Roland E-A7 User Manual

Reference Manual

Copyright © 2015 ROLAND CORPORATION

01

Contents

An Overview of the E-A7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Basic Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Units of Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

User Program (UPG) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Eects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

About the Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

About the Memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Memory Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Menu Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Global Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

User Program Edit Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Keyboard Part Mixer Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Keyboard Part MFX Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Style Part Mixer Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Arranger Setting Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Melody Intelligent Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Split . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Scale Tune Switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Scale Tune . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Using Scale Tunings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Pad Setting Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Playing the Pads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Pad Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Creating a Phrase to Play from a Pad (Phrase Recording) . . . . . . . 20

Assignable Setting Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Style Composer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

What Are Style? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Using the Style Composer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Initializing a Style (Initialize) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Getting Ready to Record . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Recording a Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Returning a Recorded Track to the State Prior to Recording (UNDO) . . . 42

Saving Your Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Muting Tracks While Recording Others . . . . . . . . . . . . . . . . . . . . . . . . . 42

Solo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Playback in Arranger Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Style Track Edit Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Editing Individual Style Events (Micro Edit) . . . . . . . . . . . . . . . . . . . . . . 47

About “Alteration Mode” Messages . . . . . . . . . . . . . . . . . . . . . . . 48

Makeup Tools (Styles and SMF) . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Using the Makeup Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Common . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Freeze Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Saving Your New Style or Song (SMF) Version . . . . . . . . . . . . . . . . . . . . 54

Using the Mark and Jump Function (SMF Songs Only) . . . . 55

Creating/Deleting Markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Saving a Song That Contains Markers . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Using Markers to Perform . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Lyrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

One Touch Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Selecting a One Touch Memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Canceling the One Touch Memories . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Locking One Touch Memories Settings (One Touch Lock) . . . . . . . . . . . 23

Creating Your Own One Touch Memories (One Touch Settings) . . . . . . . 23

Editing and Saving the One Touch Settings of a Style . . . . . . . . . 23

Copying a User Program or One Touch Memory to Another One
Touch Memory

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Sampling Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Overall Workow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Obtaining Waveforms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Connecting an External Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Sampling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Importing Samples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Sample Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Deleting a Sample . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Creating a Multisample (Create Multisample) . . . . . . . . . . . . . . . . . . . . 28

Multisample Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Deleting a Multisample . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

User Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Creating a User Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

User Tone Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Deleting a User Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Exporting User Tones to a USB Flash Drive (UST Export) . . . . . . . . . . . . . 33

Loading Exported User Tones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

User Drum Kit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Creating a User Drum Kit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

User Drum Kit Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Deleting a User Drum Kit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Exporting User Drum Kits to a USB Flash Drive (UDK Export) . . . . . . . . . 37

Loading Exported User Drum Kits (UDK Import) . . . . . . . . . . . . . . . . . . 37

Increasing the Amount of Free Sample Memory . . . . . . . . . . . . . . . . . . 38

Truncating a Sample . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Sample Clean Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Optimizing Sample Memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Mastering Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

MIDI Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Local . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Loading a MIDI Set . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Edit Style Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Edit Tone Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Edit Song Parts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Edit System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Using File Utility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Displaying the File List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Renaming a File or Folder (Rename) . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Copying a File or Folder (Copy) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Deleting a File or Folder (Delete) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Creating a New Folder (Create Folder) . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Backing Up or Initializing Data (Utility) . . . . . . . . . . . . . . . . . . . 67

Saving Data to USB Flash Drive (Backup) . . . . . . . . . . . . . . . . . . . . . . . . 67

Restoring Saved Data from USB Memory Back into the E-A7 (Restore) . 67

Initializing USB Flash Drive (USB Memory Format) . . . . . . . . . . . . . . . . . 67

Returning to the Factory Settings (Factory Reset) . . . . . . . . . . . . . . . . . 67

Viewing the Version (Version Info) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

E-A7 Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

E-A7 Error Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Internal Storage/External Storage (Problems with USB Memory) . . . . . . 70

Problems with Files or Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Problems with Operations or Functions . . . . . . . . . . . . . . . . . . . . . . . . . 70

Problems with Sampling or Sample Import . . . . . . . . . . . . . . . . . . . . . . 70

2

An Overview of the E-A7

Basic Structure

Broadly speaking, the E-A7 consists of a controller section, a sound generator section, an arranger/song player section, and a sampler section.

Controller Section

The controller section is what you perform on. For example, the performer’s actions such as “playing the keyboard” are sent from the controller
section to the sound generator section, causing it to produce sound.
The controller section includes the keyboard, assignable lever, the panel sliders and buttons, and the pedals connected to the rear panel.

Sound Generator Section

This section produces the sound. It receives performance data from the controller section, the arranger/song player section, and external MIDI
devices, and produces a variety of sounds in response to such data.

Arranger/Song Player Section

The arranger detects chords by analyzing the operations from the keyboard controller, and plays the appropriate style data.
The song player plays back audio les or sends MIDI messages from SMF data to the sound generator.

Sampler Section

The sampler captures sounds from an audio device or mic connected to the input jacks, or audio les (WAV les) from a USB ash drive, and saves
them as User Samples.
You can use these user samples to create user sounds (User Tones, User Drum Kits).

Units of Sound

Tone

Tones are the units of sound with which you perform.
Tones that you created by editing the built-in tones, or by loading a waveform (User Sample) you created using the sampling function, are called

“User Tones.”

Drum Kit

A drum kit is a group of percussion instrument sounds.
In a drum kit, a dierent percussion instrument sound is played by each key (note number) you press.
The sounds (mainly percussion instrument sounds) that are assigned to each note of the internal drum kits are called Drum Inst.
The drum inst of the internal drum kits or waveforms (user samples) that you captured using the sampling function can be freely assigned to the
keyboard to create your own original drum kit.
A drum kit created by the user is called a “User Drum Kit.”

User Sample

A waveform captured by the sampling function is called a “User Sample.”
User samples are the material from which you can create user sample tones and user drum kits.

User Program (UPG)

A User Program (UPG) contains tone settings for the four parts that are assigned as the Keyboard Parts (Upper1, Upper2, Upper3, Lower). The style
and song settings, as well as all settings that are loaded with them (for example, the intro and ending status, and settings for the selected variation),
are also handled together within the user program (UPG).
You can store one hundred UPGs as a User Program Set (UPS).

3

An Overview of the E-A7

User Program (UPG)

A User Program (UPG) contains tone settings for the four parts that are assigned as the Keyboard Parts (Upper1, Upper2, Upper3, Lower). The style
and song settings, as well as all settings that are loaded with them (for example, the intro and ending status, and settings for the selected variation),
are also handled together within the user program (UPG).
You can store one hundred UPGs as a User Program Set (UPS).
UPG data is managed in units of UPS (.UPS les).

UPG settings data

User Program (UPG)

Keyboard Part

Upper1

Upper2

Upper3

Lower

Keyboard Part
Eects

EQ

MFX

5 Keyboard Part Mixer
5 Style Part Mixer
5 Melody Intelligent
5 Arranger Setting
5 Split
5 Transpose
5 Scale Tune
5 Pad Setting
5 Assignable Setting
5 Other

Intro, Variation, and Ending
status
Auto Fill on/o
Sync Start/Stop on/o
Bass Inversion on/o

Style/Song Part

* Style and Song (SMF, Audio) cannot be played simultaneously.

Style

Style/Song Part

(*)

Chorus

Reverb

Mastering Tools

EQ

Compressor

Eects (*)

ACC1–6

Bass

Drum

EQ

MFX A

MFX B

* Style/Song Eect, Chorus, and

Reverb settings are located in
Makeup Tools.

Song (SMF)

Part 1–16

Song (Audio)

Wav/MP3

Within a user program, the E-A7 can save settings for the style, the song, and the tones.
However, it is not the case that the user program contains the actual data (le) for the style, the song, and the tones; rather, the user program contains
references to these items of data.

For style, song, and phrase data, the user program remembers the location and name of that data.
For example, if, after saving a user program, you then rename, delete, or move a style, the user program will no longer be able to reference the style
data that it originally used. If a user program references style data from a USB ash drive, that style data can’t be referenced if the USB ash drive is
disconnected.
In such cases, you’ll have to return the style data to its original location and name at the time when the user program was saved, or re-select the style.
The same applies to song and phrase data.

For user tone and user drum kit data, the user program remembers the location (tone number) of the data.
If the user program or style uses (contains) a user tone or user drum kit, and you then change the tone number, the tone used when the data was
saved can no longer play. In such cases, you’ll have to return the tone number (location) to its original state at the time that the user program or user
style was saved, or re-select the user tone or user drum kit.

If you want to save or exchange the user data in its entirety, it’s convenient to use Backup/Restore (p. 67).
You can back up data such as user programs, user styles, and user tones from internal storage as a single unit. You can then restore this data to return
to the original state.
However, the data (user programs and user styles) in external storage (USB memory) is not backed-up.
We recommend that you also make a copy of the user data on USB ash drive along with the backup le.

4

Eects

The E-A7 contains the following eects units. You can make settings independently for each of them.

