaa aaaa | Chorus Rate
40 01 3E | 0aaa aaaa | Chorus Depth
40 01 3F | 0aaa aaaa | Chorus Send Level to Reverb
(0 - 7) |
(0 - 7) |
|—————————————+———————————+————————————————————————————————————————————————————|
01 15 | 000a aaaa | Pitch Env Depth (52 - 76) |
-12 - +12
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
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01 16 | 0aaa aaaa | Pitch Env Velocity Sens
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01 17 | 0aaa aaaa | Pitch Env Time 1 Velocity Sens
|
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|—————————————+————————————————————————————————————————————————————————————————|
01 18 | 0aaa aaaa | Pitch Env Time 4 Velocity Sens
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❍Part Parameter
01 19 | 0aaa aaaa | Pitch Env Time 1
01 1A | 0aaa aaaa | Pitch Env Time 2
01 1B | 0aaa aaaa | Pitch Env Time 3
01 1C | 0aaa aaaa | Pitch Env Time 4
01 1D | 0aaa aaaa | Pitch Env Level 0
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(1 - 127) |
+——————————————————————————————————————————————————————————————————————————————+
| Start
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|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
|
|
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
|
|#
|
40 1x 00 | 0aaa aaaa | Tone Number CC#00 Value
| 0aaa aaaa | Tone Number PC Value
(0 - 127) |
(0 - 127) |
01 1E | 0aaa aaaa | Pitch Env Level 1
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|—————————————+———————————+————————————————————————————————————————————————————|
01 1F | 0aaa aaaa | Pitch Env Level 2
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40 1x 02 | 0aaa aaaa | Rx. Channel
(0 - 16) |
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1 - 16, OFF
|
01 20 | 0aaa aaaa | Pitch Env Level 3
40 1x 03 | 0000 000a | Rx. Pitch Bend
(0 - 1) |
|
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OFF, ON
|
01 21 | 0aaa aaaa | Pitch Env Level 4
40 1x 04 | 0000 000a | Rx. Channel Pressure
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
|—————————————+———————————+————————————————————————————————————————————————————|
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|—————————————+———————————+————————————————————————————————————————————————————|
40 1x 05 | 0000 000a | Rx. Program Change
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01 22 | 0000 0aaa | TVF Filter Type
(0 - 6) |
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OFF, LPF, BPF, HPF, PKG, LPF2, |
40 1x 06 | 0000 000a | Rx. Control Change
LPF3
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01 23 | 0aaa aaaa | TVF Cutoff Frequency
(0 - 127) |
(0 - 7) |
40 1x 07 | 0000 000a | Rx. Poly Pressure
01 24 | 0000 0aaa | TVF Cutoff Velocity Curve
|
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FIXED, 1 - 7
|
40 1x 08 | 0000 000a | Rx. Note Message
01 25 | 0aaa aaaa | TVF Cutoff Velocity Sens
(1 - 127) |
|
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-63 - +63
|
40 1x 09 | 0000 000a | Rx. RPN
01 26 | 0aaa aaaa | TVF Resonance
(0 - 127) |
(1 - 127) |
|
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01 27 | 0aaa aaaa | TVF Resonance Velocity Sens
40 1x 0A | 0000 000a | Rx. NRPN
|
|
-63 - +63
(1 - 127) |
-63 - +63
|
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01 28 | 0aaa aaaa | TVF Env Depth
40 1x 0B | 0000 000a | Rx. Modulation
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01 29 | 0000 0aaa | TVF Env Velocity Curve Type
(0 - 7) |
40 1x 0C | 0000 000a | Rx. Volume
|
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FIXED, 1 - 7
|
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01 2A | 0aaa aaaa | TVF Env Velocity Sens
(1 - 127) |
40 1x 0D | 0000 000a | Rx. Panpot
|
|
-63 - +63
|
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|
|
01 2B | 0aaa aaaa | TVF Env Time 1 Velocity Sens
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
40 1x 0E | 0000 000a | Rx. Expression
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01 2C | 0aaa aaaa | TVF Env Time 4 Velocity Sens
40 1x 0F | 0000 000a | Rx. Hold-1
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01 2D | 0aaa aaaa | TVF Env Time 1
01 2E | 0aaa aaaa | TVF Env Time 2
01 2F | 0aaa aaaa | TVF Env Time 3
01 30 | 0aaa aaaa | TVF Env Time 4
01 31 | 0aaa aaaa | TVF Env Level 0
01 32 | 0aaa aaaa | TVF Env Level 1
01 33 | 0aaa aaaa | TVF Env Level 2
01 34 | 0aaa aaaa | TVF Env Level 3
01 35 | 0aaa aaaa | TVF Env Level 4
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
40 1x 10 | 0000 000a | Rx. Portamento
|
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40 1x 11 | 0000 000a | Rx. Sostenuto
|
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40 1x 12 | 0000 000a | Rx. Soft
|
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40 1x 13 | 0aaa aaaa | Mono / Poly Mode
(0 - 1) |
|
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MODE, POLY
|
|—————————————+———————————+————————————————————————————————————————————————————|
40 1x 14 | 0aaa aaaa | Assign Mode<*>
(0 - 2) |
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01 36 | 0000 0aaa | TVA Level Velocity Curve
(0 - 7) |
|
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SINGLE, LIMITED-MULTI, |
|
|
FIXED, 1 - 7
|
FULL-MULTI
(0 - 2) |
OFF, MAP1, MAP2 |
|
01 37 | 0aaa aaaa | TVA Level Velocity Sens
(1 - 127) |
40 1x 15 | 0aaa aaaa | Use for Rhythm Part
|
|
-63 - +63
|
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|
01 38 | 0aaa aaaa | TVA Env Time 1 Velocity Sens
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
|—————————————+———————————+————————————————————————————————————————————————————|
40 1x 16 | 0aaa aaaa | Pitch Key Shift (40 - 88) |
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|#
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01 39 | 0aaa aaaa | TVA Env Time 4 Velocity Sens
|
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-24 - +24 [semitone]
|
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40 1x 17 | 0000 aaaa |
| 0000 bbbb | Pitch Offset Fine
01 3A | 0aaa aaaa | TVA Env Time 1
01 3B | 0aaa aaaa | TVA Env Time 2
01 3C | 0aaa aaaa | TVA Env Time 3
01 3D | 0aaa aaaa | TVA Env Time 4
01 3E | 0aaa aaaa | TVA Env Level 1
01 3F | 0aaa aaaa | TVA Env Level 2
01 40 | 0aaa aaaa | TVA Env Level 3
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(8 - 248) |
|
|
-12.0 - +12.0 [Hz]
|
(0 - 127) |
(0 - 127) |
40 1x 19 | 0aaa aaaa | Part Level (CC# 7)
40 1x 1A | 0aaa aaaa | Velocity Sens Depth
|
|
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
|
40 1x 1B | 0aaa aaaa | Velocity Sens Offset
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
40 1x 1C | 0aaa aaaa | Part Panpot (CC# 10)
|
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|
01 41 | 0000 000a | One Shot Mode
(0 - 1) |
OFF, ON
(1 - 127) |
-63 - +63 |
|
|
RANDOM, L63 - 63R
|
(0 - 127) |
(0 - 127) |
(0 - 95) |
(0 - 95) |
(0 - 127) |
(0 - 127) |
(0 - 1) |
|
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|
40 1x 1D | 0aaa aaaa | Keyboard Range Low
40 1x 1E | 0aaa aaaa | Keyboard Range High
40 1x 1F | 0aaa aaaa | CC1 Controller Number
40 1x 20 | 0aaa aaaa | CC2 Controller Number
40 1x 21 | 0aaa aaaa | Chorus Send Level (CC# 93)
40 1x 22 | 0aaa aaaa | Reverb Send Level (CC# 93)
40 1x 23 | 0000 000a | Rx. Bank Select<*>
01 42 | 0aaa aaaa | Aftertouch Time Ctrl Sens
|
|
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 01 43 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
OFF, ON
(0 - 1) |
OFF, ON
|—————————————+———————————+————————————————————————————————————————————————————|
|
40 1x 24 | 0000 000a | Rx. Bank Select LSB<*>
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2. GS (Model ID = 42H)
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40 1x 30 | 0aaa aaaa | Tone Modify 1 (Vibrato Rate)
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
|
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|
❍System Parameter
+——————————————————————————————————————————————————————————————————————————————+
| Start
40 1x 31 | 0aaa aaaa | Tone Modify 2 (Vibrato Depth)
|
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|
40 1x 32 | 0aaa aaaa | Tone Modify 3 (TVF Cutoff Freq.)
