Roland Fantom G8 User Manual

WARNING: To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture.

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

ATTENTION: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK,

DO NOT REMOVE COVER (OR BACK).

NO USER-SERVICEABLE PARTS INSIDE.

REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.

The lightning flash with arrowhead symbol, within an
equilateral triangle, is intended to alert the user to the
presence of uninsulated “dangerous voltage” within the
product’s enclosure that may be of sufficient magnitude to
constitute a risk of electric shock to persons.

The exclamation point within an equilateral triangle is
intended to alert the user to the presence of important
operating and maintenance (servicing) instructions in the
literature accompanying the product.

INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS.

IMPORTANT SAFETY INSTRUCTIONS

SAVE THESE INSTRUCTIONS

WARNING - When using electric products, basic precautions should always be followed, including the following:

1. Read these instructions.

2. Keep these instructions.

3. Heed all warnings.

4. Follow all instructions.

5. Do not use this apparatus near water.

6. Clean only with a dry cloth.

7. Do not block any of the ventilation openings.
Install in accordance with the manufacturers instructions.

8. Do not install near any heat sources such as
radiators, heat registers, stoves, or other apparatus
(including amplifiers) that produce heat.

9. Do not defeat the safety purpose of the polarized
or grounding-type plug. A polarized plug has two blades
with one wider than the other. A grounding type plug has
two blades and a third grounding prong. The wide blade or
the third prong are provided for your safety. If the provided
plug does not fit into your outlet, consult an electrician for
replacement of the obsolete outlet.

10. Protect the power cord from being walked on or
pinched particularly at plugs, convenience receptacles, and
the point where they exit from the apparatus.

11. Only use attachments/accessories specified by
the manufacturer.

12. Use only with the cart, stand,
tripod, bracket, or table specified by the
manufacturer, or sold with the apparatus.
When a cart is used, use caution when
moving the cart/apparatus combination to
avoid injury from tip-over.

13. Unplug this apparatus during lightning storms or
when unused for long periods of time.

14. Refer all servicing to qualified service personnel.
Servicing is required when the apparatus has been
damaged in any way, such as power-supply cord or plug is
damaged, liquid has been spilled or objects have fallen into
the apparatus, the apparatus has been exposed to rain or
moisture, does not operate normally, or has been dropped.

For the U.K.

WARNING:
IMPORTANT:

As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying

the terminals in your plug, proceed as follows:

The wire which is coloured GREEN-AND-YELLOW must be connected to the terminal in the plug which is marked by the

letter E or by the safety earth symbol or coloured GREEN or GREEN-AND-YELLOW.

The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.

THIS APPARATUS MUST BE EARTHED
THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.
GREEN-AND-YELLOW: EARTH, BLUE: NEUTRAL, BROWN: LIVE

Fantom-G6/G7/G8 Owner’s Manual

201b

Before using this unit, carefully read the sections entitled: “IMPORTANT SAFETY INSTRUCTIONS” (p. 2), “USING THE UNIT
SAFELY” (p. 4), and “IMPORTANT NOTES” (p. 7). 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, 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-G6, the Fantom-G7 and the Fantom-G8. The manual uses the term
“Fantom-G” to indicate all these three models.

985

The explanations in this manual include illustrations that depict what should typically be shown by the display. Note, however,
that your unit may incorporate a newer, enhanced version of the system (e.g., includes newer sounds), so what you actually see in
the display may not always match what appears in the manual.

962a

In the interest of product improvement, the specifications and/or appearance of this unit are subject to change without prior
notice.

202

Copyright © 2008 ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND
CORPORATION.

3

USING THE UNIT SAFELY

Used for instructions intended to alert
the user to the risk of death or severe
injury should the unit be used
improperly.

Used for instructions intended to alert
the user to the risk of injury or material
damage should the unit be used
improperly.

* 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.

001

Before using this unit, make sure to read the

•
instructions below, and the Owner’s Manual.

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

001-50

Connect mains plug of this model to a mains

•
socket outlet with a protective earthing
connection.

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

002b

•

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. 308, p. 312.)

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

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.

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

004

•

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-generating 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.

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

005

This unit should be used only with a stand that is

•
recommended by Roland.

The symbol alerts the user to important instructions
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.

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.

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 power­cord plug must be unplugged from the outlet.

006

When using the unit with a stand recommended

•
by Roland, the stand must be carefully placed so it
is level and sure to remain stable. If not using a
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.

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

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

Use only the attached power-supply cord. Also,

•
the supplied power cord must not be used with
any other device.