MFX (Multi Eects)

This is a general-purpose multi-eect that modies the sound itself, potentially giving it a completely dierent tonal character.
A wide variety of types are provided, and you can choose the type that’s most appropriate for your purpose.
There are a total of three MFX units: one unit dedicated to the keyboard part, and two units for backing.

Chorus

Chorus is an eect that adds depth and spaciousness to the sound. You can choose whether to use this eect unit as chorus or as delay.
The depth of chorus can be adjusted individually for each part.

Reverb

Reverb is an eect that gives the sound a spatial ambience that’s characteristic of a performance in a hall.
Several types are provided, and you can choose the type that’s most appropriate for your purpose.
The depth of reverb can be adjusted individually for each part.

Input EFX

This unit can apply reverb or other eects to the sound from the input jacks.

Mastering Tools

The mastering tools consist of a mastering compressor and equalizer that are applied to all parts.

About the Styles

An Overview of the E-A7

The E-A7 can generate interactive accompaniments based on the style you select.
Styles are assigned to the Style buttons by category, and each Style button is also divided into sub-categories.
In addition to using the internal styles, you can also create your own original styles.

&

“Style Composer” (p. 39)

Style data is a collection of accompaniment patterns (called “divisions”) each consisting of up to eight parts. Based on four accompaniment
variations for dierent energy levels of the main song, they include divisions such as intros, endings, and lls.
By using the panel buttons to switch between these divisions, you can freely create the structure of the song while you perform.
As you perform, the accompaniment changes according to the chords that you play on the keyboard.

Style

Performance data

Part

Division

ACC1

ACC2

ACC3

ACC4

ACC5

ACC6

Bass

Intro 1–4 Variation 1–4 Fill 1–4 Ending 1–4

Performance data for each Part, each Division

5 Note
5 Program Change
5 Control Change

etc...

Drum

Makeup Tools (various settings) (p. 50)

5 Oset values for Volume and Pan etc.
5 EQ
5 MFX A/B
5 Chorus/Reverb

* These settings are made for each tone or drum kit included in the style.

One Touch 1–4 (p. 23)

One Touch memorizes the settings of the Keyboard Part (such
as Upper1).
Use these when you want to recall performance settings that are
appropriate for the style.

5

An Overview of the E-A7

About the Memory

The state of the E-A7’s parameters and the data that you create are held in memory.
This memory is divided into three categories: “temporary memory,” “rewritable memory,” and “non-rewritable memory.”

Temporary memory (Temporary area)

A user program (UPG) that you load during a performance, and the panel settings that you modify while performing, are held in temporary memory
(the temporary area).
When you edit a User Tone or user drum kit, this data is also held in the temporary area during that time.
Settings in the temporary area are temporary, and will be lost when you turn o the power or recall other settings. If you want to keep the settings
that are in the temporary area, you must save them to rewritable memory.

Memory Structure

Data related

Internal Storage

5 UPS (User Program)
5 User Style, Song
5 Phrase

External Storage
(USB Memory)

5 UPS (User Program)
5 User Style, Song
5 Phrase

System Memory

5 Global
5 My Setup
5 Favorite
5 Scale Memory 1–3

Preset Memory

5 Music Assistant
5 Preset Tone / Drum Kit
5 Preset Style

* Non-rewritable memory

etc…

etc…

Wave related

User Sample Memory

5 Sample Wave

Preset Wave Memory

5 Preset (Internal) Wave

* Non-rewritable memory

Internal Storage

The memory that lets you store data inside the E-A7 is called Internal
Storage.
This holds user programs sets (UPS), user styles, User Tone settings, and
user drum kit settings.

External Storage

You can insert a USB ash drive and store data outside the E-A7. Such
external memory (a USB ash drive) is called External Storage, and can
be used in the same way as internal storage.
External storage can also be used as an audio recording destination, or
to back up data.

System Memory

System Memory is located inside the E-A7, and stores system settings
that determine the overall operation of the E-A7.

Preset Memory

This memory holds parameters for the internal sounds, internal styles,
and Music Assistant. Its data cannot be rewritten.

User Sample Memory

This is memory that stores user samples that were captured by sampling
or that were imported by the sample import function.

Preset Wave Memory

This memory contains waveform data used by the internal sounds. Its
data cannot be rewritten.

6

Menu Options

By pressing the E-A7’s [Menu] button you can access various settings
and functions.
The menu contains the following items.

1. Press the [Menu] button.

The Menu screen appears.

2. Use the direct buttons to select a function or parameter

group.

Switch pages as necessary.

Group Explanation

Global Make settings for the entire E-A7 or for the system.

User Program Edit Make User Program settings.

One Touch Setting Access the One Touch Setting screen.

Sampling Menu Access sampling-related items.

Style Composer

Makeup Tools

SMF Mark&Jump

Lyrics

Mastering Tools

MIDI Make MIDI-related settings.

File Utility

Utility

Access items related to Style Composer.
Style Composer is a function that creates user styles.
Access items related to Makeup Tools.
Makeup Tools are functions for easily editing a style or
SMF.
Access the SMF Mark&Jump function setting screen
(p. 55).
Allow lyric data to be displayed on the E-A7 (limited to
SMF or mp3 les that contain lyric data) (p. 56).
Adjust the compressor and equalizer that are applied
to the output.

Perform operations on the les that are saved in the
E-A7’s internal storage and external storage (p. 66).
Perform operations for the entire E-A7 (such as initializa­tion and backup).

3. In the screen that appears after you make the selection,

edit the parameters or execute the command.

MEMO

5 Press the [Exit] button once to return to the next higher level.
5 Long-press the [Exit] button to return to the Main screen.
5 When the main page is shown in the left display, you can press

the [Option] button located at the left to jump to some of the

functions.

5 When in Style mode

6Style Composer
6Makeup Tools
6One Touch Setting

5 When in Song (SMF) mode

6SMF Mark & Jump
6Makeup Tools

7

Global Parameters

The settings of the “Global” parameters can be saved to the E-A7’s
global memory.
Global parameters are automatically saved when you exit the page
or turn o the power.

Style/SMF Track Mute

See “Muting a Specic Track (Track Mute)” on Owner’s Manual: p.

24.

One Touch Lock Setting

This parameter can be selected using [MENU] 0 “Global” 0 “One

Touch Lock Setting.”

The parameters on this page allow you to lter certain “One Touch”
settings. Select “On” for the settings you do not want to load along
with the remaining One Touch settings when you press a ONE
TOUCH button.

Parameter Value

Tempo OFF, ON
Keyboard Part OFF, ON
Key Touch OFF, ON
Intro/Ending OFF, ON
Variation OFF, ON
Bass Inv OFF, ON
Scale Tune OFF, ON
Exp Pedal OFF, ON
Ctrl Pedal OFF, ON
Assign Sw OFF, ON
Pad OFF, ON

along with the remaining settings when you select a User Program
memory.

Parameter Value

Style OFF, ON
Tempo OFF, ON
Transpose OFF, ON
Tone OFF, ON
Keyboard Part OFF, ON
Key Touch OFF, ON
Lower Octave OFF, ON
Split OFF, ON
Arr Type OFF, ON
Bass Inv OFF, ON
Scale Tune OFF, ON
Exp Pedal OFF, ON
Ctrl Pedal OFF, ON
Assign Sw OFF, ON
Pad OFF, ON

5 If the UPG Lock button is enabled (lit), parameters that are turned

on will be locked.

5 If you long-press one of the Style category buttons, the Style is

temporarily locked. If you long-press one of the Tone category
buttons, Tone, Lower Octave, and Key Touch are temporarily
locked. If you long-press the Transpose [+] or [-] button,
Transpose is temporarily locked.

Fade In/Out Setting

These parameters can be selected using [MENU] 0 “Global” 0

“FadeIn/Out Setting.”

Parameter Value Explanation

Time In

0–20s

Time Out

Time Hold 1–10s

Use this parameter to change the
Fade In duration.
Use this parameter to change the
Fade Out duration.
Use this parameter to set how long
it takes for the volume to return to
the master [VOLUME] setting after
completing the fade-out.

Metronome Setting

See “Using the Metronome” on Owner’s Manual: p. 19.

Input Setting

User Program Lock Setting

This page can be selected using [MENU] 0 “Global” 0 “User

Program Lock Setting.”

The parameters on this page allow you to lter certain User Program
settings. Select “On” for the settings you do not want to load

8

Parameter Value Explanation

Adjusts the input gain. If the input

Input Gain -24 dB - 48 dB

IFX Type

IFX Edit

IFX Balance

IFX Switch ([F5]
button)

OFF, REVERB,
DELAY

D100:0W–
D0:100W

sound is not loud enough, raise this
setting. (This adjusts L/MONO, MIC ­R Input. It does not adjust the EXT IN
input level.)

Selects the type of input eect.

Accesses the edit screen of the eect
that’s selected in IFX Type.
Species the balance between the
original sound (D) and the eect
sound (W).

Turns the input eect on/o.