|
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|
Address |
Description
40 1x 33 | 0aaa aaaa | Tone Modify 4 (TVF Resonance)
|—————————————+————————————————————————————————————————————————————————————————|
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|#
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40 00 00 | 0000 aaaa |
| 0000 bbbb |
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40 1x 34 | 0aaa aaaa | Tone Modify 5 (TVF&TVA Env. Attack)
|
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|
| 0000 cccc |
40 1x 35 | 0aaa aaaa | Tone Modify 6 (TVF&TVA Env. Decay)
| 0000 dddd | Master Tune
(24 - 2024) |
|
|
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|
|
-100.0 - 100.0 [cent]
|
40 1x 36 | 0aaa aaaa | Tone Modify 7 (TVF&TVA ENv. Release)
40 00 04 | 0aaa aaaa | Master Volume
40 00 05 | 0aaa aaaa | Master Key Shift
(0 - 127) |
(40 - 88) |
|
|
|
40 1x 37 | 0aaa aaaa | Tone Modify 8 (Vibrato Delay)
|
|
-24 - +24 [semitone]
|
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|
|
40 00 06 | 0aaa aaaa | Master Pan
(1 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
L63 - 63R
|
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40 1x 40 | 0aaa aaaa | Scale Tuning C
(0 - 127) |
|—————————————+————————————————————————————————————————————————————————————————|
|
|
-64 - +63 [cent]
|
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|
40 00 7F | 0aaa aaaa | Mode Set
(0, 127) |
GS-RESET, GS-EXIT |
40 1x 41 | 0aaa aaaa | Scale Tuning C#
(0 - 127) |
|
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|
-64 - +63 [cent]
|
|—————————————+————————————————————————————————————————————————————————————————|
40 1x 42 | 0aaa aaaa | Scale Tuning D
(0 - 127) |
|
|
-64 - +63 [cent]
|
❍Common Parameter
+——————————————————————————————————————————————————————————————————————————————+
| Start
40 1x 43 | 0aaa aaaa | Scale Tuning D#
(0 - 127) |
|
|
-64 - +63 [cent]
|
40 1x 44 | 0aaa aaaa | Scale Tuning E
(0 - 127) |
|
|
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|
-64 - +63 [cent]
|
|
Address |
Description
40 1x 45 | 0aaa aaaa | Scale Tuning F
(0 - 127) |
|—————————————+————————————————————————————————————————————————————————————————|
|
|
-64 - +63 [cent]
|
|
|
40 01 10 | 0aaa aaaa | Voice Reserve 1
40 01 11 | 0aaa aaaa | Voice Reserve 2
(0 - 24) |
(0 - 24) |
40 1x 46 | 0aaa aaaa | Scale Tuning F#
(0 - 127) |
326
MIDI Implementation
|
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-64 - +63 [cent]
|
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0 - 2400 [cent]
(0 - 127) |
0 - 100.0 [%] |
|
40 1x 47 | 0aaa aaaa | Scale Tuning G
(0 - 127) |
40 2x 56 | 0aaa aaaa | CC2 LFO1 TVA Depth
|
|
-64 - +63 [cent]
|
|
|
40 1x 48 | 0aaa aaaa | Scale Tuning G#
(0 - 127) |
40 2x 57 | 0aaa aaaa | CC2 LFO2 Rate Control
(0 - 127) |
|
|
-64 - +63 [cent]
|
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|
-10.0 - +10.0 [Hz]
|
40 1x 49 | 0aaa aaaa | Scale Tuning A
(0 - 127) |
40 2x 58 | 0aaa aaaa | CC2 LFO2 Pitch Control
(0 - 127) |
|
|
-64 - +63 [cent]
|
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|
0 - 600 [cent]
|
40 1x 4A | 0aaa aaaa | Scale Tuning A#
(0 - 127) |
40 2x 59 | 0aaa aaaa | CC2 LFO2 TVF Depth
(0 - 127) |
|
|
-64 - +63 [cent]
|
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|
0 - 2400 [cent]
|
40 1x 4B | 0aaa aaaa | Scale Tuning B
(0 - 127) |
40 2x 5A | 0aaa aaaa | CC2 LFO2 TVA Depth
(0 - 127) |
0 - 100.0 [%]
|
|
-64 - +63 [cent]
|
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|
|—————————————+———————————+————————————————————————————————————————————————————|
+——————————————————————————————————————————————————————————————————————————————+
x: BLOCK NUMBER (0-F)
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40 2x 00 | 0aaa aaaa | Mod Pitch Control
(40 - 88) |
|
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-24 - +24 [semitone]
|
Part 1 (MIDI ch = 1) x = 1
Part 2 (MIDI ch = 2) x = 2
40 2x 01 | 0aaa aaaa | Mod TVF Cutoff Control
(0 - 127) |
|
|
-9600 - +9600 [cent]
|
:
:
:
40 2x 02 | 0aaa aaaa | Mod Amplitude Control
(0 - 127) |
Part 9 (MIDI ch = 9) x = 9
Part10 (MIDI ch = 10) x = 0
Part11 (MIDI ch = 11) x = A
Part12 (MIDI ch = 12) x = B
|
|
-100.0 - +100.0 [%]
|
40 2x 03 | 0aaa aaaa | Mod LFO1 Rate Control
(0 - 127) |
|
|
-10.0 - +10.0 [Hz]
|
40 2x 04 | 0aaa aaaa | Mod LFO1 Pitch Control
(0 - 127) |
:
:
:
|
|
0 - 600 [cent]
|
Part16 (MIDI ch = 16) x = F
40 2x 05 | 0aaa aaaa | Mod LFO1 TVF Depth
(0 - 127) |
|
|
0 - 2400 [cent]
|
❍Drum Setup Parameter
+——————————————————————————————————————————————————————————————————————————————+
| Start
40 2x 06 | 0aaa aaaa | Mod LFO1 TVA Depth
(0 - 127) |
|
|
0 - 100.0 [%]
|
40 2x 07 | 0aaa aaaa | Mod LFO2 Rate Control
(0 - 127) |
|
|
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|
|
-10.0 - +10.0 [Hz]
|
|
Address |
Description
40 2x 08 | 0aaa aaaa | Mod LFO2 Pitch Control
(0 - 127) |
|—————————————+————————————————————————————————————————————————————————————————|
41 m0 00 | 0aaa aaaa | Drum Map Name 1 (32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
(32 - 127) |
32 - 127 [ASCII]
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
0 - 600 [cent]
|
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40 2x 09 | 0aaa aaaa | Mod LFO2 TVF Depth
(0 - 127) |
|
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|
|
|
0 - 2400 [cent]
|
41 m0 01 | 0aaa aaaa | Drum Map Name 2
40 2x 0A | 0aaa aaaa | Mod LFO2 TVA Depth
(0 - 127) |
0 - 100.0 [%]
|
|
|
|
|
|
41 m0 02 | 0aaa aaaa | Drum Map Name 3
|—————————————+———————————+————————————————————————————————————————————————————|
|
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40 2x 10 | 0aaa aaaa | Bend Pitch Control
(64 - 88) |
41 m0 03 | 0aaa aaaa | Drum Map Name 4
|
|
0 - 24 [semitone]
|
|
|
|
40 2x 11 | 0aaa aaaa | Bend TVF Cutoff Control
(0 - 127) |
41 m0 04 | 0aaa aaaa | Drum Map Name 5
|
|
-9600 - +9600 [cent]
|
|
|
|
40 2x 12 | 0aaa aaaa | Bend Amplitude Control
(0 - 127) |
41 m0 05 | 0aaa aaaa | Drum Map Name 6
|
|
-100.0 - +100.0 [%]
|
|
|
|
40 2x 13 | 0aaa aaaa | Bend LFO1 Rate Control
(0 - 127) |
41 m0 06 | 0aaa aaaa | Drum Map Name 7
|
|
-10.0 - +10.0 [Hz]
|
|
|
|
40 2x 14 | 0aaa aaaa | Bend LFO1 Pitch Control
(0 - 127) |
41 m0 07 | 0aaa aaaa | Drum Map Name 8
|
|
0 - 600 [cent]
|
|
|
|
40 2x 15 | 0aaa aaaa | Bend LFO1 TVF Depth
(0 - 127) |
41 m0 08 | 0aaa aaaa | Drum Map Name 9
|
|
0 - 2400 [cent]
|
|
|
|
40 2x 16 | 0aaa aaaa | Bend LFO1 TVA Depth
(0 - 127) |
41 m0 09 | 0aaa aaaa | Drum Map Name 10
|
|
0 - 100.0 [%]
|
|
|
|
40 2x 17 | 0aaa aaaa | Bend LFO2 Rate Control
(0 - 127) |
41 m0 0A | 0aaa aaaa | Drum Map Name 11
|
|
-10.0 - +10.0 [Hz]
|
|
|
|
40 2x 18 | 0aaa aaaa | Bend LFO2 Pitch Control
(0 - 127) |
41 m0 0B | 0aaa aaaa | Drum Map Name 12
|
|
0 - 600 [cent]
|
|
|
|
40 2x 19 | 0aaa aaaa | Bend LFO2 TVF Depth
(0 - 127) |
|
|
0 - 2400 [cent]
|
|
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|
|
|
|
|
|
|
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|
|
|
|
41 m1 rr | 0aaa aaaa | Play Note Number
41 m2 rr | 0aaa aaaa | Level