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

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!

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

010

•

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.

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

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.

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

4

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

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:

• 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.

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

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.

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

014

• Protect the unit from strong impact.
(Do not drop it!)

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

015

• Do not force the unit’s power-supply cord to
share an outlet with an unreasonable number of
other devices. Be especially careful when using
extension cords—the total power used by all
devices you have connected to the extension
cord’s outlet must never exceed the power rating
(watts/amperes) for the extension cord. Excessive
loads can cause the insulation on the cord to heat
up and eventually melt through.

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

016

• Before using the unit in a foreign country, consult
with your retailer, the nearest Roland Service
Center, or an authorized Roland distributor, as
listed on the “Information” page.

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

022a

Always turn the unit off and unplug the power

•
cord before attempting installation of the circuit
board (ARX series; p. 308, DIMM; p. 312).

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

023

•

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.

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

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.

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

101a

•

The unit should be located so that its location or
position does not interfere with its proper venti­lation.

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

101c

•

This unit for use only with Roland stand KS-18Z
(Fantom-G6/G7/G8), KS-G8 (Fantom-G8). Use
with other stands (or carts) is capable of resulting
in instability causing possible injury.

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

102b

Always grasp only the plug on the power-supply

•
cord when plugging into, or unplugging from, an
outlet or this unit.

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

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.

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

104

•

Try to prevent cords and cables from becoming
entangled. Also, all cords and cables should be
placed so they are out of the reach of children.

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

106

Never climb on top of, nor place heavy objects on

•
the unit.

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

107b

• Never handle the power cord or its plugs with
wet hands when plugging into, or unplugging
from, an outlet or this unit.

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

108d

•

If you need to move the Fantom-G8, take note of
the precautions listed below. At least two persons
are required to safely lift and move the unit. It
should be handled carefully, all the while keeping
it level. Make sure to have a firm grip, to protect
yourself from injury and the instrument from
damage.

• Disconnect the power cord.

• Disconnect all cords coming from external devices.

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

109a

• Before cleaning the unit, turn off the power and
unplug the power cord from the outlet (p. 25).

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

110a

•

Whenever you suspect the possibility of lightning
in your area, pull the plug on the power cord out
of the outlet.

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

115a

Install only the specified circuit board(s) (ARX

•
Series, DIMM). Remove only the specified screws
(p. 308, p. 312).

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

5

118a

•

Should you remove screws from the bottom cover
of the unit (p. 308, p. 312), keep them in a safe
place out of children’s reach, so there is no chance
of them being swallowed accidentally.

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

120

•

Always turn the phantom power off when
connecting any device other than condenser
microphones that require phantom power. You
risk causing damage if you mistakenly supply
phantom power to dynamic microphones, audio
playback devices, or other devices that don’t
require such power. Be sure to check the specifica­tions of any microphone you intend to use by
referring to the manual that came with it.

(This instrument’s phantom power: 48V DC, 10 mA Max)

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

6

IMPORTANT NOTES

Power Supply

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.

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.

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 disconnected 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.

Placement

351

• Using the unit near power amplifiers (or other equipment
containing large power transformers) may induce hum.
To alleviate the problem, change the orientation of this
unit; or move it farther away from the source of inter­ference.

352a

• This device may interfere with radio and television
reception. Do not use this device in the vicinity of such
receivers.

352b

• Noise may be produced if wireless communications
devices, such as cell phones, are operated in the vicinity of
this unit. Such noise could occur when receiving or initi­ating a call, or while conversing. Should you experience
such problems, you should relocate such wireless devices
so they are at a greater distance from this unit, or switch
them off.

354a

• Do not expose the unit to direct sunlight, place it near
devices that radiate heat, leave it inside an enclosed
vehicle, or otherwise subject it to temperature extremes.
Excessive heat can deform or discolor the unit.

355b

• When 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.

360

• Depending on the material and temperature of the surface
on which you place the unit, its rubber feet may discolor
or mar the surface.
You can place a piece of felt or cloth under the rubber feet
to prevent this from happening. If you do so, please make
sure that the unit will not slip or move accidentally.

Maintenance

401a

• For everyday cleaning wipe the unit with a soft, dry cloth
or one that has been slightly dampened with water. To
remove stubborn dirt, use a cloth impregnated with a
mild, non-abrasive detergent. Afterwards, be sure to wipe
the unit thoroughly with a soft, dry cloth.

402

• Never use benzine, thinners, alcohol or solvents of any
kind, to avoid the possibility of discoloration and/or
deformation.