Global Parameters

Parameter Value Explanation

Adjusts the input level. Use the

Input Level Meter

Input Gain and the panel Mic/Line
In Volume to adjust the level so that
the maximum is not reached.

Input EFX Edit

This parameter is not shown if the Input Setting parameter IFX Type
is set to OFF.

If the Input Setting parameter IFX Type is set to REVERB

Parameter Value Explanation

ROOM1,

Reverb Type

Time 0–127 Time length of reverberation

HF Damp (High Fre­quency Dump)

Rev Balance

Level 0–127

If the Input Setting parameter IFX Type is set to DELAY

Parameter Value Explanation

Delay Type SINGLE, PAN Selects the type of delay.

Delay (Sync) OFF, ON

Delay (msec) 0–2600 msec
Delay (note) Note

Tap Time 0–100%

Feedback 0–98%

HF Damp (High Fre­quency Dump)

Dly Balance

Level 0–127

ROOM2,
STAGE1,
STAGE2, HALL1,
HALL2

200 Hz, 250 Hz,
315 Hz, 400 Hz,
500 Hz, 630 Hz,
800 Hz, 1000
Hz, 1250 Hz,
1600 Hz, 2000
Hz, 2500 Hz,
3150 Hz, 4000
Hz, 5000 Hz,
6300 Hz, 8000
Hz, BYPASS
D100:W0–
D50:W50–
D0:W100

200 Hz, 250 Hz,
315 Hz, 400 Hz,
500 Hz, 630 Hz,
800 Hz, 1000
Hz, 1250 Hz,
1600 Hz, 2000
Hz, 2500 Hz,
3150 Hz, 4000
Hz, 5000 Hz,
6300 Hz, 8000
Hz, BYPASS
D100:W0–
D50:W50–
D0:W100

Species the type of reverb.

Frequency at which to cut the
high-frequency portion of the reverb
sound.
(BYPASS: no cut)

Volume balance between the direct
sound (D) and the eect sound (W)

Adjusts the volume of the reverb
sound.

If this is on, tempo-synchronized
delay is applied.

Adjusts the delay time.

Adjusts the delay time of the L-chan­nel relative to the R-channel delay
time taken as 100%.

* This can be set if Type = PAN.

Proportion of delay sound that is
returned to the input.

Frequency at which to cut the
high-frequency portion of the delay
sound returned to the input
(BYPASS: no cut).

Volume balance between the direct
sound (D) and the eect sound (W)

Adjusts the volume of the delay
sound.

Parameter Value Explanation

Pitch Bend,

Set1 Horizon
Set2 Horizon
Set3 Horizon
Set4 Horizon
Set5 Horizon

Set1 Vertical
Set2 Vertical
Set3 Vertical
Set4 Vertical
Set5 Vertical

Cuto,
Resonance,
Attack,
Decay,
Release,
Vibrato Rate,
Vibrato Depth,
Vibrato Delay,
Pan
Bend Up,
Bend Down,
Modulation,
Cuto (*),
Resonance (*),
Attack (*),
Decay (*),
Release (*),
Vibrato Rate (*),
Vibrato Depth (*),
Vibrato Delay (*),
Porta Time,
Chorus Send,
Reverb Send,
C1

Select the parameter that is
controlled when you move the
assignable lever horizontally
(left/right).
For details about each value,
refer to the related item in “Key-

board Part Mixer Parameters”

(p. 11).

Select the parameter that is
controlled when you move
the assignable lever vertically
(upward).

[*] These settings produce

change in the “+” direction.
For details about each value,
refer to the related item in “Key-

board Part Mixer Parameters”

(p. 11).

NOTE

When the power is turned on, or when UPG is switched, this is
always set to Assignable Lever Set 1.

Auto O

This parameter allows you to cause the E-A7 to switch itself o after
the selected number of minutes if you are not using it. The default
setting is “240.” Select “O ” if you prefer not to use this function.
The values in parentheses indicate when the pop-up countdown
appears.

Parameter Value

O,

Auto O

10 (5)
30 (15)
240 (30)

When the E-A7 has been switched o by this function, you need to
press the [POWER] button, wait a few seconds, then press the button
again to switch the E-A7 back on. (Do not switch it on too quickly.)

Display Contrast L/R

This parameter can be selected using [MENU] 0 “Global” 0

“Display Contrast L” or “Display Contrast R.”

It is used to change the contrast of the E-A7’s display in case you nd
it dicult to read.

Parameter Value

Display Contrast L
Display Contrast R

1–10

Master Tune

This parameter can be selected using [MENU] 0 “Global” 0

“Master Tune.”

Assignable Lever Setting

Here you can select the parameters that are assigned to the
assignable lever.
You can specify up to ve sets of parameters that are controlled
when you move the lever horizontally or vertically.
The AsgnLeverSet parameter species which set is assigned to the
assignable lever.

Parameter Value Explanation

AsgnLeverSet 1–5

Select the parameter settings
(1–5) that you want to assign to
the assignable lever.

9

Global Parameters

This parameter allows you to tune your E-A7 to acoustic instruments
that cannot be tuned. The default is 440.0 Hz.

Parameter Value

Master Tune 415.3–466.2 Hz

Output Mode

Parameter Value Explanation

Switches the acoustical character of
the sound that is output from the
Phones jack/Output jacks and the
E-A7’s speakers.

ON (When the button is lit):

Settings are optimized for
the response of the E-A7’s
speakers.

OFF (When the button is unlit):

Output Mode OFF, ON

The Mastering Tools function’s
Compressor and Equalizer
settings will be enabled.
The factory settings (Type:
Standard) or the User settings
are applied.

* The “Standard” compressor and equal-

izer type settings are optimal for use
when the Phones jack or Output jacks
are connected to an external speaker
or PA system.

Tone Startup

Parameter Value Explanation

INDONESIA,
VIETNAM, IN-

Tone Startup

DIA, THAILAND,
ORIENTAL,
EGYPT, TURKEY,
EAST EUROPE,
ETHNIC,
FRETTED,
PERCUSSION

Species the tone list that is rst
selected when you press the Tone
category [WORLD] button immedi­ately after turning the power on.

StyleStartup

Parameter Value Explanation

INDONESIA,
VIETNAM,
INDIA, THAI-

StyleStartup

LAND, CHINA,
KHALIGI,
ORIENTAL,
MAGHREBI,
TURKISH,
EAST EUROPE,
LATIN AMERI­CA, BRAZIL

Species the style list that is rst
selected when you press the Style
category [WORLD] button immedi­ately after turning the power on.

2nd-Bar: Causes playback to start from measure 2 of the selected

Standard MIDI File.

1st-Note: This is basically the same as the above, except that

playback starts on the rst note of the selected song.

UPG NextSong

At the end of the current song, the next song in the UPG List starts
automatically.
If the UPG List step refers to a style, the style in question is loaded,
but you will need to start manually by pressing the [START/STOP]
button.

Parameter Value

UPG NextSong OFF, ON

UP EQ/MfxLink

If you select “on,” the E-A7 selects suitable MFX and equalizer
settings for each Tone you assign to the Upper 1 part.

Parameter Value

UP EQ/MFX Link O, On

Rec Level

Allows you to set the recording level for your own performances (see
p. 41). The setting of the [Master Volume] knob does not aect the
recording level. (Default setting: +0 dB)

Parameter Value

Rec Level -24, -18, -12, -6, 0 dB

RecAudioSync

Parameter Value

Rec Audio Sync OFF, ON

O: Choose this setting when you want to start recording before

starting style or song playback.

On: Choose this setting when you want to be able to start recording

simultaneously with style/song playback. When you choose this
setting, pressing the [REC] button will stop both playback and the
recorder.

Recall MIDI

This parameter selects the MIDI Set whose settings are loaded when
the E-A7 is switched on. Select “O ” if no MIDI Set should be recalled
when the E-A7 is switched on.

Parameter Value

Recall MIDI O, Tone/Style, PK Series, Song, User 1–8

USB Driver

Language

This parameter allows you to choose the character set to be used for
the following:

5 “Finder” functions (Owner’s Manual: p. 44)
5 “Name” function (Owner’s Manual: p. 16)

Parameter Value

Language Latin, Cyrillic, East Europe

SMF QuickStart

Parameter Value

SMF QuickStart O, 2nd-Bar, 1st-Note

O: Playback starts at the very beginning of the song le (which may

contain a few silent bars).

10

Parameter Value

USB Driver GENERIC, VENDOR

GENERIC: Choose this if you want to use the standard USB driver

that was included with your computer. Normally, you should use this
mode.

VENDOR: Choose this if you want to use a USB driver downloaded

from the Roland website (www.roland.com).

User Program Edit Parameters

The following parameters can be set for each Performance memory:

Parameter/Group Explanation

Keyboard Part Mixer

Keyboard Part MFX

Style Part Mixer Here you can make settings for the style parts.

Arranger Setting

Melody Intelligent

Split Here you can specify the split point of the keyboard.

Scale Tune Switch

Scale Tune

Pad Setting Here you can make settings for the pads.