(0 - 127) |
(0 - 127) |
(0 - 127) |
40 2x 1A | 0aaa aaaa | Bend LFO2 TVA Depth
(0 - 127) |
0 - 100.0 [%]
|
|
|
41 m3 rr | 0aaa aaaa | Assign Group Number
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
NON, 1 - 127
|
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|
40 2x 20 | 0aaa aaaa | CAf Pitch Control
(40 - 88) |
41 m4 rr | 0aaa aaaa | Panpot
(0 - 127) |
|
|
-24 - +24 [semitone]
|
|
|
RAMDOM, L63 - 63R
|
40 2x 21 | 0aaa aaaa | CAf TVF Cutoff Control
(0 - 127) |
41 m5 rr | 0aaa aaaa | Reverb Send Level
(0 - 127) |
0.0 - 1.0
|
|
-9600 - +9600 [cent]
|
|
|
|
40 2x 22 | 0aaa aaaa | CAf Amplitude Control
(0 - 127) |
41 m6 rr | 0aaa aaaa | Chorus Send Level
(0 - 127) |
0.0 - 1.0
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON |
|
|
-100.0 - +100.0 [%]
|
|
|
|
40 2x 23 | 0aaa aaaa | CAf LFO1 Rate Control
(0 - 127) |
41 m7 rr | 0000 000a | Rx. Note Off
|
|
-10.0 - +10.0 [Hz]
|
|
|
|
40 2x 24 | 0aaa aaaa | CAf LFO1 Pitch Control
(0 - 127) |
41 m8 rr | 0000 000a | Rx. Note On
|
|
0 - 600 [cent]
|
|
|
40 2x 25 | 0aaa aaaa | CAf LFO1 TVF Depth
(0 - 127) |
|—————————————+————————————————————————————————————————————————————————————————|
m: Map number (0 = MAP1, 1 = MAP2)
|
|
0 - 2400 [cent]
|
40 2x 26 | 0aaa aaaa | CAf LFO1 TVA Depth
(0 - 127) |
rr: drum part note number (00H-7FH)
|
|
0 - 100.0 [%]
|
40 2x 27 | 0aaa aaaa | CAf LFO2 Rate Control
(0 - 127) |
|
|
-10.0 - +10.0 [Hz]
|
40 2x 28 | 0aaa aaaa | CAf LFO2 Pitch Control
(0 - 127) |
|
|
0 - 600 [cent]
|
40 2x 29 | 0aaa aaaa | CAf LFO2 TVF Depth
(0 - 127) |
|
|
0 - 2400 [cent]
|
40 2x 2A | 0aaa aaaa | CAf LFO2 TVA Depth
(0 - 127) |
0 - 100.0 [%]
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
40 2x 30 | 0aaa aaaa | PAf Pitch Control
(40 - 88) |
|
|
-24 - +24 [semitone]
|
40 2x 31 | 0aaa aaaa | PAf TVF Cutoff Control
(0 - 127) |
|
|
-9600 - +9600 [cent]
|
40 2x 32 | 0aaa aaaa | PAf Amplitude Control
(0 - 127) |
|
|
-100.0 - +100.0 [%]
|
40 2x 33 | 0aaa aaaa | PAf LFO1 Rate Control
(0 - 127) |
|
|
-10.0 - +10.0 [Hz]
|
40 2x 34 | 0aaa aaaa | PAf LFO1 Pitch Control
(0 - 127) |
|
|
0 - 600 [cent]
|
40 2x 35 | 0aaa aaaa | PAf LFO1 TVF Depth
(0 - 127) |
|
|
0 - 2400 [cent]
|
40 2x 36 | 0aaa aaaa | PAf LFO1 TVA Depth
(0 - 127) |
|
|
0 - 100.0 [%]
|
40 2x 37 | 0aaa aaaa | PAf LFO2 Rate Control
(0 - 127) |
|
|
-10.0 - +10.0 [Hz]
|
40 2x 38 | 0aaa aaaa | PAf LFO2 Pitch Control
(0 - 127) |
|
|
0 - 600 [cent]
|
40 2x 39 | 0aaa aaaa | PAf LFO2 TVF Depth
(0 - 127) |
|
|
0 - 2400 [cent]
|
40 2x 3A | 0aaa aaaa | PAf LFO2 TVA Depth
(0 - 127) |
0 - 100.0 [%]
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
40 2x 40 | 0aaa aaaa | CC1 Pitch Control
(40 - 88) |
|
|
-24 - +24 [semitone]
|
40 2x 41 | 0aaa aaaa | CC1 TVF Cutoff Control
(0 - 127) |
|
|
-9600 - +9600 [cent]
|
40 2x 42 | 0aaa aaaa | CC1 Amplitude Control
(0 - 127) |
|
|
-100.0 - +100.0 [%]
|
40 2x 43 | 0aaa aaaa | CC1 LFO1 Rate Control
(0 - 127) |
|
|
-10.0 - +10.0 [Hz]
|
40 2x 44 | 0aaa aaaa | CC1 LFO1 Pitch Control
(0 - 127) |
|
|
0 - 600 [cent]
|
40 2x 45 | 0aaa aaaa | CC1 LFO1 TVF Depth
(0 - 127) |
|
|
0 - 2400 [cent]
|
40 2x 46 | 0aaa aaaa | CC1 LFO1 TVA Depth
(0 - 127) |
|
|
0 - 100.0 [%]
|
40 2x 47 | 0aaa aaaa | CC1 LFO2 Rate Control
(0 - 127) |
|
|
-10.0 - +10.0 [Hz]
|
40 2x 48 | 0aaa aaaa | CC1 LFO2 Pitch Control
(0 - 127) |
|
|
0 - 600 [cent]
|
40 2x 49 | 0aaa aaaa | CC1 LFO2 TVF Depth
(0 - 127) |
|
|
0 - 2400 [cent]
|
40 2x 4A | 0aaa aaaa | CC1 LFO2 TVA Depth
(0 - 127) |
0 - 100.0 [%]
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
40 2x 50 | 0aaa aaaa | CC2 Pitch Control
(40 - 88) |
|
|
-24 - +24 [semitone]
|
40 2x 51 | 0aaa aaaa | CC2 TVF Cutoff Control
(0 - 127) |
|
|
-9600 - +9600 [cent]
|
40 2x 52 | 0aaa aaaa | CC2 Amplitude Control
(0 - 127) |
|
|
-100.0 - +100.0 [%]
|
40 2x 53 | 0aaa aaaa | CC2 LFO1 Rate Control
(0 - 127) |
|
|
-10.0 - +10.0 [Hz]
|
40 2x 54 | 0aaa aaaa | CC2 LFO1 Pitch Control
(0 - 127) |
|
|
0 - 600 [cent]
|
40 2x 55 | 0aaa aaaa | CC2 LFO1 TVF Depth
(0 - 127) |
327
MIDI Implementation
■Examples of Actual MIDI Messages
6. Supplementary Material
<Example1> 92 3E 5F
■Decimal and Hexadecimal Table
(An “H” is appended to the end of numbers in hexadecimal notation.)
In MIDI documentation, data values and addresses/sizes of Exclusive messages, etc. are
expressed as hexadecimal values for each 7 bits.
9n is the Note-on status, and n is the MIDI channel number. Since 2H = 2, 3EH = 62, and
5FH = 95, this is a Note-on message with MIDI CH = 3, note number 62 (note name is D4),
and velocity 95.
The following table shows how these correspond to decimal numbers.
<Example2> CE 49
+——————+——————++——————+——————++——————+——————++——————+——————+
CnH is the Program Change status, and n is the MIDI channel number. Since EH = 14 and
49H = 73, this is a Program Change message with MIDI CH = 15, program number 74.
| D
| H
|| D
| H
|| D
| H
|| D
| H
|
+——————+——————++——————+——————++——————+——————++——————+——————+
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
0 | 00H ||
1 | 01H ||
2 | 02H ||
3 | 03H ||
4 | 04H ||
5 | 05H ||
6 | 06H ||
7 | 07H ||
8 | 08H ||
9 | 09H ||
10 | 0AH ||
11 | 0BH ||
12 | 0CH ||
13 | 0DH ||
14 | 0EH ||
15 | 0FH ||
16 | 10H ||
17 | 11H ||
18 | 12H ||
19 | 13H ||
20 | 14H ||
21 | 15H ||
22 | 16H ||
23 | 17H ||
24 | 18H ||
25 | 19H ||
26 | 1AH ||
27 | 1BH ||
28 | 1CH ||
29 | 1DH ||
30 | 1EH ||
31 | 1FH ||
32 | 20H ||
33 | 21H ||
34 | 22H ||
35 | 23H ||
36 | 24H ||
37 | 25H ||
38 | 26H ||
39 | 27H ||
40 | 28H ||
41 | 29H ||
42 | 2AH ||
43 | 2BH ||
44 | 2CH ||
45 | 2DH ||
46 | 2EH ||
47 | 2FH ||
48 | 30H ||
49 | 31H ||
50 | 32H ||
51 | 33H ||
52 | 34H ||
53 | 35H ||
54 | 36H ||
55 | 37H ||
56 | 38H ||
57 | 39H ||
58 | 3AH ||
59 | 3BH ||
60 | 3CH ||
61 | 3DH ||
62 | 3EH ||
63 | 3FH ||
64 | 40H ||
65 | 41H ||
66 | 42H ||
67 | 43H ||
96 | 60H |
97 | 61H |
98 | 62H |
99 | 63H |
<Example3> EA 00 28
EnH is the Pitch Bend Change status, and n is the MIDI channel number. The 2nd byte (00H
= 0) is the LSB and the 3rd byte (28H = 40) is the MSB, but Pitch Bend Value is a signed
number in which 40 00H (= 64 x 12+80 = 8192) is 0, so this Pitch Bend Value is
28 00H - 40 00H = 40 x 12+80 - (64 x 12+80) = 5120 - 8192 = -3072
68 | 44H || 100 | 64H |
69 | 45H || 101 | 65H |
70 | 46H || 102 | 66H |
71 | 47H || 103 | 67H |
72 | 48H || 104 | 68H |
73 | 49H || 105 | 69H |
74 | 4AH || 106 | 6AH |
75 | 4BH || 107 | 6BH |
76 | 4CH || 108 | 6CH |
77 | 4DH || 109 | 6DH |
78 | 4EH || 110 | 6EH |
79 | 4FH || 111 | 6FH |
80 | 50H || 112 | 70H |
81 | 51H || 113 | 71H |
82 | 52H || 114 | 72H |
83 | 53H || 115 | 73H |
84 | 54H || 116 | 74H |
85 | 55H || 117 | 75H |
86 | 56H || 118 | 76H |
87 | 57H || 119 | 77H |
88 | 58H || 120 | 78H |
89 | 59H || 121 | 79H |
90 | 5AH || 122 | 7AH |
91 | 5BH || 123 | 7BH |
92 | 5CH || 124 | 7CH |
93 | 5DH || 125 | 7DH |
94 | 5EH || 126 | 7EH |
95 | 5FH || 127 | 7FH |
If the Pitch Bend Sensitivity is set to 2 semitones, -8192 (00 00H) will cause the pitch to
change -200 cents, so in this case -200 x (-3072) é÷ (-8192) = -75 cents of Pitch Bend is being
applied to MIDI channel 11.