Repairs and Data

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 USB
memory, 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.

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 USB memory.

552

• Unfortunately, it may be impossible to restore the contents
of data that was stored on a USB memory or unit’s
memory once it has been lost. Roland Corporation
assumes no liability concerning such loss of data.

553

• Use a reasonable amount of care when using the unit’s
buttons, sliders, or other controls; and when using its jacks
and connectors. Rough handling can lead to malfunctions.

554

• Never strike or apply strong pressure to the display.

555

• A small amount of noise may be heard from the display
during normal operation.

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.

7

IMPORTANT NOTES

558a

• To avoid disturbing your neighbors, try to keep the unit’s
volume at reasonable levels. You may prefer to use
headphones, so you do not need to be concerned about
those around you (especially when it is late at night).

559a

• When you need to transport the unit, package it in the box
(including padding) that it came in, if possible. Otherwise,
you will need to use equivalent packaging materials.

561

• Use only the specified expression pedal (EV-5; sold
separately). By connecting any other expression pedals,
you risk causing malfunction and/or damage to the unit.

562

• Some connection cables contain resistors. Do not use
cables that incorporate resistors for connecting to this unit.
The use of such cables can cause the sound level to be
extremely low, or impossible to hear. For information on
cable specifications, contact the manufacturer of the cable.

566b

• 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 (p.

291).

• If you switch off the power to an external device that is
connected to the DIGITAL AUDIO IN jack or disconnect
the cable, noise may subsequently be heard in the input
from DIGITAL AUDIO IN. If this occurs, correctly
reconnect the external device, or turn off the Fantom-G’s
[MIX IN] switch.

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.

Copyright

851

• Recording, duplication, distribution, sale, lease, perfor­mance, or broadcast of copyrighted material (musical
works, visual works, broadcasts, live performances, etc.)
belonging to a third party in part or in whole without the
permission of the copyright owner is forbidden by law.

852a

• This product can be used to record or duplicate audio or
visual material without being limited by certain techno­logical copy-protection measures. This is due to the fact
that this product is intended to be used for the purpose of
producing original music or video material, and is
therefore designed so that material that does not infringe
copyrights belonging to others (for example, your own
original works) can be recorded or duplicated freely.

853

• 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.

Before Using Cards

Using USB memory

704

• Carefully insert the USB memory all the way in—until it is
firmly in place.

705

• Never touch the terminals of the USB memory. Also,
avoid getting the terminals dirty.

708

• USB memorys are constructed using precision compo­nents; 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.

• 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.

* MMP (Moore Microprocessor Portfolio) refers to a patent

portfolio concerned with microprocessor architecture,
which was developed by Technology Properties Limited
(TPL). Roland has licensed this technology from the TPL
Group.

add

MatrixQuest™ 2008 TEPCO UQUEST,

*

LTD. All rights reserved.
The Fantom-G’s USB functionality uses
MatrixQuest middleware technology
from TEPCO UQUEST, LTD.

add

* Harpsichord samples courtesy of the Hamamatsu

Museum of Musical Instruments.

204

* Microsoft and Windows are registered trademarks of

Microsoft Corporation.

206j

* Windows® is known officially as: “Microsoft® Windows®

operating system.”

207

* Apple and Macintosh are registered trademarks of Apple

Inc.

209

* Mac OS is a trademark of Apple Inc.

8

Contents

USING THE UNIT SAFELY......................................................................................... 4

IMPORTANT NOTES ..................................................................................................7

Contents......................................................................................................................9

01: Introduction (Overview and Basic Operation) ... 19

Main Features........................................................................................................... 20

Panel Descriptions................................................................................................... 22

Front Panel............................................................................................................................................................................. 22

Rear Panel ..............................................................................................................................................................................24

Making Connections................................................................................................ 25

Connecting an Amp and Speaker System......................................................................................................................... 25

Connecting a USB Mouse (sold separately)...................................................................................................................... 26

Placing the Fantom-G on a Stand....................................................................................................................................... 27

Turning On the Power..............................................................................................28

Turning Off the Power......................................................................................................................................................... 28

Listening to the Demo Songs .................................................................................29

Song Automatically Loaded at Power-on (When Loading a Project)............................................................. 29

Various Performance Features............................................................................... 30

Velocity/Aftertouch............................................................................................................................................... 30

Pitch Bend/Modulation Lever .............................................................................................................................30

Octave Shift (OCT) .................................................................................................................................................30

Transpose................................................................................................................................................................. 30

Hold Pedal............................................................................................................................................................... 31