Assignable Setting

Here you can make settings for the keyboard parts
(UP1, UP2, UP3, LWR).
Here you can make eect settings for the keyboard
parts (UP1, UP2, UP3, LWR).

This function group allows you to specify where and
how the selected Style should scan the note messages
generated by your playing for chord information.
Here you can make settings for the Melody Intelligent
function.
Melody Intelligent is a function that automatically
adds harmony to the keyboard parts.

Here you can specify the parts for which the Scale
Tune setting is enabled.
Here you can specify how the pitch will be adjusted
in units of one cent (1/100 of a semitone) relative to
equal temperament.

Here you can make settings for the assignable switch­es and control pedal.

Keyboard Part Mixer Parameters

This function group can be selected using [MENU] 0 “User

Program Edit” 0 “Keyboard Part Mixer.” You can also access the

Keyboard Part Mixer screen by pressing the [F1] button (Kbd Mixer)
of the left main screen.

The vertical columns correspond to each keyboard part (UP1, UP2,
UP3, LWR).
The horizontal rows show parameters that you can edit.
Use the direct buttons and Cursor buttons to select the desired
parameter, and use the Value [-] [+] buttons or the Balance/Value
knob (when the LED is unlit) to edit the value.
The following parameters are available:

Reverb Send

Signal level sent from each part to reverb

Parameter Value

Reverb Send 0–127

Chorus Send

Signal level sent from each part to chorus

Parameter Value

Chorus Send 0–127

Pan

Pan (left/right position) of each part

Parameter Value

Pan L64–0–R63

Volume/Part Switch

Volume and on/o setting of each part

Parameter Value

Volume 0–127

MFX Switch

The E-A7 provides one multi-eect (MFX) for the keyboard parts.
For each part, you can specify whether the MFX is applied.

Parameter Value

MFX Switch O, On

Key Touch (velocity sensitivity)

Here you can make settings for the keyboard touch.

Parameter Value Explanation

High: Select this setting for max-

imum expressiveness. Even small
variations of the force with which
you strike a key produce audible
changes. The trade-o is, however,
that you have to strike the keys
forcefully to reach the maximum
volume.

Medium: Medium velocity sensitivi-

ty.
The keyboard responds to velocity

Key Touch Curve

Key Touch Min 1–126

Key Touch Max 2–127

Key Touch Fixed* 1–127

High, Medium,
Low, Fixed*

changes, but the maximum volume
can be obtained more easily than
with “High.” (This is the default
setting.)

Low: Select this setting if you are

used to playing on an electronic
organ or if you do not want velocity
changes to bring about major vol­ume changes.

Fixed: Select this setting if all notes

you play on the keyboard should
have the same velocity value. When
you set this parameter, the “Key

Touch Fixed” eld can be edited

This parameter allows you to set the
smallest velocity value with which
you can trigger the selected part.
This parameter allows you to set the
highest velocity value with which
you can trigger the selected part.
Allows you to set the value when

“Cur ve” is set to “Fixed.”

[*] This parameter can only be edited if the “Key Touch Curve”

parameter is set to “Fixed.”

EQ

Here you can make equalizer (EQ) settings for each keyboard part.

Parameter Value Explanation

EQ Switch O, On

1500, 2000,

High Freq (Hz)

High Gain (dB) -15–+15

Mid Freq (Hz)

Mid Gain (dB) -15–+15

3000, 4000,
6000, 8000,
12000

200, 250, 315,
400, 500, 630,
800, 1000,
1250, 1600,
2000, 2500,
3150, 4000,
5000, 6300,
8000

This parameter allows you to switch
the equalizer on and o.

Allows you to set the cuto frequen­cy of the high band (this is a shelving
lter).

Use this parameter to set the level of
the selected “High” frequency.
Positive values boost (increase the
volume of) that frequency band,
negative values cut (attenuate) it.

Allows you to set the cuto fre­quency of the middle band (this is a
peaking lter).

Use this parameter to set the level of
the selected “Mid” frequency.

11

User Program Edit Parameters

Parameter Value Explanation

Use this parameter to specify the

Mid Q

Low Freq (Hz)

Low Gain (dB) -15–+15

0.5, 1.0, 2.0,

4.0, 8.0

90, 150, 180,
300, 360, 600

width of the “Mid Frequency” band
that you want to boost or cut. Small­er values mean that neighboring
frequencies above/below that value
are also aected.
Allows you to set the cuto frequen­cy of the low band (this is a shelving
lter).
Use this parameter to set the level of
the selected “Low” frequency.

Expression Pedal

This parameter allows you to specify whether the expression pedal
eect is applied to each part.

Parameter Value

Expression Pedal O, On

Expression Pedal Up/Down

The expression pedal allows you to control the volume of all parts by
foot.

“Up” and “Down” refer to the volume that is used when the

expression pedal is pressed (“Up,” highest volume) or in the upright
position (“Down,” lowest volume).
You do not need to specify “0” for the “Down” position.
Selecting any other values will reduce the volume of the selected
part up to the “Down” value.
Likewise, you do not need to specify “127” as maximum value for

“Up.”

NOTE

The expression pedal sends MIDI Expression commands (CC11).
It is perfectly possible to set the “Down” value to “127” and the

“Up” value to “0,” so that the selected part only sounds when the

expression pedal is in the upright position. This can be used for
some clever eects: instead of alternating between the Upper1
and Upper2 parts by varying your velocity (which requires a
considerable amount of “striking precision,” see “Min Value”
and “Max Value” on p. 11), you could invert UP2’s response to
the expression pedal, so that UP1 doesn’t sound when UP2 does,
and vice versa.

Parameter Value

Expression Pedal Up/
Down

0–127

Hold Pedal

This parameter allows you to specify whether and how a hold/
damper pedal you connect to the PEDAL HOLD socket should
respond to Hold messages (CC64).

Parameter Value

Hold Pedal Auto, On, O

“Au to” means that the part in question only responds to Hold

messages if it is assigned to the right half (Split) or the entire
keyboard.

“On” means that the part in question always responds to Hold

messages, even if it is assigned to the left half of the
keyboard.

“O,” nally, means that the part does not respond to Hold

messages.

Control Pedal

This parameter allows you to specify whether the control pedal eect
is applied to each part.

Parameter Value

Control Pedal O/On

12

Assignable Lever Horizontal

This parameter allows you to specify for each keyboard part how it
should respond to left/right movements of the assignable lever.

Parameter Value

Assignable Lever
Horizontal

Auto, On, O

“Auto”: The keyboard part only responds to left/right movements

of the lever when no split setting causes it to be to the left
of other keyboard parts. In other words: parts you can play
with your left hand after selecting a split no longer respond.
But they will while the keyboard is not split.

“On”: The keyboard part always responds to left/right movements of

the assignable lever.

“O ”: The part in question does not respond to left/right

movements of the assignable lever.

Assignable lever Vertical

This parameter allows you to specify for each keyboard part how it
should respond to backward movements of the assignable lever.

Parameter Value

Assignable lever
Vertical

Auto, On, O

“Auto”: The keyboard part only responds to vertical movements of

the assignable lever when no split setting causes it to be to
the left of other keyboard parts. In other words: parts you
can play with your left hand after selecting a split no longer
respond. But they will while the keyboard is not split.

“On”: The keyboard part always responds to vertical movements of

the assignable lever.

“O ”: The part in question does not respond to vertical movements

of the assignable lever.

Pitch Bend Range

This parameter allows you to specify the amount of pitch change
(in semitone units) that occurs if pitch bend is assigned to the
assignable lever or control pedal.

Parameter Value

Pitch Bend Range 0–24

Octave Shift

Allows you to transpose the selected keyboard part in octave steps.

Parameter Value

Octave Shift -4–0–+4

Coarse Tune

Changes the pitch of the selected keyboard part in semi-tone steps.

Parameter Value

Coarse Tune -24–0–+24

NOTE

You can’t change the Coarse Tune setting of the UP3 part.

Fine Tune

Changes the pitch of the selected part in steps of 1 cent (1/100 semi­tone).

Parameter Value

Fine Tune -100–0–+100

NOTE

You can’t change the Fine Tune setting of the UP3 part.

Mono/Poly

You can set the selected part to mono(phonic) mode.

User Program Edit Parameters

“Mono” means that you can only play one note at a time. You could

select this mode to play a trumpet or woodwind part in a more
natural way.

“Poly,” on the other hand, means that you can play chords using the

selected part.

Parameter Value

Mono/Poly Poly, Mono

NOTE

You can’t change the Mono/Poly setting of the UP3 part.

Portamento Time

“Portamento” means that the pitch doesn’t change in clearly

dened steps: it produces glides from one note to the next. Use the
this parameter to specify the speed at which those glides are carried
out. The higher the value, the slower the transitions.

Parameter Value

Portamento Time 0–127

NOTE

You can’t change the Portamento Time setting of the UP3 part.

Cut O

This lter parameter allows you to make the selected sound darker or
brighter. Positive settings mean that more overtones will be allowed
to pass, so that the sound becomes brighter. The further this value is
set in the negative direction, the fewer overtones will be allowed to
pass and the sound will become softer (darker).