<Example4> B3 64 00 65 00 06 0C 26 00 64 7F 65 7F
BnH is the Control Change status, and n is the MIDI channel number. For Control Changes,
the 2nd byte is the control number, and the 3rd byte is the value. In a case in which two or
more messages consecutive messages have the same status, MIDI has a provision called
“running status” which allows the status byte of the second and following messages to be
omitted. Thus, the above messages have the following meaning.
B3 64 00
(B3) 65 00
(B3) 06 0C
(B3) 26 00
(B3) 64 7F
(B3) 65 7F
MIDI ch.4, lower byte of RPN parameter number:
(MIDI ch.4) upper byte of RPN parameter number:
(MIDI ch.4) upper byte of parameter value:
00H
00H
0CH
00H
7FH
7FH
+——————+——————++——————+——————++——————+——————++——————+——————+
(MIDI ch.4) lower byte of parameter value:
D: decimal
(MIDI ch.4) lower byte of RPN parameter number:
(MIDI ch.4) upper byte of RPN parameter number:
H: hexadecimal
*
*
Decimal values such as MIDI channel, bank select, and program change are listed as one
greater than the values given in the above table.
In other words, the above messages specify a value of 0C 00H for RPN parameter number
00 00H on MIDI channel 4, and then set the RPN parameter number to 7F 7FH.
A 7-bit byte can express data in the range of 128 steps. For data where greater precision
is required, we must use two or more bytes. For example, two hexadecimal numbers aa
bbH expressing two 7-bit bytes would indicate a value of aa x 128+bb.
In the case of values which have a +/- sign, 00H = -64, 40H = +/-0, and 7FH = +63, so
that the decimal expression would be 64 less than the value given in the above chart. In
the case of two types, 00 00H = -8192, 40 00H = +/-0, and 7F 7FH = +8191. For example, if
aa bbH were expressed as decimal, this would be aa bbH - 40 00H = aa x 128+bb - 64 x
128.
RPN parameter number 00 00H is Pitch Bend Sensitivity, and the MSB of the value indicates
semitone units, so a value of 0CH = 12 sets the maximum pitch bend range to +/-12
semitones (1 octave). (On GS sound generators the LSB of Pitch Bend Sensitivity is ignored,
but the LSB should be transmitted anyway (with a value of 0) so that operation will be
correct on any device.)
*
*
Once the parameter number has been specified for RPN or NRPN, all Data Entry messages
transmitted on that same channel will be valid, so after the desired value has been
transmitted, it is a good idea to set the parameter number to 7F 7FH to prevent accidents.
This is the reason for the (B3) 64 7F (B3) 65 7F at the end.
Data marked “Use nibbled data” is expressed in hexadecimal in 4-bit units. A value
expressed as a 2-byte nibble 0a 0bH has the value of a x 16+b.
<Example1> What is the decimal expression of 5AH?
From the preceding table, 5AH = 90
It is not desirable for performance data (such as Standard MIDI File data) to contain many
events with running status as given in <Example 4>. This is because if playback is halted
during the song and then rewound or fast-forwarded, the sequencer may not be able to
transmit the correct status, and the sound generator will then misinterpret the data. Take
care to give each event its own status.
<Example2> What is the decimal expression of the value 12 34H given as
hexadecimal for each 7 bits?
From the preceding table, since 12H = 18 and 34H = 52
18 x 128+52 = 2356
It is also necessary that the RPN or NRPN parameter number setting and the value setting
be done in the proper order. On some sequencers, events occurring in the same (or
consecutive) clock may be transmitted in an order different than the order in which they
were received. For this reason it is a good idea to slightly skew the time of each event (about
1 tick for TPQN = 96, and about 5 ticks for TPQN = 480).
<Example3> What is the decimal expression of the nibbled value 0A 03
09 0D?
From the preceding table, since 0AH = 10, 03H = 3, 09H = 9, 0DH = 13
((10 x 16+3) x 16+9) x 16+13 = 41885
*
TPQN: Ticks Per Quarter Note
<Example4> What is the nibbled expression of the decimal value 1258?
16 ) 1258
16 )
16 )
78 ...10
4 ...14
0 ... 4
Since from the preceding table, 0 = 00H, 4 = 04H, 14 = 0EH, 10 = 0AH, the result is: 00 04 0E
0AH.
328
MIDI Implementation
■Example of an Exclusive Message and
Calculating a Checksum
Roland Exclusive messages (RQ1, DT1) are transmitted with a checksum at the end (before
F7) to make sure that the message was correctly received. The value of the checksum is
determined by the address and data (or size) of the transmitted Exclusive message.
■The Scale Tune Feature (address: 40 1x 40)
The scale tune feature allows you to finely adjust the individual pitch of the notes from C
through B. Though the settings are made while working with one octave, the fine
adjustments will affect all octaves. By making the appropriate Scale Tune settings, you can
obtain a complete variety of tuning methods other than equal temperament. As examples,
three possible types of scale setting are explained below.
*
The scale tune value received by the part 1 is used in Patch mode and Piano mode.
●How to calculate the checksum
(hexadecimal numbers are indicated by “H”)
❍Equal Temperament
The checksum is a value derived by adding the address, size, and checksum itself and
This method of tuning divides the octave into 12 equal parts. It is currently the most widely
used form of tuning, especially in occidental music. On the Fantom, the default settings for
the Scale Tune feature produce equal temperament.
inverting the lower 7 bits.
Here’s an example of how the checksum is calculated. We will assume that in the Exclusive
message we are transmitting, the address is aabbccddH and the data or size is eeffH.
❍Just Temperament (Tonic of C)
aa + bb + cc + dd + ee + ff = sum
sum ÷ 128 = quotient ... remainder
128 - remainder = checksum
The principal triads resound much more beautifully than with equal temperament, but this
benefit can only be obtained in one key. If transposed, the chords tend to become
ambiguous. The example given involves settings for a key in which C is the keynote.
<Example> Setting CHORUS TYPE of PERFORMANCE COMMON to
DELAY (DT1)
❍Arabian Scale
By altering the setting for Scale Tune, you can obtain a variety of other tunings suited for
ethnic music. For example, the settings introduced below will set the unit to use the Arabian
Scale.
According to the Parameter Address Map (P.311), the start address of Temporary
Performance is 10 00 00 00H, the offset address of CHORUS at PERFORMANCE COMMON
is 04 00H, and the address of CHORUS TYPE is 00 00H. Therefore the address of CHORUS
TYPE of PERFORMANCE COMMON is;
Example Settings
Note name
Equal Temperament Just Temperament (Key-tone C)
Arabian Scale
C
C#
D
0
0
0
0
0
0
0
0
0
0
0
0
0
-6
+45
-2
10 00 00 00H
04 00H
-8
+)
00 00H
+4
10 00 04 00H
Eb
E
+16
-14
-2
-12
-51
-8
DELAY has the value of 02H.
F
So the system exclusive message should be sent is;
F#
G
-10
+2
+43
-4
F0
41
10
00 6B
(4)
12
10 00 04 00
address
02
??
F7
G#
A
+14
-16
+14
-12
+47
0
(1)
(2)
(3)
(5)
data
checksum
(6)
Bb
B
-10
-49
(1) Exclusive Status
(2) ID (Roland)
(3) Device ID (17)
(4) Model ID (Fantom-X6/X7/X8)
(5) Command ID (DT1)
(6) End of Exclusive
The values in the table are given in cents. Convert these values to hexadecimal, and transmit
them as Exclusive data.
Then calculate the checksum.
For example, to set the tune (C-B) of the Part 1 Arabian Scale, send the following data:
10H + 00H + 04H + 00H + 02H = 16 + 0 + 4 + 0 + 2 = 22 (sum)
22 (sum) ÷ 128 = 0 (quotient) ... 22 (remainder)
F0 41 10 42 12 40 11 40 3A 6D 3E 34 0D 38 6B 3C 6F 40 36 0F 76 F7
checksum = 128 - 22 (remainder) = 106 = 6AH
This means that F0 41 10 00 6B 12 10 00 04 00 02 6A F7 is the message should be sent.
■ASCII Code Table
Patch Name and Performance Name, etc., of MIDI data are described the ASCII
code in the table below.