Control Pedal...........................................................................................................................................................31

Overview of the Fantom-G ......................................................................................32

How the Fantom-G is Organized .......................................................................................................................................32

Basic Structure......................................................................................................................................................... 32

Different Units of Sound .......................................................................................................................................32

Single / Live / Studio Modes...............................................................................................................................33

About Polyphony ...................................................................................................................................................34

About Memory...................................................................................................................................................................... 35

About the Internal Effects.................................................................................................................................................... 36

Types of Effects....................................................................................................................................................... 36

About the Sequencer ............................................................................................................................................................36

Audio and MIDI .....................................................................................................................................................36

What is a Song?....................................................................................................................................................... 36

What is a Track?...................................................................................................................................................... 37

Songs and the State of the Sound Generator ......................................................................................................37

SMF (Standard MIDI File .MID)........................................................................................................................... 37

About the Sampling Section................................................................................................................................................ 38

Basic Operation of the Fantom-G...........................................................................39

Switching the Sound Generator Mode ..............................................................................................................................39

How the Function Buttons Work .......................................................................................................................................40

Moving the Cursor ...............................................................................................................................................................40

Editing a Value...................................................................................................................................................................... 41

Assigning a Name ................................................................................................................................................................42

Basic Pad Operations............................................................................................................................................................43

Switching the Pad Mode........................................................................................................................................ 43

Viewing the Pad Settings....................................................................................................................................... 43

Using the Pads as Numeric Keys .........................................................................................................................43

Shortcut Menu....................................................................................................................................................................... 44

9

Contents

02: Sound Generator, Section 1 (Playing Sounds) ...45

Playing in Single Mode............................................................................................ 46

About the Single Play Screen .............................................................................................................................................. 46

Displaying Single Play Screen ..............................................................................................................................46

Selecting a Patch ...................................................................................................................................................................47

Selecting Patches by Category (Patch Finder)....................................................................................................48

Selecting Patches from the List............................................................................................................................. 49

Auditioning Patches (Phrase Preview)................................................................................................................ 49

Selecting the Tones That Will Sound (Tone On/Off)......................................................................................................50

Playing Single Notes (Monophonic).................................................................................................................................. 50

Part Settings (Part View)...................................................................................................................................................... 51

Selecting the Parameter Controlled by the Realtime Controllers or D Beam Controller (Control Setting) ............51

Controller Reset ....................................................................................................................................................................51

Playing Percussion Instruments (Rhythm Set)................................................................................................................. 52

Selecting a Rhythm Set ..........................................................................................................................................52

Playing a Sample Set ............................................................................................................................................................53

Selecting a Sample Set............................................................................................................................................ 53

Creating a List of Frequently Used Sounds (Favorite).........................................54

Registering a Sound (Regist)................................................................................................................................. 54

Recalling a Sound ...................................................................................................................................................54

Specifying the Volume for Each Step (Favorite Level) .....................................................................................55

Changing the Step in Which You Registered a Sound...................................................................................... 55

Removing a Sound You Registered (Remove)................................................................................................... 55

Removing All Sound Registrations from a Bank (Remove Bank)...................................................................55

Registering a Song (Set Song) ...............................................................................................................................56

Importing a Text File (Import Text)..................................................................................................................... 56

Removing a Text File (Remove Text)................................................................................................................... 57

Switching the Display Font (Font) .......................................................................................................................57

Playing in Live Mode................................................................................................58

Displaying Live Play (Layer/Split) Screen ....................................................................................................................... 58

Functions in the Live Play (Layer/Split) Screen ..............................................................................................................59

Selecting a Live Set ...............................................................................................................................................................60

Selecting Live Sets from the List........................................................................................................................... 60

Using the Live Play (Layer/Split) Screen..........................................................................................................................61

Selecting a Part........................................................................................................................................................61

Selecting the Part that You want to Sound (Keyboard Switch)....................................................................... 61

Selecting the Part Played by the Pads.................................................................................................................. 61

Selecting the Sound for a Part............................................................................................................................... 61

Combining and Playing Sounds Together (Layer)............................................................................................62

Playing Different Sounds in Different Areas of the Keyboard (Split) ............................................................62

Using the Live Set Part Mixer Screen................................................................................................................................. 63

Editing the Part Settings ........................................................................................................................................ 63

Using the Layer Edit Screen................................................................................................................................................ 64

Selecting the Sound for a Part............................................................................................................................... 64

Editing the Part Settings ........................................................................................................................................ 64

Performing with the Arpeggio ...........................................................................................................................................65