Setting

Characteristics of a low-pass lter

Frequency

Cuto frequency

NOTE

For some sounds, positive (+) Cuto settings will cause no

noticeable change because the preprogrammed Cuto

parameter is already set to its maximum value.

Parameter Value

Cut O -64–+63

Resonance

Decay

This parameter adjusts the time over which the sound’s volume and
cuto frequency fall from the highest point of the attack down to the
sustain level.

Parameter Value

Decay -64–+63

NOTE

Percussive sounds usually have a sustain level of “0.” Piano and
guitar sounds are in this category. Holding the keys for a long
time will have little eect on the duration of the notes you are
playing, even if you select a high value here.

Release

This parameter adjusts the time over which the sound will decay
after the note is released until it is no longer heard. The cuto
frequency will also fall according to this setting.

Parameter Value

Release -64–+63

Vibrato Rate

This parameter adjusts the speed of the pitch modulation.
Positive (+) settings make the preset pitch modulation faster and
negative (–) settings make it slower.

Parameter Value

Vibrato Rate -64–+63

Vibrato Depth

This parameter adjusts the intensity of the pitch modulation. Positive
(+) settings mean that the “wobble” becomes more prominent,
while negative (–) settings make it shallower.

Parameter Value

Vibrato Depth -64–+63

Vibrato Delay

This parameter adjusts the time required for the vibrato eect to
begin. Positive (+) settings increase the time before vibrato will begin
and negative settings shorten the time.

Parameter Value

Vibrato Delay -64–+63

When the Resonance value is increased, the overtones in the area
of the cuto frequency will be emphasized, creating a sound with a
strong character.

Parameter VALUE

Resonance -64–+63

NOTE

For some sounds, negative (–) “Resonance” settings may

produce no noticeable change because the Resonance is already

set to the minimum value.

Attack (only for Tones)

This parameter adjusts the onset of the sound. Negative values
speed up the attack, so that the sound becomes more aggressive.

Parameter Value

Attack -64–+63

Keyboard Part MFX Parameters

This function group can be selected using [MENU] 0 “User

Program Edit” 0 “Keyboard Part MFX.” Your E-A7 contains a

multi-eects processor that can be used for processing any keyboard
part you like (There are also 2 Mfx processors for the style parts).

Type: Selects the MFX type.
Keyboard MFX Edit: Accesses a page where you can edit the

parameters of the selected MFX.

MFX Switch ([F5] button): Turns MFX on/o. Turn this o if you

don’t want to apply MFX.

Mfx Type

The E-A7 provides 84 dierent multi-eect types, some of which
are combinations of two eects for added exibility. This parameter
allows you to select the desired type. The available types are:

1. Thru

2. Stereo EQ

3. Overdrive

4. Distortion

5. Phaser

6. Spectrum

29. OD 0 Delay

30. DST 0 Chorus

31. DST 0 Flanger

32. DST 0 Delay

33. EH 0 Chorus

34. EH 0 Flanger

57. VK Rotary

58. 3D Chorus

59. 3D Flanger

60. 3D Step Flgr

61. Band Chorus

62. Band Flanger

13

User Program Edit Parameters

7. Enhancer

8. Auto Wah

9. Rotary

10. Compressor

11. Limiter 39. CHO/DLY 67. Gate

12. Hexa-Chorus 40. Flanger/DLY 68. Long Delay

13. Trem Chorus 41. CHO/Flanger 69. Serial Delay

14. Space-D 42. Isolator 70. MLT Tap DLY

15. St. Chorus 43. Low Boost 71. Reverse DLY

16. St. Flanger 44. Super Filter 72. Shue DLY

17. Step Flanger 45. Step Filter 73. 3D Delay

18. St. Delay 46. Humanizer 74. Long Time DLY

19. Mod. Delay 47. Speaker Sim 75. Tape Echo

20. 3 Tap Delay 48. Step Phaser 76. LoFi Noise

21. 4 Tap Delay 49. MLT Phaser 77. LoFi Comp

22. Time Delay 50. Inf Phaser 78. LoFi Radio

23. 2 Pitch Shifter 51. Ring Modul 79. Telephone

24. FBK Pitch 52. Step Ring 80. Phonograph

25. Reverb 53. Tremolo 81. Step Pitch

26. Gate Reverb 54. Auto Pan 82. Sympa Reso

27. OD 0 Chorus

28. OD 0 Flanger

35. EH 0 Delay

36. Chorus 0 DLY

37. Flanger 0 DLY

38. CHO 0 Flanger

55. Step Pan 83. Vib-Od-Rotary

56. Slicer 84. Center Canc

63. Band Step Flg

64. VS Overdrive

65. VS Distortion

66. GT Amp Simul

Mfx Edit

The rst two parameters for each Mfx type are “Chorus Send”
(0–127) and “Reverb Send” (0–127). They allow you to specify
whether—and to what extent—the Mfx signal should be processed
by the Chorus and/or Reverb eect.

Style Part Mixer Parameters

This function group can be selected using [MENU] 0 “User

Program Edit” 0 “Style Part Mixer.”

You can also access the Style Part Mixer screen by pressing the [F2]
button (Style Mixer) of the left main screen.

Expression Pedal

Select “O ” if you don’t need pedal expression for the selected part.
This means that the style part in question no longer responds to
an expression pedal you may have connected to the EXPRESSION
socket.

Parameter Value

Expression Pedal O, On

Volume

Adjusts the volume of the selected style part.
Selecting “0” means that the part in question is no longer audible.

Parameter Value

Volume 0–127

Accomp AllO ([F1] button)

Turns o all parts ACC1–6.

Accomp AllOn ([F2] button)

Turns on all parts ACC1–6.

Exp. Pdl AllO ([F4] button)

Turns o the expression pedal connection of all parts Drum, Bass,
and ACC1–6.

Exp. Pdl AllOn ([F5] button)

Turns on the expression pedal connection of all parts Drum, Bass,
and ACC1–6.

Arranger Setting Parameters

The parameters of this function group apply to the eight Arranger
parts (i.e. the parts used to play back the selected style).

The vertical columns correspond to each style part (ADR is the drum
part, and ABS is the bass part). The horizontal rows show parameters
that you can edit.
Use the direct buttons and Cursor buttons to select the desired
parameter, and use the Value [-] [+] buttons or the Balance/Value
knob (when the LED is unlit) to edit the value.
The following parameters are available:

Solo

Allows you to solo the selected part, which means that all other style
parts are switched o.

Parameter Value

Solo O, On

This function group can be selected using [MENU] 0 “User

Program Edit” 0 “Arranger Setting.”

The parameters of this function group apply to the Arranger as a
whole and allow you to ne-tune its behavior.

Arr Switch (Arranger Switch)

Select “O ” if you only need the drum part of the selected style and
no melodic accompaniment parts (ABass, ACC1–6).

Parameter Value

Arr Switch O, On

You can also turn the arranger switch on/o by pressing the [F5] (Arr
Switch) button of the left main screen.
If you turn the arranger switch O and then On again, chord
detection will resume when you play a chord.

Part Switch

Turns each part on/o.

Parameter Value

Part Switch O, On

14

Zone

When you press the [SPLIT] button, the selected style pattern is
controlled by the chords you play in the left half of the keyboard.
You can also tell the Arranger to scan another part of the keyboard
for usable chords. Though “Left” is probably the most popular
setting, you could select “Right” to have the Arranger scan the right
half of the keyboard.

User Program Edit Parameters

Switch o the [SPLIT] button if the Arranger should scan the entire
keyboard (“Whole”).
The range of the left and right keyboard areas depends on the “Split

Point” setting (Owner’s Manual: p. 18).

Parameter Value

Zone O, Left, Right, Whole

Type

Another important choice is how you want to transmit note
information to the Arranger.

Parameter value

Type Standard, Pianist1, Pianist2, Intelligent, Easy

NOTE

If the “Arr Type” parameter (p. 8) is set to “O n,” this “Ty pe”

setting has no eect.

Standard: This is the normal chord recognition mode.
Pianist1: In this mode, the E-A7 only recognizes chords that consist

of at least three notes. Playing only two notes will not cause
the style’s key to change.

Pianist2: Same as “Pianist1” while the Hold pedal is not pressed.

If you press the Hold pedal, the E-A7 even recognizes

“chords” when you press only one note. If the hold pedal is

still pressed, chord recognition continues up to a maximum
of 5 played keys.

Intelligent: Select this option when you want the chord recognition

function to supply the missing notes of the chords you play.

Easy: This is another “intelligent” chord ngering system.

It works as follows:

Major chords

Minor chords

Seventh chords

Minor seventh chords

Press the key that corresponds to the chord’s funda­mental.
Fundamental + any black key to the left of the
fundamental.
Fundamental + any white key to the left of the
fundamental.
Fundamental + any black key to the left + any white
key to the left.