+——————+——————+——————++——————+——————+——————++——————+——————+——————+
| D
| H
| Char || D
| H
| Char || D
| H
| Char |
+——————+——————+——————++——————+——————+——————++——————+——————+——————+
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
32 | 20H | SP ||
64 | 40H |
65 | 41H |
66 | 42H |
67 | 43H |
68 | 44H |
69 | 45H |
70 | 46H |
71 | 47H |
72 | 48H |
73 | 49H |
74 | 4AH |
75 | 4BH |
76 | 4CH |
77 | 4DH |
78 | 4EH |
79 | 4FH |
80 | 50H |
81 | 51H |
82 | 52H |
83 | 53H |
84 | 54H |
85 | 55H |
86 | 56H |
87 | 57H |
88 | 58H |
89 | 59H |
90 | 5AH |
91 | 5BH |
92 | 5CH |
93 | 5DH |
94 | 5EH |
95 | 5FH |
@ ||
A ||
B ||
C ||
96 | 60H |
97 | 61H |
98 | 62H |
99 | 63H |
` |
a |
b |
c |
d |
e |
f |
g |
h |
i |
j |
k |
l |
m |
n |
o |
p |
q |
r |
s |
t |
u |
v |
w |
x |
y |
z |
{ |
| |
} |
33 | 21H |
34 | 22H |
35 | 23H |
36 | 24H |
37 | 25H |
38 | 26H |
39 | 27H |
40 | 28H |
41 | 29H |
42 | 2AH |
43 | 2BH |
44 | 2CH |
45 | 2DH |
46 | 2EH |
47 | 2FH |
48 | 30H |
49 | 31H |
50 | 32H |
51 | 33H |
52 | 34H |
53 | 35H |
54 | 36H |
55 | 37H |
56 | 38H |
57 | 39H |
58 | 3AH |
59 | 3BH |
60 | 3CH |
61 | 3DH |
62 | 3EH |
63 | 3FH |
! ||
" ||
# ||
$ ||
% ||
& ||
` ||
( ||
) ||
* ||
+ ||
, ||
— ||
. ||
/ ||
0 ||
1 ||
2 ||
3 ||
4 ||
5 ||
6 ||
7 ||
8 ||
9 ||
: ||
; ||
< ||
= ||
> ||
? ||
D || 100 | 64H |
E || 101 | 65H |
F || 102 | 66H |
G || 103 | 67H |
H || 104 | 68H |
I || 105 | 69H |
J || 106 | 6AH |
K || 107 | 6BH |
L || 108 | 6CH |
M || 109 | 6DH |
N || 110 | 6EH |
O || 111 | 6FH |
P || 112 | 70H |
Q || 113 | 71H |
R || 114 | 72H |
S || 115 | 73H |
T || 116 | 74H |
U || 117 | 75H |
V || 118 | 76H |
W || 119 | 77H |
X || 120 | 78H |
Y || 121 | 79H |
Z || 122 | 7AH |
[ || 123 | 7BH |
\ || 124 | 7CH |
] || 125 | 7DH |
^ ||——————+——————+——————+
_ |
+——————+——————+——————++——————+——————+——————+
D: decimal
H: hexadecimal
*
“SP” is space.
329
MIDI Implementation
<Bank Select and Program Change Correspondence Chart>
Patch
Group
Number
Bank Select
MSB LSB
Program
Number
USER
001–128
129–256
001–128
129–256
001–128
001–128
001–128
001–128
001–128
001–128
001–128
001–128
001–256
001–
87
0
1–128
1–128
1–128
1–128
1–128
1–128
1–128
1–128
1–128
1–128
1–128
1–128
1–128
1–
87
87
87
87
87
87
87
87
87
87
87
121
93
93
:
1
32
33
64
65
66
67
68
69
70
71
0–
0
CARD
PR-A
PR-B
PR-C
PR-D
PR-E
PR-F
PR-G
PR-H
GM(2)
XP-A
(SRX-01)
(SRX-02)
:
001–
1
:
1–
:
:
XP-B
XP-C
XP-D
(SRX-01)
(SRX-02)
:
(SRX-01)
(SRX-02)
:
(SRX-01)
(SRX-02)
:
001–
93
93
:
93
93
:
93
93
:
0
1–
001–
1
1–
:
:
:
001–
0
1–
001–
1
1–
:
:
:
001–
0
1–
001–
1
1–
:
:
:
* The XP groups vary depending on the Wave Expansion Board(s) you’ve
installed. For information about an SRX series board, refer to the Owner’s
Manual that came with it.
Rhythm Set
Group
Number
Bank Select
MSB LSB
Program
Number
USER
CARD
PRST
GM(2)
XP-A
001–032
001–032
001–040
001–009
001–
001–
:
86
0
1–32
1–32
1–40
1–57
1–
1–
:
86
86
120
92
92
:
32
64
---
0
1
:
(SRX-01)
(SRX-02)
:
XP-B
XP-C
XP-D
(SRX-01)
(SRX-02)
:
(SRX-01)
(SRX-02)
:
(SRX-01)
(SRX-02)
:
001–
001–
:
001–
001–
:
001–
001–
:
92
92
:
92
92
:
92
92
:
0
1
:
0
1
:
0
1
:
1–
1–
:
1–
1–
:
1–
1–
:
* The XP groups vary depending on the Wave Expansion Board(s) you’ve
installed. For information about an SRX series board, refer to the Owner’s
Manual that came with it.
Performance
Group
Number
Bank Select
Program
Number
1–64
1–64
1–64
MSB
LSB
0
USER
CARD
PRST
01–64
01–64
01–64
85
85
85
32
64
* To switch multitimbres, the external MIDI device’s transmit channel needs to
be matched up with the Control Channel of the Fantom-X. (P.230)
330
Date : Feb. 2, 2004
Version : 1.00
(MSooduenldFGanetnoemra-Xto6r/XS7e/cXti8on) MIDI Implementation Chart
Function...
Transmitted
Recognized
Remarks
Basic
Channel Changed
Default
1–16
1–16
1–16
1–16
Memorized
Default
Messages
Altered
Mode 3
Mono, Poly
Mode 3
Mode 3, 4 (M = 1)
* 2
Mode
**************
Note
Number :
0–127
**************
0–127
0–127
True Voice
Note On
Note Off
O
O
O
O
Velocity
After
Touch
Key's
Channel's
O
O
O
O
*1
*1
Pitch Bend
O
O
*1
0, 32
1
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
X
*1
O
O
O
O
O
O
O
X
*1
*1
Bank select
Modulation
2
Breath type
4
5
Foot type
Portamento time
Data entry
6, 38
7
*1
Volume
8
Balance
10
11
16
17
18
19
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
80
81
82
83
84
91
92
93
94
95
O
O
X
*1
*1
Panpot
Expression
General purpose controller 1
General purpose controller 2
General purpose controller 3
General purpose controller 4
Hold 1
X
X
Control
Change
X
O
O
O
O
O
O
X
*1
Portamento
Sostenuto
Soft
Legato foot switch
Hold 2
Sound variation
Resonance
O
O
O
O
O
O
O
O
Release time
Attack time
Cutoff
Decay time
Vibrato rate
Vibrato depth
Vibrato delay
O
O
O
O
O
O
X
(Tone 1 Level)
(Tone 2 Level)
(Tone 3 Level)
(Tone 4 Level)
General purpose controller 5
General purpose controller 6
General purpose controller 7
General purpose controller 8
Portamento control
General purpose effects 1
Tremolo
(Reverb)
(Chorus)
O
X
General purpose effects 3
Celeste
X
Phaser
1–31, 64–95
98, 99
100, 101
O
X
Pedal, Knob, D Beam
NRPN LSB, MSB
RPN LSB, MSB
X
O
Program
Change
O
*1
O
0–127
*1
*1
**************
: True Number
Program No. 1–128
System Exclusive
O
O
: Song Position
: Song Select
: Tune Request
X
X
X
X
X
X
System
Common
System
Real Time : Commands
: Clock
X
X
X
X
X
O
X
O
O
X
O
: All Sound Off
*3
O
: Reset All Controllers
Aux
Messages
X
: Local On/Off
: All Notes Off
: Active Sensing
: System Reset
*3
*1
O (123–127)
O
X
* 1 O X is selectable.
* 2 Recognized as M=1 even if M≠1.
* 3 Transmitted only when V-LINK is ON.
Notes
Mode 1 : OMNI ON, POLY
Mode 3 : OMNI OFF, POLY
Mode 2 : OMNI ON, MONO
Mode 4 : OMNI OFF, MONO
O : Yes
X : No
331
(Sequencer Section)
Date : Feb. 2, 2004
Version : 1.00
Model Fantom-X6/X7/X8 MIDI Implementation Chart
Function...
Transmitted
Recognized
Remarks
Basic
Channel Changed
Default
All channel
X
All channel
1–16
There is no specific
basic channel.
Default
Messages
Altered
X
X
X
X
Mode
**************
Note
Number :
0–127
**************
0–127
0–127
True Voice
Note On
Note Off
O
O
O
O
Velocity
After
Touch
Key's
Channel's
O
O
O
O
*1
*1
Pitch Bend
O
O
O
O
*1
*1
0–119
Control
Change
Program
Change
O
O
0–127
*1
*1
**************
: True Number
System Exclusive
: Quarter Frames
System
Common : Song Select
: Tune Request
O
O
O
O
X
*1
*1
O
O
X
*2
*1
: Song Position
O
O
System
Real Time : Commands
: Clock
O
O
*1
*1
O
O
*1
*1
O
O
X
O
: All Sound Off
O
: Reset All Controllers
Aux
Messages
*2
*3
X
: Local On/Off
: All Notes Off
: Active Sensing
: System Reset
O
O
X
O (123–127)
*3
O
X
*1 O X is selectable.
*2 Not stored/transmitted when received, but can be created and transmitted using Microscope.
*3 Mode Messages (123–127) are recorded and transmitted, after all currently sounding notes
are turned off. The All Note Message itself is not recorded or transmitted. However, it can be
created in Microscope and transmitted.
Notes
Mode 1 : OMNI ON, POLY
Mode 3 : OMNI OFF, POLY
Mode 2 : OMNI ON, MONO
Mode 4 : OMNI OFF, MONO
O : Yes
X : No
332
Specifications
Fantom-X6/X7/X8:
Sampling Section
Synthesizer Keyboard (Conforms to General MIDI 2 System)
Data Format
Keyboard
16-bit linear (File Type: .WAV/.AIFF)
[X6] 61 keys
[X7] 76 keys
[X8] 88 keys
(with velocity and channel aftertouch)
(with velocity and channel aftertouch)
(Progressive Hammer action Mechanism and
channel aftertouch)
Sampling Frequency
44.1 kHz (fixed)
Maximum Sampling Time
•
When sampling memory isn’t expanded (32 MB)
mono: 360 sec. approx., stereo: 180 sec. approx.
When sampling memory is expanded with DIMM (544 MB)
mono: 107 min. approx., stereo: 53 min. approx.