Performing with the Realtime Controllers and D Beam Controller.............................................................................. 65

Setting Effects........................................................................................................................................................................ 65

Adjusting the Master Level................................................................................................................................................. 65

Making Detailed Settings for a Live Set ............................................................................................................................65

Playing in Studio Mode............................................................................................66

Displaying Studio Play Screen............................................................................................................................................ 66

Functions in the Studio Play Screen................................................................................................................................... 67

Switching the Displayed Part Group................................................................................................................... 67

Selecting a Studio Set ...........................................................................................................................................................67

Selecting Studio Sets from the List....................................................................................................................... 68

Using the Studio Play Screen .............................................................................................................................................. 68

Selecting a Part........................................................................................................................................................68

Selecting the Sound for a Part............................................................................................................................... 68

Selecting the Part that You Want to Sound (Keyboard Switch) ......................................................................69

Editing the Part Settings ........................................................................................................................................ 69

Performing with the Arpeggio ...........................................................................................................................................70

Performing with the Realtime Controllers and D Beam Controller.............................................................................. 70

Setting Effects........................................................................................................................................................................ 70

Adjusting the Master Level................................................................................................................................................. 70

Making Detailed Settings for a Studio Set ........................................................................................................................70

10

Contents

03: Sound Generator, Section 2 (Controlling Sounds)... 71

Modifying the Sound in Real Time .........................................................................72

Waving Your Hand Over the D Beam to Modify the Sound (D Beam Controller) ....................................................72

Making Settings for the D Beam Controller .......................................................................................................73

Using Knobs, Sliders or S1/S2 Buttons to Modify the Sound (Realtime Controller).................................................75

Changing Realtime Controller Settings............................................................................................................... 76

Using a Pedal to Modify the Sound (Control Pedal)....................................................................................................... 77

Making Control Pedal Settings............................................................................................................................. 77

Playing Arpeggios....................................................................................................78

About Arpeggio ....................................................................................................................................................................78

Playing Arpeggios ................................................................................................................................................................78

Turning Arpeggio On and Off.............................................................................................................................. 78

Determining the Tempo for Arpeggio Performances .......................................................................................78

Holding an Arpeggio............................................................................................................................................. 78

Arpeggio Settings .................................................................................................................................................................78

Importing SMF or Phrases to an Arpeggio Style ............................................................................................... 79

Saving the Arpeggio You Have Created (Write) .............................................................................................................80

Using the Chord Memory Function (Chord Memory) ...........................................81

About the Chord Memory Function .................................................................................................................................. 81

Performing with the Chord Memory Function................................................................................................................ 81

Turning Chord Memory Function On and Off ..................................................................................................81

Selecting Chord Forms........................................................................................................................................... 81

Sounding a Chord in the Order of Its Notes (Rolled Chord)........................................................................... 82

Creating Your Own Chord Forms...................................................................................................................................... 82

Saving the Chord Forms You Have Created ....................................................................................................................82

04: Sound Generator, Section 3 (Creating Sounds).. 83

Creating a Patch.......................................................................................................84

How to Make Patch Settings............................................................................................................................................... 84

Editing a Patch Quickly (Patch Zoom Edit)........................................................................................................ 84

Editing All Parameters of a Patch (Patch Pro Edit) ...........................................................................................86

Initializing Patch/Tone Settings (Patch Initialize/Tone Initialize)................................................................. 87

Copying Patch (Tone) Settings (Patch Tone Copy) ...........................................................................................87

Cautions When Selecting a Waveform................................................................................................................88

Saving Patches You’ve Created (Write).............................................................................................................................88

Auditioning the Save-Destination Patch (Compare)......................................................................................... 89

Functions of Patch Parameters............................................................................................................................................89

Settings Common to the Entire Patch (General) ................................................................................................89

Modifying Waveforms (Wave).............................................................................................................................91

Changing How a Tone Is Sounded (TMT).......................................................................................................... 92

Modifying Pitch (Pitch/Pitch Env) ...................................................................................................................... 96

Modifying the Brightness of a Sound with a Filter (TVF/TVF Env) ..............................................................98

Adjusting the Volume (TVA/TVA Env)........................................................................................................... 100

Output.................................................................................................................................................................... 102

Modulating Sounds (LFO1/2/Step LFO)......................................................................................................... 102

Apply Portamento or Legato to the Sound (Solo/Porta) ...............................................................................105

Miscellaneous Settings (Misc)............................................................................................................................. 107

Matrix Control Settings (Control 1–4) ...............................................................................................................109