Fill Rit. (Fill Ritardando)

The FILL RIT function is suitable for ballads. It causes the next Fill-In
to slow down (“ritardando”). See “Tempo Change Fill Rit” below
for how to set how strongly the tempo should be decreased.

Parameter Value

Fill Rit. O, On

As the name implies, it is only available while the [AUTO FILL-IN]
button lights.

a. Set “Fill Rit.” to “ On .”

b. Start Arranger playback.

c. Press a VARIATION [1]–[4] button.

The E-A7 plays a Fill-In. The tempo slows down while the ll is
being played. At the end of the ll, return to the original tempo.

Tempo Change Accel/Ritard, CPT, Fill Rit

The “T. Ch. Acc/Rit” (Tempo Change Acceler/Ritard) parameter
allows you to speed up or slow down the style tempo by the amount
you set here. To use these functions, you must assign them to an
optional footswitch (p. 21).
There are three Ritardando functions: one for all style patterns, one
for Ending patterns and one for ll-ins (see “Fill Rit.” above). They all
use the “Tempo Change” settings on the following page.

Arranger Hold

This function sustains the notes you play in the chord recognition
area (“Zone”). Select “O ” if you want the accompaniment to
stop as soon as the keys in that zone are released. This parameter is
switched “On” by default.

Parameter Value

Arranger Hold O, On

Fill In Half Bar

When this parameter is “O n ,” the length of the Fill-Ins, which are
played when the [AUTO FILL IN] button lights, is halved.

Parameter Value

Fill In Half Bar O, On

Certain pop songs in 4/4 contain bars that only last two beats. The
usual place for such a bar is between the rst and the second verse.
Another favorite position for “halved” bars is at the end of a chorus
or the bridge. Your E-A7 allows you to faithfully reproduce these

“anomalies” using this function. This does not change style playback

right away. Only when a ll-in or another VARIATION pattern starts
will the “Fill-in Half Bar” function be activated and play half the
number of beats of the accompaniment pattern you selected.

Parameter Value

T. Ch. Acc/Rit 5%–92%
T. Ch. CPT 0–3825
T. Ch. FillRit 5%–92%

T. Ch. Acc/Rit (Tempo Change Accel/Ritard): Allows you to set the

degree (ratio) by which the tempo changes when the “Acceler” or

“Ritard” function is triggered. Example: if the tempo is currently ¸=

100, the value “20%” means that the tempo drops to ¸= 80 or rises
to ¸= 120.

T. Ch. CPT (Tempo Change CPT): Use this parameter to specify how

long a ritardando/accelerando should take. In most cases, 480 CPT
(i.e. one measure) is probably the most musical choice.

T. Ch. FillRit (Tempo Change Fill Rit): This parameter allows you to

specify to what extent ll-in playback should be slowed down when
the “Fill Ritardando” function is on.

9 Using the Ritardando/Accelerando functions

For general applications (any style division) proceed as follows:

5 Assign the “Arr Rit” or “Arr Acc” function to an optional

footswitch (p. 21).

5 Press the [START/STOP] button to start style playback.
5 Press the assigned footswitch.

15

User Program Edit Parameters

For ritardandos that apply to Ending patterns proceed as follows:

5 Press the [START/STOP] button to start playback.
5 Press the [ENDING] button twice in succession (“double-click”).

Melody Intelligent Parameters

This function group can be selected using [MENU] 0 “User

Program Edit” 0 “Melody Intelligent.”

The Melody Intelligent part on/o setting and some of the
parameters can also be edited in the Keyboard Part Mixer screen.

&

Keyboard Part Mixer (p. 11)

The following parameters are available:

Switch

Select “On” if you want to add a MELODY INTELL part.
This part is triggered by the chord recognition of the E-A7’s
Automatic Accompaniment and plays automatic harmonies that are
added to the melody that you are playing using the Upper 1 part.
You can choose from among 18 harmony types (see below).

Parameter Value

Switch O, On

NOTE

This “Switch” parameter can also be assigned to an optional
pedal switch. See “Pedal Switch and Pedal Control” (p. 21).

Type

Allows you to select one of the 18 harmony types:

Parameter Value

1: Duet, 2: Organ 3: Combo, 4: Strings, 5: Choir,

Type

NOTE

The most suitable tone for the Type is assigned. When you switch
the Type, this means that the tone of the Upper1 part may also
change. After selecting the desired Type, you can select the
Upper1 tone.

2nd Tone

Depending on the selected “Ty pe” setting, a second harmony is
added to the “Melody Intelligent” part. If you like, you can select
the desired Tone for the second harmony voice using this parameter.

Parameter Value

2nd The Tone of the selected family

6: Block, 7: Big Band, 8: Country, 9: Traditional,
10: Brodway, 11: Gospel, 12: Romance,
13: Latin, 14: Country Guitar, 15: Country Ballad,
16: Waltz Organ, 17: Octave Type1, 18: Octave Type2

If you don’t need this switching function, select “0.”

Parameter Value

Intell Threshold 0–127

The following parameters are valid for the 2nd tone.

Level

Allows you to set the level of the “Melody Intelligent” part to
ensure that the harmonies blend in with the rest.

Parameter Value

Level 0–127

Expression Pedal

This parameter allows you to specify whether or not the “Melody

Intelligent” part should respond to movements of the optional

expression pedal you connected, and change its volume accordingly.

Parameter Value

Expression Pedal O, On

Hold Pedal

This parameter allows you to specify whether or not the “Melody

Intelligent” part’s notes can be held with the pedal switch

connected to the PEDAL HOLD/SWITCH socket.

Parameter Value

Hold Pedal Auto, On, O

“Au to” means that the “Melody Intelligent” part only responds to

Hold messages if it is assigned to the right half (Split) or the
entire keyboard.

“On” means that the “Melody Intelligent” part always responds to

Hold messages, even if it is assigned to the left half of the
keyboard.

“O ” means that the “Melody Intelligent” part does not respond to

Hold messages.

Asgn Lever H (Assignable Lever Horizontal)

This parameter allows you to specify for each keyboard part how it
should respond to left/right movements of the assignable lever.

Parameter Value

Asgn Lever H Auto, On, O

“Auto”: The keyboard part only responds to left/right movements

of the lever when no split setting causes it to be to the left
of other keyboard parts. In other words: parts you can play
with your left hand after selecting a split no longer respond.
But they will while the keyboard is not split.

“On”: The keyboard part always responds to left/right movements of

the assignable lever.

“O ”: The part in question does not respond to left/right

movements of the assignable lever.

Bender Range (Pitch Bend Range)

This parameter species the amount of pitch change (in semitone
units) that occurs if pitch bend is assigned to the assignable lever or
control pedal.

Parameter Value

Bender Range 0–24

Intell Threshold

This value represents the lowest velocity value (between “0” and

“127”) of the Upper 1 part that triggers the “Melody Intelligent”

part.

16

Asgn Lever V (Assign Lever Vertical)

This parameter allows you to specify for each keyboard part how it
should respond to backward movement of the assignable lever.

Parameter Value

Modulation Assign Auto, On, O

User Program Edit Parameters

“Auto”: The keyboard part only responds to backward movements

of the assignable lever when no split setting causes it to be
to the left of other keyboard parts. In other words: parts you
can play with your left hand after selecting a split no longer
respond to modulation messages. But they will while the
keyboard is not split.

“On”: The keyboard part always responds to backward movements

of the assignable lever.

“O ”: The part in question does not respond to backward

movements of the assignable lever.

Reverb Send

Level of signal sent to reverb

Parameter Value

Reverb Send 0–127

Chorus Send

Level of signal sent to chorus

Parameter Value

Chorus Send 0–127

Pan

Pan (left/right position)

Parameter Value

Pan L64–0–R63

select “O,” the LWR part stops sounding as soon as you release all
keys in the left area.

Scale Tune Switch

This parameter can be selected using [MENU] 0 “User Program

Edit” 0 “Scale Tune Switch.”

Parameter Value Explanation

Upper1
Upper2
Upper3

Lower O, On

Style O, On

O, On

Select “On” if the “Scale Tune” set-
tings (see below) should apply to the
Upper1 (+ Melody Intell), Upper2,
Upper3 part.
Select “On” if the “Scale Tune”
settings (see below) should apply to
the Lower part.
Select “On” if the “Scale Tune”
settings (see below) should apply to
the Style parts and Pad phrases.

Split

This page allows you to set two keyboard-related parameters. It can
be selected using [MENU] 0 “User Program Edit” 0 “Split.”

NOTE

This page can also be selected by pressing and holding the

[SPLIT] button.

Split Point

The “Split Point” parameter allows you to set the split point.

Parameter Value

Split Point C#2–B6

You can change the split point by using the Value [-] [+] buttons or
the [Balance/Value] knob (when the LED is unlit).
You can also change it by pressing the key that you want to assign as
the split point.

Lower Hold

This parameter allows you to set the Hold function for the LWR part.

Parameter Value

Lower Hold O, On

If you set this parameter to “O n ,” the notes of the LWR part go on
sounding until you play other notes in the left keyboard area. (This
function is only available while the [SPLIT] button lights.) If you

Scale Tune

This parameter can be selected using [MENU] 0 “User Program

Edit” 0 “Scale Tune.”