Sound Generator Section
Maximum Polyphony
•
128 voices (shared with the sampling section)
Parts
Number of Samples
16 parts
User memory: 2,000 (maximum total approximately 32 MB)
Card memory: 7,000 (PC card)
Wave Memory
128 M bytes (16-bit linear equivalent)
Sequencer Section
Waveforms
Tracks
1,480
Phrase tracks (16 MIDI channels per track): 16
Tempo track: 1
Preset Memory
Beat track: 1
Patches:
1,024 + 256 (GM2)
Rhythm Sets: 40 + 9 (GM2)
Performances: 64
Patterns
100
*
Up to one hundred patterns can be created in a song
User Memory
Patches:
256
32
Resolution
Rhythm Sets:
Performances:
480 TPQN
64
Tempo
Card Memory (PC card)
5–300
Patches:
256
32
Rhythm Sets:
Performances:
Note Capacity
64
approx. 400,000 notes
Effects
Song Length
Multi-Effects:
Chorus:
3 systems, 78 types
3 types
9,998 measures
Reverb:
5 types
Recording Method
Input Effects:
6 types
Realtime recording, Step recording
Mastering Effects: 3-band compressor
Others
Arpeggio
Preset:
User:
128
128
Rhythm Pattern
Preset:
User:
256 (32 groups)
256 (32 groups)
333
Specifications
Chord Memory
Weight
Preset:
User:
64
64
[X6] 12.5 kg / 27 lbs 9 oz
[X7] 14.5 kg / 32 lbs
[X8] 29.5 kg / 65 lbs 1 oz
Display
Accessories
Graphic 320 x 240 dots backlit LCD (Color)
Handbook
Pads
Owner’s Manual
16 pads, Velocity and Aftertouch sensitive
Sample Data (Audio) CD
CD-ROM (Editor, USB MIDI driver)
PC Card Protector
Power Cord
Controllers
Pitch Bend/Modulation Lever
Control Knob x 4
Options
Assignable Switch x 2
D Beam Controller
Wave Expansion Board: SRX Series
Keyboard Stand: [X6] [X7] KS-12 / [X8] KS-17
Pedal Switch: DP series
Connectors
Headphones Jack
Foot Switch: BOSS FS-5U
A (MIX) Output Jacks (L/MONO, R): 1/4 inch TRS phone type
B Output Jacks (L, R): 1/4 inch phone type
Input Jacks (L/MONO/MIC, R): 1/4 inch phone type
Hold Pedal Jack (Half Pedal recognition)
Control Pedal Jack (assignable)
Expression Pedal: EV-5
*
In the interest of product improvement, the specifications and/or
appearance of this unit are subject to change without prior notice.
MIDI Connectors (IN, OUT, THRU)
USB Connector (supports file transfer (mass storage class) and
MIDI)
Digital Audio Interface (COAXIAL INPUT/OUTPUT)
AC Inlet
Expansion Slots
•
Expansion of waveforms and patches for the internal sound
generator
SRX expansion boards: 4 slots
•
Expansion of sampling memory
DIMM: 1 slot (supports 128 MB, 256 MB, 512 MB (3.3 V))
External Storage Device
PC card: 1 slot (supports SmartMedia and CompactFlash using
a PC card adapter)
Power Supply
AC 117 V, AC 230 V, AC 240 V (50/60 Hz)
AC 220 V (60 Hz)
Power Consumption
17 W
Dimensions
[X6] 1,050 (W) x 358 (D) x 125 (H) mm
41-3/8 (W) x 14-1/8 (D) x 4-15/16 (H) inches
[X7] 1,262 (W) 358 (D) x 125 (H) mm
49-11/16 (W) x 14-1/8 (D) x 4-15/16 (H) inches
[X8] 1,408 (W) 455 (D) x 165 (H) mm
55-7/16 (W) x 17-15/16 (D) x 6-1/2 (H) inches
334
Auto divide sampling ................................................. 143
Auto Trigger Level ...................................................... 143
Symbols
+OCT/-OCT ................................................................... 24
.SVQ ........................................................................ 31, 223
A
Patch .......................................................................... 73
Track Edit ................................................ 186–187, 190
Bias Position ................................................................... 72
Patch .......................................................................... 73
Aftertouch Time Ctrl Sens ........................................... 88
Arabian Scale
Arp/Rhythm Duration ............................................... 130
Assign a Name
Rhythm Tone Name ................................................ 87
Assign to Keyboard .................................................... 152
Assign To Pad .............................................................. 151
Assign Type ................................................................... 87
Assignable ...................................................................... 50
Control Setting ....................................................... 114
D Beam ...................................................... 50, 116, 122
Assignable Sw ................................................................ 51
335
Index
Control Setting ....................................................... 47, 114
Current Part .................................................................. 100
C
Card
Patch .......................................................................... 39
Ch/Part
Shift Clock ............................................................... 189
Chord
Clip filter ....................................................................... 239
Color Cb Ctrl ................................................................ 239
Cutoff Key follow .......................................................... 70
Cutoff Offset ................................................................... 61
D
Data Thin ...................................................................... 190
Data Thin Time ............................................................ 190
Data Thin Value ........................................................... 190
DEC ................................................................................. 35
Default File Type ......................................................... 233
Delay Time ..................................................................... 75
Delay Time KF ............................................................... 75
Delete .................................................................... 184, 224
Rhythm Set ............................................................... 85
Connecting
Amp and Speaker System ...................................... 19
Continuous Hold Pedal ...................................... 126, 226
Control Aftertouch ...................................................... 118
Control Bender ............................................................ 118
Control D Beam ........................................................... 119
Control Hold Pedal ..................................................... 118
336
Deleting
Demo Song ..................................................................... 23
Digital Input Level ...................................................... 141
Dissolve Time .............................................................. 239
Drop Format ................................................................. 228
File Name ...................................................................... 199
Function Button ............................................................. 34
FXM Color
E
Editing
Sample ..................................................................... 146
Patch Mode ............................................................. 207
End Point
Selecting .................................................................. 149
Expanding
Rhythm Set ............................................................... 89
Memory ................................................................... 244
GM
Patch .......................................................................... 39
Rhythm Set ............................................................... 52
GM2
Patch .......................................................................... 39
Rhythm Set ............................................................... 52
Grid ................................................................................ 137
Grid Resolution ............................................................ 172
F
Factory Reset ................................................................ 235
Fade Ctrl ....................................................................... 239
Fade Mode ...................................................................... 75
Fade Time ....................................................................... 75
Fantom-X Editor .......................................................... 236
Fantom-X Librarian ..................................................... 236
337
Index
H
I
Import
Import Audio ............................................... 148, 202, 220
Importing
Initializing
Input Effect SW ............................................................ 141
Input Effect Type ......................................................... 141
Input Setting ........................................................ 141, 143
Input Source ................................................................. 141
Live Setting function ..................................................... 99
J
K
Keyboard ...................................................................... 226
Keyboard Note ............................................................ 204
Keyboard Range Lower .............................................. 110
Keyboard Range Upper .............................................. 111
Keyboard Sens ............................................................. 226
Keyboard Switch ................................. 101, 103, 107, 110
Keyboard Velocity ....................................................... 226
Knob .................................................. 47, 51, 117, 124–125
Loop Play ...................................................................... 166
Loop Start ..................................................................... 149
Loop Start Fine ............................................................. 150
Loop Tune .................................................................... 150
Loop/Punch ................................................................. 171
Low Frequency Oscillator ............................................ 27
338
Mixer ................................................................. 33, 97, 103
M
Manual Punch-In ......................................................... 171
Measure, For
Delete ....................................................................... 184
Memo
Multi-Effects Reverb Send Level ....................... 208, 211
Multi-Effects Type ............................................... 208, 211
Multisample ........................................................... 32, 153
Mute Group .................................................................... 87
Mute Part ...................................................................... 105
Muting
Patch .......................................................................... 39
MFX
MFX1–3 TYPE .............................................................. 215
Micro Edit ..................................................................... 192
MIDI ...................................................................... 222, 230
MIDI Channel .............................................................. 186
Change Duration ................................................... 187
Change Velocity ..................................................... 186
Copy ........................................................................ 184
Data Thin ................................................................ 190
Tempo Track ........................................................... 166
339
Index
Patch/Rhythm Set Group .......................................... 161
Patch/Rhythm Set Number ....................................... 161
Patch/Rhythm Set Type ............................................. 161
Patches ............................................................................ 27
Pattern ............................................................................. 31
PC Card Protector ....................................................... 248
PC card slot .................................................................. 248
Pedal/D Beam ............................................................. 226
N
File Name ................................................................ 199
Song Name ............................................................. 197
Note Tx Ch ................................................................... 239
O
On/Off
OSC 1/2 Fine Tune ....................................... 49, 115, 123
OSC 1/2 Pulse Width ................................... 49, 115, 123
P
Pad Number ................................................... 48, 114, 122
Pad Velocity ................................................... 48, 114, 122
Pan Depth ....................................................................... 76
Pan Key Follow
Patch .......................................................................... 72
Part .................................................................................. 27
Part Attack Time Offset .............................................. 110
Part Chorus Send Level ...................................... 108, 210
Part Coarse Tune ......................................................... 109
340
P-Env Depth
Preset A–H