Setting Effects for a Patch (PFX)......................................................................................................................... 111

Creating a Rhythm Set...........................................................................................112

How to Make Rhythm Set Settings ..................................................................................................................................112

Editing a Rhythm Set Quickly (Patch Zoom Edit)........................................................................................... 112

Editing All Parameters (Patch Pro Edit)............................................................................................................ 114

Initializing Rhythm Set/Key Settings (Rhythm Set Initialize/Rhythm Key Initialize) .............................115

Copying Rhythm Tone Settings (Rhythm Tone Copy)................................................................................... 115

Cautions When Selecting a Waveform..............................................................................................................116

Saving Rhythm Sets You’ve Created (Write)..................................................................................................................116

Auditioning the Save-Destination Rhythm Set (Compare)............................................................................ 117

Functions of Rhythm Set Parameters............................................................................................................................... 117

Making Settings Common to the Entire Rhythm Set (General)..................................................................... 117

Modifying Waveforms (Wave)...........................................................................................................................119

Changing How a Rhythm Tone Is Sounded (WMT)....................................................................................... 120

Modifying Pitch (Pitch/Pitch Env) .................................................................................................................... 121

11

Contents

Modifying the Brightness of a Sound with a Filter (TVF/TVF Env) ............................................................122

Adjusting the Volume (TVA/TVA Env)........................................................................................................... 124

Output Settings (Output) ....................................................................................................................................125

Setting Effects for a Rhythm Set (PFX) .............................................................................................................. 125

Creating a Sample Set ........................................................................................... 126

How to make Sample Set settings .................................................................................................................................... 126

Editing a Sample Set Quickly (Patch Zoom Edit)............................................................................................ 126

Editing All Parameters (Patch Pro Edit)............................................................................................................ 127

Initializing Sample Set Settings (Sample Set Initialize)................................................................................... 127

Saving Sample Sets You’ve Created (Write)...................................................................................................................128

Functions of Sample Set Parameters................................................................................................................................129

Making Settings Common to the Entire Sample Set (General)......................................................................129

Modifying Waveforms (Wave)...........................................................................................................................130

Modifying Pitch (Pitch)........................................................................................................................................ 130

Adjusting the Volume (Amp)............................................................................................................................. 131

Output Settings (Output) ....................................................................................................................................131

Setting Effects for a Sample Set (PFX) ...............................................................................................................131

Creating a Live/Studio Set.....................................................................................132

Common Settings (Utility) ................................................................................................................................................132

NAME ....................................................................................................................................................................132

Part Info..................................................................................................................................................................132

Part Settings (Part View).................................................................................................................................................... 133

Level/Pan (When the Part Group is Internal/EXP1/EXP2).......................................................................... 134

Level/Pan (When the Part Group is External)................................................................................................. 135

Key Range..............................................................................................................................................................135

Output/EFX ..........................................................................................................................................................136

Pitch........................................................................................................................................................................ 137

Scale Tune.............................................................................................................................................................. 138

Vibrato.................................................................................................................................................................... 139

Offset ......................................................................................................................................................................139

Mono/Poly/Legato.............................................................................................................................................. 140

Voice Reserve ........................................................................................................................................................ 141

MIDI Rx Filter .......................................................................................................................................................141

Selecting the Parameter Controlled by the Realtime Controllers or D Beam Controller (Control Setting) ..........142

Keyboard Mode ....................................................................................................................................................143

D Beam................................................................................................................................................................... 143

Knob .......................................................................................................................................................................145

Slider....................................................................................................................................................................... 145

Switch S1/S2 .........................................................................................................................................................146

Arpeggio ................................................................................................................................................................146

Chord Memory .....................................................................................................................................................146

Dynamic Pad......................................................................................................................................................... 146

Ctrl Switch ............................................................................................................................................................. 147

Changing the Settings of the Patch Assigned to a Part................................................................................................. 147

Initializing Live/Studio Set Settings (Init)......................................................................................................................148

Saving a Live/Studio Set You’ve Created (Write).........................................................................................................148

Adding Effects........................................................................................................150

Where Effect Settings are Saved ....................................................................................................................................... 150

Turning Effects On and Off...............................................................................................................................................150

Making Effect Settings .......................................................................................................................................................151

Applying Effects in Single Mode...................................................................................................................................... 151

Applying Effects in Live Mode......................................................................................................................................... 151

Specifying How the Sound will be Output (Routing)..................................................................................... 151

Signal Flow Diagram and Parameters...............................................................................................................152

Applying Effects in Studio Mode..................................................................................................................................... 154