This parameter allows you to change the tuning of all notes of one
octave, which may come in handy to create oriental tunings.

Parameter Value Explanation

Changes the pitch of the notes C–B
in steps of 1 cent. The value that

C–B
(Each note can be set
individually)

Switch O,On

-64–0–+63

you specify is applied to all notes of
the same name. If you change the
tuning of the “C ,” that value is added
to, or subtracted from, all Cs (C1, C2,
C3, etc.). (“–50” means that the note
in question is tuned a quarter tone
down.)
Species whether the change for
each note is enabled.
The on/o setting for each note can
also be set by using the keyboard
buttons (when the Scale Tune/Pad
LED is lit).

NOTE

The setting and on/o status for
each note is specied and saved for
each UPG.
You can save your favorite tuning
values and use the keyboard buttons
to instantly turn them on/o.

17

User Program Edit Parameters

Using Scale Tunings

Your E-A7 allows you to change the tuning of the keys, which then
applies to all notes of the same name.

Here’s an example: if you press the Keyboard [Bb] button (indicator

lights), that note’s tuning is lowered by a quarter tone (–50 cents).
This setting applies to all B-at keys on the keyboard.

Tuning individual notes a quarter tone down

1. Press the [Scale Tune/Pad] button to make it light.

Now you can use the Keyboard buttons as the Scale Tune buttons.

2. Press a Keyboard button to tune the corresponding

note a quarter tone down (the button must light).

3. If you also want to tune down other notes, press the

corresponding button(s).

If you pressed the wrong button (indicator lights), press it again so
that its indicator goes dark again.
The pitch of the corresponding notes returns to normal.

4. Long-press one of the Keyboard buttons.

The Scale Tune settings screen appears in the right display.
For each note, you can specify how much the tuning will be adjusted
when Scale Tune is enabled (button lit).
You can also access this page via [Menu] 0 “User Program Edit”

0

“Scale Tune.”

5. Use the direct buttons and function buttons (page

buttons) to select the note whose value you want to
change, and use the Value [-] [+] buttons to change the
value.

Setting Range : -64– 63 cents

In this screen you can also switch the Scale Tune setting on/o for
each note.
Use one of the [L1]–[L4] buttons to select a note, and use the Value

[-] [+] buttons to switch the setting on/o.

MEMO

You can save the edited settings in a User Program.

&

“Saving Settings as a User Program” (Owner’s Manual: p.

46)

Saving an edited scale tuning in Scale Memory

A scale tuning that you’ve edited can be saved in a user program or
in Scale Memory 1–3. To recall a scale tuning that you’ve saved, press
a Scale Memory button (to make the button light).

1. Tune the notes to your liking (see p. 17).

2. Press and hold the Scale Memory button ([ I ]–[III]) that

corresponds to the memory where you wish to save
your tuning settings.

3. Wait until all three MEMORY indicators briey light,

then release the button you pressed.

If necessary, you can now select another, Scale memory by briey
pressing the MEMORY button assigned to the settings you wish to
use.
To return to the tuning you were using before selecting a memory,
press the MEMORY button in question again so that its indicator goes
dark, and/or switch o all USER SCALE buttons whose indicators
light.
In the second case, the MEMORY indicator of the last memory
you selected starts ashing to signal that the current USER SCALE
settings no longer correspond to the ones of the last memory you
select. I.e. that memory is still selected, but has since been modied
(“edited”).

MEMO

If you press the [Equal] button (to make the button light), the
scale is set to equal temperament. If you press it again (to make
the button go dark), the scale returns to the previous state.

NOTE

See also “Scale Tune Switch” on p. 17 for deciding which
sections should be aected by the Scale Tune settings.

Pad Setting Parameters

Playing the Pads

When the [Scale Tune/Pad] button is unlit, the keyboard buttons
perform the Pad function.

18

You can use the Pad function to do the following two things.

Play Phrases

Phrases are sequence data for a single part such as guitar strumming
or a shaker.
Phrases are tempo-synchronized with the Style or SMF, and also
support chord detection.

* Phrases will not synchronize with WAV or MP3 songs.

User Program Edit Parameters

Play Tones

You can play a specic note number (keyboard location) of a tone.
This is a convenient way to play sound eects or drum sounds.

Playing the Pads

1. Press any one of the Pad [1]–[6] buttons.

A sound or phrase is heard according to the settings of Pad Setting 1.

&

“Editing the Pad Settings” (p. 19)

MEMO

You can play up to six pads simultaneously.

Stopping the Pad Sound

1. Press the Pad [Stop] button to stop all sound.

If multiple pads are sounding, pressing one of the sounding pad
buttons stops the sound of only that pad button.
If you press a pad button while a tone is sounding, the tone begins
sounding again.

Pad Settings

Viewing the Pad Settings

1. With the [Scale Tune/Pad] button unlit, press the View

button.

The Pad Assign View screen appears.
In this screen you can view the phrases or tones that are assigned to
each pad.

Editing the Pad Settings

1. With the [Scale Tune/Pad] button unlit, press [Setting]

button.

The Pad Setting screen for the selected pad appears.
If you want to switch the Pad number, select “Pad number” with
direct button, then use the Value [-] [+] buttons.

MEMO

You can also access this via [Menu] 0 “User Program Edit”

0

“Pad Setting.” You can also access from “Pad Assign View”

screen.

2. Use the direct buttons to select Pad Type.

3. Use the Value [-] [+] buttons to edit the Pad Type.

Pad Type Explanation

O No assign
Phrase A phrase is assigned to Pad
Tone A tone is assigned to Pad

MEMO

5 The setting items dier depending on the Pad Type.
5 If you specify O, pressing that pad does not produce sound.

4. Use the direct buttons to make other settings.

The following items are available for each Pad Type.

Phrase

Parameter Value Explanation

Phrase Phrase Name Select a Phrase.
Volume 0–127 Volume of the phrase.
Reverb Send 0–127 Adjusts the reverb send amount.
Chorus Send 0–127 Adjusts the chorus send amount.

Parameter Value Explanation

MFX O, Mfx, A, B

Loop O, On

Sync Switch O, On

Sync Start O, On

Selecting a Phrase

If you select the Phrase parameter, the Phrase List screen appears.
Use the direct buttons to select a phrase.

MEMO

You can switch Sync Start setting On/O, when you hold down
the Pad [Sync Start] button and press the Pad [1]–[6] button.

* Valid only when the Pad Type is set to Phrase.

Select the routing to Eect

Mfx: Eect used on Keyboard Parts
A or B: Eect used on Accomp Parts

If this is On, the phrase continues playing
repeatedly.
If this is On, the phrase starts at the begin­ning of measure divisions in the Arranger
or SMF.
If this parameter set ON, Style and SMF
playback start then also begins to ring
Phrase at the same time.
While Style and SMF stop, Pads what this
param set ON is blinking.

Tone

Parameter Value Explanation

Tone

Note 0 (C-)–127 (G9) Note number
Velocity 1–127 Velocity
Volume 0–127 Tone volume
Reverb Send 0–127 Adjusts the reverb send amount.
Chorus Send 0–127 Adjusts the chorus send amount.

MFX O, Mfx, A, B

Hold On, O

MEMO

In the case of a tone, you can’t specify Loop or Sync.

Selecting a Tone

If the Pad Type is set to Tone, the Tone List screen appears in the right
display.
Use the direct buttons of the right display to select a Tone.
You can also select a user tone or user drum kit.
However you might not hear any sound if the sample has been
deleted or if the user tone number has changed.

Tone Num,
Name

Tone number, name

Select the routing to Eect

Mfx: Eect used on Keyboard Parts
A or B: Eect used on Acomp Parts

Holds the sound.

MEMO

A sample that is set to Loop On can be played
continuously (Loop setting: p. 19). A short audio
phrase or a drum pattern can be imported as a
sample, and then assigned to a tone so that you
can play it from the pads.

5. When you have nished making settings, press the

[Exit] button several times to return to the previous

screen.

Saving the Pad Settings

Pad settings are saved in a user program or in a One Touch memory.

&

“Saving Settings as a User Program” (Owner’s Manual: p. 46)

&

“Creating Your Own One Touch Memories (One Touch

Settings)” (Owner’s Manual: p. 26)

Normally, when the Write operation is executed, it will be saved as a
User Program parameters.

NOTE

If one of the One Touch settings is selected (one of the One Touch

[1]–[4] buttons lit), writing a user program will save the One

Touch settings to the user program (the Pad settings are also
included).

19

User Program Edit Parameters

If you want to save it as a One Touch memory parameters, execute
the save operation in the following procedure.

1. Call the One Touch you want to change the Pad setting

by One Touch [1]–[4] button.

2. Change the Pad Setting.

3. When nished making changes, enter the One Touch

Setting screen.

&

“Editing and Saving the One Touch Settings of a Style”

(Owner’s Manual: p. 26)

Edit mark is attached to the One Touch that is currently selected.