Patch .......................................................................... 68
Patch .......................................................................... 68
Rhythm Set ............................................................... 91
Preview ......................................................................... 232
P-Env V-Sens
Performance Mixer Screen ..................................... 97–98
Phase Lock .................................................................... 113
Phrase Preview .............................................................. 42
Pitch
Patch .......................................................................... 67
Rhythm Set ............................................................... 91
Pitch Env
Playing Back
Portamento Switch ........................................................ 77
Portamento Time ........................................................... 78
Portamento Type ........................................................... 77
Power .............................................................................. 21
Power Up Mode .......................................................... 234
PR-A–H ........................................................................... 39
Pre Sample Time .................................................. 143, 233
Preset ............................................................................... 52
Realtime Controller ..................................................... 124
Realtime Recording ..................................................... 170
System Function ..................................................... 231
Receive Channel .......................................................... 112
Receive Channel Pressure .......................................... 113
Receive Exclusive ........................................................ 231
Receive Expression ...................................................... 113
Receive GM System On .............................................. 231
Receive GM2 System On ............................................ 231
Receive GS Reset .......................................................... 231
341
Index
Receive Modulation .................................................... 113
Receive Pitch Bend ...................................................... 113
Record
Recording
Reset Grid function ..................................................... 149
Rhy Accent ................................................................... 124
Rhythm Set
Scale Tune Switch ........................................................ 232
Skip Back Sampling ..................................................... 145
Skip Back Time ............................................................ 233
S-MRC Format ............................................................. 166
Soft Through ................................................................ 231
Solo ................................................................................ 105
Solo sampling ............................................................... 143
Solo Switch ................................................................... 107
Solo Synth ..................................................................... 123
Wave Expansion Board ........................................... 52
XP-A–D ..................................................................... 52
Rhythm Set Parameter .................................................. 87
Rhythm Sets ................................................................... 27
Ring Modulator ............................................................. 65
Roll Function ................................................................ 160
Roll Resolution ............................................................ 162
Rolled Chord ................................................................ 134
342
Song Name ........................................................... 197, 199
Source 1–4 ..................................................................... 213
System Exclusive Message ......................................... 192
Rhythm Pattern ...................................................... 135
Time Stretch Type ....................................................... 150
Merge ....................................................................... 188
Status
Step 1–16 ......................................................................... 76
Strength
Patch .......................................................................... 79
Rhythm Set ............................................................... 87
Tone Fine Tune
Patch .......................................................................... 67
Rhythm Set ............................................................... 91
Tone Level
Patch .......................................................................... 51
Switch Assign .............................................................. 125
Sync Mode .................................................................... 227
Sync Output ................................................................. 227
Sync/Temp .................................................................. 227
Sys Ctrl 1–4 Source ...................................................... 233
System Control ............................................................ 233
System Ctrl ................................................................... 233
Patch .......................................................................... 71
Rhythm Set ............................................................... 94
343
Index
Tone Out Assign
TXT ........................................................................ 220, 223
Tone Pan
Patch .......................................................................... 72
USB-MIDI Thru Sw ..................................................... 231
Tone Reverb Send Level ............................................. 208
Trigger Quantize ......................................................... 203
Trim Sw ........................................................................ 143
Trimming Switch ......................................................... 233
Truncate ................................................................ 155, 191
TVA ................................................................................. 26
Patch .......................................................................... 71
Rhythm Set ............................................................... 94
TVA Depth ..................................................................... 75
Velocity ................................................................... 24, 161
Velocity Curve ............................................................. 113
Velocity Sens ................................................................ 204
Velocity Sens Offset ...................................................... 62
Version Info .................................................................. 234
VFX1–4 Ctrl .................................................................. 239
View .............................................................................. 194
V-LINK .......................................................................... 238
344
Index
Voice Reserve ......................................................... 28, 111
W
Wave Bank
Wave Expansion Board .............................................. 240
Wave Gain
Wave Generator ............................................................. 26
Wave Group
Wave No. L (Mono)
Wave No. R
Wave Rnd Pan Sw ......................................................... 90
WG ................................................................................... 26
Window .......................................................................... 34
WMT ............................................................................... 89
Write
Patch .......................................................................... 59
Performance ........................................................... 120
Rhythm Set ............................................................... 86
X
XP-A–D
Z
Zoom Edit
Patch .......................................................................... 57
Rhythm Set ............................................................... 84
Zoom In ........................................................................ 175
Zoom In/Out ............................................................... 148
Zoom Out ..................................................................... 175
345
MEMO
For the USA
DECLARATION OF CONFORMITY
Compliance Information Statement
Model Name :
Type of Equipment :
Responsible Party :
Fantom-X6/X7/X8
Synthesizer Keyboard
Roland Corporation U.S.
Address : 5100 S. Eastern Avenue, Los Angeles, CA 90040-2938
(323) 890-3700
Telephone :
For EU Countries
This product complies with the requirements of European Directives EMC 89/336/EEC and LVD 73/23/EEC.
For the USA
FEDERAL COMMUNICATIONS COMMISSION
RADIO FREQUENCY INTERFERENCE STATEMENT
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the
FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in
accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee
that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the
interference by one or more of the following measures:
–
–
–
–
Reorient or relocate the receiving antenna.
Increase the separation between the equipment and receiver.
Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
Consult the dealer or an experienced radio/TV technician for help.
This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions:
(1) This device may not cause harmful interference, and
(2) This device must accept any interference received, including interference that may cause undesired operation.
Tested To Comply With FCC Standards
FOR HOME OR OFFICE USE
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.
Information
When you need repair service, call your nearest Roland Service Center or authorized Roland
distributor in your country as shown below.
PHILIPPINES
COSTA RICA
TRINIDAD
NORWAY
JORDAN
AFRICA
G.A. Yupangco & Co. Inc.
339 Gil J. Puyat Avenue
Makati, Metro Manila 1200,
PHILIPPINES
JUAN Bansbach Instrumentos
Musicales
AMR Ltd
Roland Scandinavia Avd.
AMMAN Trading Agency
245 Prince Mohammad St.,
Amman 1118, JORDAN
TEL: (06) 464-1200
Ground Floor
Kontor Norge
EGYPT
Al Fanny Trading Office
9, EBN Hagar A1 Askalany
Street,
ARD E1 Golf, Heliopolis,
Cairo 11341, EGYPT
TEL: 20-2-417-1828
Maritime Plaza
Barataria Trinidad W.I.
TEL: (868)638 6385
Ave.1. Calle 11, Apartado 10237,
San Jose, COSTA RICA
TEL: 258-0211
Lilleakerveien 2 Postboks 95
Lilleaker N-0216 Oslo
NORWAY
TEL: (02) 899 9801
KUWAIT
EASA HUSAIN AL-YOUSIFI
& SONS CO.
Abdullah Salem Street,
Safat, KUWAIT
TEL: 2273 0074
SINGAPORE
SWEE LEE MUSIC
COMPANY PTE. LTD.
150 Sims Drive,
SINGAPORE 387381
TEL: 6846-3676
URUGUAY
Todo Musica S.A.
Francisco Acuna de Figueroa
1771
C.P.: 11.800
Montevideo, URUGUAY
TEL: (02) 924-2335
CURACAO
Zeelandia Music Center Inc.
Orionweg 30
Curacao, Netherland Antilles
TEL:(305)5926866
POLAND
MX MUSIC SP.Z.O.O.
UL. Gibraltarska 4.
PL-03664 Warszawa POLAND
TEL: (022) 679 44 19
REUNION
TEL: 243-6399
Maison FO - YAM Marcel
25 Rue Jules Hermann,
Chaudron - BP79 97 491
Ste Clotilde Cedex,
LEBANON
Chahine S.A.L.
Gerge Zeidan St., Chahine
Bldg., Achrafieh, P.O.Box: 16-
5857
Beirut, LEBANON
TEL: (01) 20-1441
DOMINICAN REPUBLIC
Instrumentos Fernando Giraldez
Calle Proyecto Central No.3
Ens.La Esperilla
Santo Domingo,
Dominican Republic
TEL:(809) 683 0305
PORTUGAL
Roland Iberia, S.L.
Portugal Office
Cais das Pedras, 8/9-1 Dto
4050-465, Porto, PORTUGAL
TEL: 22 608 00 60
CRISTOFORI MUSIC PTE LTD
Blk 3014, Bedok Industrial Park E,
#02-2148, SINGAPORE 489980
TEL: 6243-9555
VENEZUELA
Instrumentos Musicales
Allegro,C.A.
Av.las industrias edf.Guitar
REUNION ISLAND
TEL: (0262) 218-429
SOUTH AFRICA
That Other Music Shop(PTY)Ltd.
11 Melle St., Braamfontein,
Johannesbourg,
SOUTH AFRICA
TEL: (011) 403 4105
TAIWAN
ROLAND TAIWAN
ENTERPRISE CO., LTD.
Room 5, 9fl. No. 112 Chung
Shan N.Road Sec.2, Taipei,
TAIWAN, R.O.C.
import
#7 zona Industrial de Turumo
Caracas, Venezuela
TEL: (212) 244-1122
ROMANIA
FBS LINES
Piata Libertatii 1,
535500 Gheorgheni,
ROMANIA
OMAN
ECUADOR
Mas Musika
Rumichaca 822 y Zaruma
Guayaquil - Ecuador
TALENTZ CENTRE L.L.C.
P.O. BOX 37, MUSCAT,
POSTAL CODE 113
TEL: 931-3705
FAX: (011) 403 1234
EUROPE
TEL:(593-4)2302364
TEL: (02) 2561 3339
TEL: (266) 364 609
Paul Bothner(PTY)Ltd.
17 Werdmuller Centre,
Main Road, Claremont 7708
SOUTH AFRICA
QATAR
Al Emadi Co. (Badie Studio &
Stores)
P.O. Box 62, Doha, QATAR
TEL: 4423-554
EL SALVADOR
OMNI MUSIC
75 Avenida Norte y Final
Alameda Juan Pablo II,
Edificio No.4010 San Salvador,
EL SALVADOR
THAILAND
AUSTRIA
Roland Elektronische
Musikinstrumente HmbH.
RUSSIA
MuTek
3-Bogatyrskaya Str. 1.k.l
107 564 Moscow, RUSSIA
TEL: (095) 169 5043
Theera Music Co. , Ltd.