Specifying How the Sound Will Be Output (Routing).................................................................................... 154

Signal Flow Diagram and Parameters...............................................................................................................154

Making Patch Multi-Effects Settings (PFX)..................................................................................................................... 157

Making Multi-Effects Settings (MFX1–2) ........................................................................................................................ 158

Making Chorus Settings (Chorus).................................................................................................................................... 159

Making Reverb Settings (Reverb)..................................................................................................................................... 159

Mastering Effect .................................................................................................................................................................. 160

Effects List..............................................................................................................161

MFX/PFX Parameter..........................................................................................................................................................161

Chorus Parameters .............................................................................................................................................................184

Reverb Parameters.............................................................................................................................................................. 185

Input Effect Parameters .....................................................................................................................................................186

12

Contents

05: Pads (Using the Pads)..................................... 187

Using the Pads ....................................................................................................... 188

Common Operations for Pads ..........................................................................................................................................188

Switching the Pad Mode (PAD MODE)............................................................................................................188

Using the Pads as Numeric Keys (NUMERIC) ................................................................................................ 188

Using the Hold Function to Sustain the Sounds (HOLD) ..............................................................................188

Using the Roll Function (ROLL)......................................................................................................................... 189

Switching Banks (BANK) ....................................................................................................................................189

Editing the Pad Settings (PAD SETTING)........................................................................................................ 190

Exchanging Pads (Pad Exchange)...................................................................................................................... 190

1 SAMPLE PAD (Using the Pads to Play Samples).......................................................................................................191

About Samples...................................................................................................................................................... 191

Editing the Pad Settings.......................................................................................................................................191

2 RHYTHM (Using the Pads to Play a Rhythm Set)...................................................................................................... 192

Editing the Pad Settings.......................................................................................................................................192

3 CHORD MEMORY (Using the Pads to Switch Chord Forms) .................................................................................193

Editing the Pad Settings.......................................................................................................................................193

4 ARPEGGIO (Using the Pads to Switch Arpeggio Styles).......................................................................................... 193

Editing the Pad Settings.......................................................................................................................................193

5 RPS (Using the Pads to Play Phrases)........................................................................................................................... 194

Specifying the Tempo for Phrase Playback ......................................................................................................194

Editing the Pad Settings.......................................................................................................................................194

6 RHYTHM PTN (Using the Pads to Play Rhythm Patterns) ......................................................................................196

Specifying the Tempo for Rhythm Pattern Playback...................................................................................... 196

Editing the Pad Settings.......................................................................................................................................196

7 TONE SEL/SW (Using the Pads to Select Tones or Switch Them On/Off) ........................................................... 197

Checking the Pad Status...................................................................................................................................... 197

8 TRACK MUTE (Using the Pads to Mute Tracks)........................................................................................................197

Checking the Pad Status...................................................................................................................................... 197

9 BOOKMARK (Using the Pads to Recall Frequently Used Screens).........................................................................198

Registering a Screen .............................................................................................................................................198

Recalling a Screen................................................................................................................................................. 198

10 MIDI TX SW (Using the Pads to Turn External MIDI Transmit Channels (1–16) On/Off) ...............................198

Checking the Pad Status...................................................................................................................................... 198

11 EFFECT SW (Using the Pads to Switch the Effects) .................................................................................................199

Checking the Pad Status...................................................................................................................................... 199

12 PATCH MFX SW (Using the Pads to Switch Patch Multi-effects) .........................................................................199

Checking the Pad Status...................................................................................................................................... 199

13 PART SELECT (Using the Pads to Select Parts)........................................................................................................200

Checking the Pad Status...................................................................................................................................... 200

14 PART MUTE (Using the Pads to Mute Parts)............................................................................................................ 200

Checking the Pad Status...................................................................................................................................... 200

15 USER GROUP (Using the Pads to Register/Recall User Groups)..........................................................................201

Recalling a User Group Sound ...........................................................................................................................201

Registering a Sound in a User Group................................................................................................................ 201

16 FAVORITE (Using the Pads to Register/Recall Favorite Settings)........................................................................202

Recalling a Favorite Sound (Setting)..................................................................................................................202

Registering a Favorite Sound (Setting).............................................................................................................. 202

13

Contents

06: Sequencer (Creating a Song) ..........................203

Playing Back a Song.............................................................................................. 204

Three Ways to Play Back .....................................................................................................................................204

Playing a Song (Song Play)................................................................................................................................................204

Loading a Song (Song List) .................................................................................................................................204

Playing a Song (Song Play) .................................................................................................................................205