4. Press the [Option] button.

5. Use the direct buttons to select “Save Style.”

&

“Editing and Saving the One Touch Settings of a Style”

(Owner’s Manual: p. 26) 0 “Step 7” (Owner’s Manual: p. 27)

Note

5 If you want to save the Pad setting in One Touch, rst call the One

Touch you want to change. If you recall a dierent One Touch
memory while editing a One Touch memory, the state of your
editing is lost.

5 If a phrase or tone is assigned in the pad settings, the UPG or One

Touch remembers only the link to that phrase or le.
This means that if the link-destination le cannot be found, for
example because you renamed, deleted, or moved the user
phrase, or disconnected the external storage, no sound is heard.

Creating a Phrase to Play from a Pad (Phrase Recording)

You can create your own original phrases.
To create an original phrase, use the Phrase Recording function.
Here’s how to use the Phrase Recording function.

1. Press the Setting button.

The Pad Setting screen appears.
Select the Pad (Pad Number) to which you want to assign the
recorded phrase.
If Pad Type is not set to “Phrase,” select “Phrase.”

2. Press the [Rec] button.

Phrase Recording Standby screen appears.
If you decide to cancel, press the [Rec] button once again.

3. Use the direct buttons to make settings.

Parameter Value Explanation

Phrase Type

Rec Mode

Tempo 20–250

Octave –4–+4

Key

Tone Tone Name Tone name

Time Signature 1/16, 1/4–4/4...

Measure
Length

Count In

Drum, Bass,
Accomp

New New recording
Mix Mix recording

C, C#, D, Eb, E,
F, F#, G, Ab, A,
Bb, B

O, 1–16

O, 1Meas,
2Meas, Wait
Note

Species the type of phrase that will be
recorded. In the case of Drum, you can’t
select the “Key” parameter.

Species the tempo at which the phrase is
recorded.
Species the octave of the recorded part,
shifting it to the region in which you want
to perform.
Sets the KEY in which the phrase is per­formed while recording. The key of Drum
Kit parts cannot be set.

Sets the time signature. (selectable only if
Rec Mode is set to New)
Species the number of measures in the
phrase.
If this is O, the measure length is set
automatically according to the length that
you record, up to 16 measures.
Species how long the count-in should be
before recording starts.

Wait Note: Recording starts as soon as you

play a note on the keyboard. (There will be
no count-in.)

Parameter Value Explanation

O, 1/4, 1/8,

Input Quantize

Selecting a Tone

When you select a tone, the Tone List screen of the part selected for
the pad is shown in the right display.
Use the Tone [0]–[9] buttons and the direct buttons of the right
display to select a tone.

1/8T, 1/16,
1/16T, 1/32,
1/32T, 1/64

Corrects minor timing problems.
It shifts the notes whose timing is not
exactly right to the nearest “correct” unit.
Always select a resolution value that is ne
enough to accept all note values you play.

4. Press the [Start/Stop] button to start recording.

5. Perform a phrase.

6. Press the [Start/Stop] button once again to stop

recording.

The phrase save screen appears.

MEMO

If Measure Length is specied, recording stops automatically at
the measure length that you specied.
If you use Mix recording, loop recording occurs.

7. Use the [R1] (Int/Ext) button to switch the copy-

destination between Internal Storage and External
Storage.

MEMO

The Phrase le is placed in the “My Phrases” folder. If this folder
does not exist, it is created automatically. The “My Phrases”
folder exists in both internal storage and external storage.

8. Press the [Enter] button.

Assign a name.

&

For details on assigning a name, refer to “Assigning Names”

(Owner’s Manual: p. 16).

If you decide to cancel, press the [Exit] button.

9. Press the [F5] (Exec) button.

The phrase is saved.

MEMO

If there is already a le with the same name as the name you
entered, a screen asks you to conrm the overwrite.
If you want to save, select “YES” to replace it with the le you
renamed.
If you decide to rename the le, select “NO” and return to the
page where you can rename the le.

NOTE

The phrase does not play if the Arranger Switch is O, nor if
Arranger Hold is O.

Assignable Setting Parameters

This parameter can be selected using [MENU] 0 “User Program

Edit” 0 “Assignable Setting.”

Here you can specify the parameters that are assigned to the
assignable switches and the control pedal.

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User Program Edit Parameters

Pedal Switch and Pedal Control

You can connect two types of Pedal Switch to the E-A7’s CONTROL
jack (Not Continuous or Continuous).
The “Not Continuous” pedal (e. g. DP-2) has only two states: O and
On.
The “Continuous” pedal (e. g. DP-10) has more states between On/
o.
The E-A7 recognizes the type of pedal switch you connect to the
CONTROL jack:

Pedal Switch Jack
Type

The function that you can assign changes depending on the pedal
you connect.
If a Not Continuous pedal is connected, the parameter specied by

“CtrlPedalSW” is enabled. If a Continuous pedal is connected, the

parameter specied by “CtrlPedalCont” is enabled.

Parameter Value Explanation

AsgnableSW 1
AsgnableSW 2
AsgnableSW 3
AsgnableSW 4
AsgnableSW 5
AsgnableSW 6
AsgnableSW 7
CtrlPedalSW
(*): CtrlPedalSW only

How E-A7 recognizes the pedal switch

Mono Type: Not Continuous

Stereo Type: Continuous

O O

Start/Stop

Intro 1–4

Ending 1–4

Variation 1–4

Bass Inv.

Arr. Hold

Arr. ChordO

FillInHalfBar

Break Mute Turns the [Break] button on/o.

Starts and stops style or song play­back. Same function as the [START/

STOP] button.

Same functions as the [INTRO],

[ENDING], [VARIATION1], [VARIA­TION2], [VARIATION3], [VARIA­TION4], [BASS INV] buttons.

Allows you to switch the Arranger
Hold function on and o. See page

15.
Allows you to switch the Arranger’s
chord recognition o, in which case
only the drum/percussion part is
played.
This is linked with the Arr Switch on/
o setting.
Allows you to switch the “Fill In

Half Bar” function on and o. See

page 15.

Parameter Value Explanation

This function allows you to have the
E-A7 start on the rst beat of the cur­rently selected Style pattern when
you press the assigned switch.
Use it when you are accompanying
a singer or soloist whose timing is a
little shaky and suddenly notice that
the playback lags one or two beats
behind the singer/soloist.

Allows you to assign the selected
Scale Tune (see p. 17) setting to the
three Upper parts.
Allows you to assign the selected
Scale Tune (see p. 17) setting to the
Lower part.
Allows you to switch o the UPPER 1
part and activate the UPPER 2 part–
and vice versa.

NOTE

If neither [UPPER1] or [UPPER2]
buttons are on when you rst press
the Assign Switch button, one of
them is activated.
Allows you to select the next or
previous User Program.
Pressing the switch activates the

“Portamento Time” setting. When

the switch is released, the “Porta-

mento Time” setting is not used.

To hear this eect, you need to set a

“Portamento Time” value (p. 13).

The assigned footswitch can be used
as a Soft, Sostenuto or Sustain (Hold
pedal).
The switch is assigned to the “Lower

Hold” function (see p. 17).

Same function as the [TRACK MUTE]
button.
If an MP3 or WAV le is playing, this
turns Center Cancel on/o.
The switch can be used to activate a
crossfade between two les.
To make this work, select a dierent
song while the current song is being
played back and press the switch.
The E-A7 creates a brief blend
between the current and the next
song. (This function is only available
between two audio songs.)
Fading in means that the volume of
both the style and Keyboard parts
gradually increases, giving the im­pression that you have been playing
for a long time before what you play
becomes audible. The volume is
automatically set to zero and then
gradually increased to the value
specied with the [VOLUME] knob.
To change the Fade In time duration
see “Fade In/Out Setting” (p. 8)
This function gradually decreases
the volume until it reaches zero. At
that time, song or style playback
stops automatically.
Allows you to control the “Switch”
parameter of the “Melody Intelli-

gent Parameters” (p. 16)

Allows you to switch the MFX for the
keyboard parts on and o.
Allows you to activate the Arranger’s

“Tempo Change Accel/Ritard, CPT,
Fill Rit” (p. 15).

Allows you to activate the Arranger’s

“Tempo Change Accel/Ritard, CPT,
Fill Rit” (p. 15).

Allows you to select the slow or fast
speed of the Rotary eect.

AsgnableSW 1
AsgnableSW 2
AsgnableSW 3
AsgnableSW 4
AsgnableSW 5
AsgnableSW 6
AsgnableSW 7
CtrlPedalSW
(*): CtrlPedalSW only

Reset/Start

Split Turns the [Split] button on/o.

Scale Upper

Scale Lower

Change Upper

UPG Up
UPG Down

Portamento

Mono/Poly Switches between mono/poly.
Hold (*)
Soft (*)
Sostenuto (*)

Lower Hold

Track Mute

AudioXfade

Fade In

Fade Out

MelodyIntelli

Mfx Switch

Arr. RitTempo

Arr. AccTempo

RotSlow/Fast

21