330 Verng NakornKasem, Soi 2,
Bangkok 10100, THAILAND
TEL: (02) 2248821
TEL: (021) 674 4030
Austrian Office
Eduard-Bodem-Gasse 8,
A-6020 Innsbruck, AUSTRIA
TEL: (0512) 26 44 260
SAUDI ARABIA
aDawliah Universal
Electronics APL
Corniche Road, Aldossary
Bldg., 1st Floor, Alkhobar,
SAUDI ARABIA
VIETNAM
Saigon Music
Suite DP-8
40 Ba Huyen Thanh Quan Street
Hochiminh City, VIETNAM
TEL: (08) 930-1969
TEL: 262-0788
SPAIN
ASIA
Roland Iberia, S.L.
Paseo García Faria, 33-35
08005 Barcelona SPAIN
TEL: 93 493 91 00
GUATEMALA
BELGIUM/FRANCE/
HOLLAND/
LUXEMBOURG
Roland Central Europe N.V.
Houtstraat 3, B-2260, Oevel
(Westerlo) BELGIUM
CHINA
Roland Shanghai Electronics
Co.,Ltd.
5F. No.1500 Pingliang Road
Shanghai 200090, CHINA
TEL: (021) 5580-0800
Casa Instrumental
Calzada Roosevelt 34-01,zona 11
Ciudad de Guatemala
Guatemala
SWEDEN
P.O.Box 2154, Alkhobar 31952
SAUDI ARABIA
TEL: (03) 898 2081
TEL:(502) 599-2888
Roland Scandinavia A/S
SWEDISH SALES OFFICE
Danvik Center 28, 2 tr.
S-131 30 Nacka SWEDEN
TEL: (0)8 702 00 20
HONDURAS
Almacen Pajaro Azul S.A. de C.V.
BO.Paz Barahona
3 Ave.11 Calle S.O
San Pedro Sula, Honduras
TEL: (504) 553-2029
AUSTRALIA/
NEW ZEALAND
TEL: (014) 575811
Roland Shanghai Electronics
Co.,Ltd.
(BEIJING OFFICE)
10F. No.18 3 Section Anhuaxili
Chaoyang District Beijing
100011 CHINA
SYRIA
Technical Light & Sound
Center
Rawda, Abdul Qader Jazairi St.
Bldg. No. 21, P.O.BOX 13520,
Damascus, SYRIA
CZECH REP.
K-AUDIO
Kardasovska 626.
CZ-198 00 Praha 9,
CZECH REP.
AUSTRALIA/
SWITZERLAND
Roland (Switzerland) AG
Landstrasse 5, Postfach,
CH-4452 Itingen,
SWITZERLAND
TEL: (061) 927-8383
NEW ZEALAND
Roland Corporation
Australia Pty.,Ltd.
38 Campbell Avenue
Dee Why West. NSW 2099
AUSTRALIA
MARTINIQUE
Musique & Son
Z.I.Les Mangle
97232 Le Lamantin
Martinique F.W.I.
TEL: 596 596 426860
TEL: (2) 666 10529
TEL: (010) 6426-5050
TEL: (011) 223-5384
DENMARK
Roland Shanghai Electronics
Co.,Ltd.
(GUANGZHOU OFFICE)
2/F., No.30 Si You Nan Er Jie
Yi Xiang, Wu Yang Xin Cheng,
Guangzhou 510600, CHINA
TEL: (020) 8736-0428
TURKEY
Ant Muzik Aletleri Ithalat Ve
Ihracat Ltd Sti
Siraselviler Caddesi
Siraselviler Pasaji No:74/20
Taksim - Istanbul, TURKEY
TEL: (0212) 2449624
Roland Scandinavia A/S
Nordhavnsvej 7, Postbox 880,
DK-2100 Copenhagen
DENMARK
UKRAINE
TIC-TAC
Mira Str. 19/108
P.O. Box 180
295400 Munkachevo,
UKRAINE
TEL: (03131) 414-40
For Australia
Tel: (02) 9982 8266
For New Zealand
Tel: (09) 3098 715
Gigamusic SARL
10 Rte De La Folie
97200 Fort De France
Martinique F.W.I.
TEL: 596 596 715222
TEL: 3916 6200
FINLAND
Roland Scandinavia As, Filial
Finland
Elannontie 5
FIN-01510 Vantaa, FINLAND
TEL: (0)9 68 24 020
HONG KONG
Tom Lee Music Co., Ltd.
Service Division
22-32 Pun Shan Street, Tsuen
Wan, New Territories,
HONG KONG
U.A.E.
Zak Electronics & Musical
Instruments Co. L.L.C.
Zabeel Road, Al Sherooq Bldg.,
No. 14, Grand Floor, Dubai,
U.A.E.
CENTRAL/LATIN
AMERICA
UNITED KINGDOM
MEXICO
Roland (U.K.) Ltd.
Atlantic Close, Swansea
Enterprise Park, SWANSEA
SA7 9FJ,
Casa Veerkamp, s.a. de c.v.
Av. Toluca No. 323, Col. Olivar
de los Padres 01780 Mexico
D.F. MEXICO
ARGENTINA
Instrumentos Musicales S.A.
Av.Santa Fe 2055
(1123) Buenos Aires
ARGENTINA
TEL: (011) 4508-2700
GERMANY
Roland Elektronische
Musikinstrumente HmbH.
Oststrasse 96, 22844
Norderstedt, GERMANY
TEL: (040) 52 60090
TEL: 2415 0911
TEL: (04) 3360715
UNITED KINGDOM
TEL: (01792) 702701
TEL: (55) 5668-6699
Parsons Music Ltd.
NICARAGUA
Bansbach Instrumentos
Musicales Nicaragua
Altamira D'Este Calle Principal
de la Farmacia 5ta.Avenida
1 Cuadra al Lago.#503
Managua, Nicaragua
8th Floor, Railway Plaza, 39
Chatham Road South, T.S.T,
Kowloon, HONG KONG
TEL: 2333 1863
NORTH AMERICA
MIDDLE EAST
BARBADOS
GREECE
STOLLAS S.A.
Music Sound Light
155, New National Road
Patras 26442, GREECE
TEL: 2610 435400
CANADA
Roland Canada Music Ltd.
(Head Office)
5480 Parkwood Way
Richmond B. C., V6V 2M4
CANADA
A&B Music Supplies LTD
12 Webster Industrial Park
Wildey, St.Michael, Barbados
TEL: (246)430-1100
INDIA
Rivera Digitec (India) Pvt. Ltd.
409, Nirman Kendra
Mahalaxmi Flats Compound
Off. Dr. Edwin Moses Road,
Mumbai-400011, INDIA
TEL: (022) 2493 9051
BAHRAIN
Moon Stores
No.16, Bab Al Bahrain Avenue,
P.O.Box 247, Manama 304,
State of BAHRAIN
TEL: (505)277-2557
BRAZIL
Roland Brasil Ltda.
Rua San Jose, 780 Sala B
Parque Industrial San Jose
Cotia - Sao Paulo - SP, BRAZIL
TEL: (011) 4615 5666
PANAMA
TEL: (604) 270 6626
SUPRO MUNDIAL, S.A.
Boulevard Andrews, Albrook,
Panama City, REP. DE
PANAMA
TEL: 17 211 005
HUNGARY
Roland East Europe Ltd.
Warehouse Area ‘DEPO’ Pf.83
H-2046 Torokbalint,
HUNGARY
CYPRUS
Radex Sound Equipment Ltd.
17, Diagorou Street, Nicosia,
CYPRUS
Roland Canada Music Ltd.
(Toronto Office)
170 Admiral Boulevard
Mississauga On L5T 2N6
CANADA
INDONESIA
PT Citra IntiRama
J1. Cideng Timur No. 15J-150
Jakarta Pusat
INDONESIA
TEL: (021) 6324170
TEL: 315-0101
TEL: (23) 511011
CHILE
Comercial Fancy II S.A.
Rut.: 96.919.420-1
Nataniel Cox #739, 4th Floor
Santiago - Centro, CHILE
TEL: (02) 688-9540
PARAGUAY
Distribuidora De
Instrumentos Musicales
J.E. Olear y ESQ. Manduvira
Asuncion PARAGUAY
TEL: (595) 21 492147
TEL: (022) 66-9426
TEL: (905) 362 9707
IRELAND
Roland Ireland
G2 Calmount Park, Calmount
Avenue, Dublin 12
Republic of IRELAND
TEL: (01) 4294444
IRAN
MOCO INC.
No.41 Nike St., Dr.Shariyati Ave.,
Roberoye Cerahe Mirdamad
Tehran, IRAN
U. S. A.
KOREA
Roland Corporation U.S.
5100 S. Eastern Avenue
Los Angeles, CA 90040-2938,
U. S. A.
Cosmos Corporation
1461-9, Seocho-Dong,
Seocho Ku, Seoul, KOREA
TEL: (02) 3486-8855
COLOMBIA
Centro Musical Ltda.
Cra 43 B No 25 A 41 Bododega 9
Medellin, Colombia
PERU
Audionet
Distribuciones Musicales SAC
Juan Fanning 530
Miraflores
TEL: (021) 285-4169
TEL: (323) 890 3700
ITALY
Roland Italy S. p. A.
Viale delle Industrie 8,
20020 Arese, Milano, ITALY
TEL: (02) 937-78300
ISRAEL
Halilit P. Greenspoon & Sons
Ltd.
8 Retzif Ha'aliya Hashnya St.
Tel-Aviv-Yafo ISRAEL
TEL: (03) 6823666
MALAYSIA
Roland Asia Pacific Sdn. Bhd.
45-1, Block C2, Jalan PJU 1/39,
Dataran Prima, 47301 Petaling
Jaya, Selangor, MALAYSIA
TEL: (03) 7805-3263
TEL: (574)3812529
Lima - Peru
TEL: (511) 4461388
As of January 15, 2005 (ROLAND)
03569901
’05-6-6N
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