Operations in the Song Play Screen................................................................................................................... 205

Selecting a Sound (Part or Patch) in the Song Screen...................................................................................... 206

Fast-forwarding or Rewinding during Playback............................................................................................. 206

Muting the Playback of a Track (MUTE) ..........................................................................................................206

Accessing the Mixer Screen................................................................................................................................. 207

Changing the Playback Tempo of the Song...................................................................................................... 207

Playing a Song Repeatedly (Loop).....................................................................................................................208

Placing Markers in a Song (Marker) .................................................................................................................. 208

Changing the Track Display Zoom and Display Order (Zoom/Track Order) ...........................................209

Naming a Track (Track Name)........................................................................................................................... 209

Specifying a Track’s Output Destination (Output Assign) ............................................................................210

Deleting a Song File (Song Delete)..................................................................................................................... 210

Song Automatically Loaded at Power-on (When Loading a Project)........................................................... 210

Erasing the Currently-open Song (Song Clear)................................................................................................ 211

Playing a Standard MIDI File (SMF)................................................................................................................................ 212

Copying a Standard MIDI File (SMF) from Your Computer to the Fantom-G........................................... 212

Playing a Standard MIDI File (SMF) (SMF List) .............................................................................................. 212

Importing an SMF into a Phrase (Import Phrase)............................................................................................ 213

Importing an SMF into a Song (Import Song)..................................................................................................213

Playing Phrases (MIDI Phrase).........................................................................................................................................214

Auditioning a Phrase (MIDI Phrase List)..........................................................................................................214

Loading a Phrase (Load)...................................................................................................................................... 214

Deleting a Phrase from the Project (Delete Phrase)......................................................................................... 215

Duplicating a Phrase (Duplicate) .......................................................................................................................215

Saving a Phrase (Save) ......................................................................................................................................... 216

Saving all Phrases (Save All)............................................................................................................................... 216

Recording MIDI.......................................................................................................217

Phrases and Songs ................................................................................................................................................ 217

Two Methods of Recording................................................................................................................................. 217

Undo function .....................................................................................................................................................................217

Recording into a Song ........................................................................................................................................................ 218

Selecting a Sound for Recording ........................................................................................................................218

Erasing the Song/Phrases from the Temporary Area (Song Clear)..............................................................218

Specifying the Time Signature (Beat Track) .....................................................................................................219

Specifying the Tempo ..........................................................................................................................................219

Selecting a MIDI Track and the Recording-start Measure .............................................................................219

Recording into a Phrase..................................................................................................................................................... 220

Selecting a Sound for Recording ........................................................................................................................220

Specifying the Tempo ..........................................................................................................................................220

Selecting the Phrase to Record............................................................................................................................ 221

Recording Your Performance Just as You Play It (Realtime Recording).................................................................... 222

Auto Track Function ............................................................................................................................................222

Basic Procedure for Realtime Recording........................................................................................................... 222

Realtime Rec Standby Parameters .....................................................................................................................223

Selecting the Sequencer Data that will Be Recorded (Recording Select)......................................................224

Erasing Unwanted Data While You Record (Realtime Erase)....................................................................... 225

Auditioning Sounds or Phrases While Recording (Rehearsal Function) .....................................................225

Inputting Data One Step at a Time (Step Recording)....................................................................................................226

Entering Notes and Rests ....................................................................................................................................226

Recording Audio .................................................................................................... 228

Samples and Songs............................................................................................................................................... 228

Recording into a Song ........................................................................................................................................................ 228

Selecting an Audio Track and the Recording-start Measure .........................................................................229

Audio Recording................................................................................................................................................................. 230

Basic Procedure for Audio Recording............................................................................................................... 230

Audio Rec Standby Parameters.......................................................................................................................... 231

14

Contents

Editing Songs......................................................................................................... 232

Three Ways to Edit............................................................................................................................................... 232

Editing a Song (Song Edit) ................................................................................................................................................232

Opening the Song Edit Screen ............................................................................................................................232

Moving a Sample/Phrase (Move)...................................................................................................................... 233

Inserting a Sample/Phrase at a Specified Location (Insert)........................................................................... 233

Deleting a Sample/Phrase from a Track (Delete)............................................................................................234

Copying a Sample/Phrase (Copy).....................................................................................................................234

Editing a Sample/Phrase (Edit) .........................................................................................................................234

Song Utility (Song Util)...................................................................................................................................................... 235

Changing the Track Display Zoom and Display Order (Zoom/Track Order) ...........................................235

Erasing the Currently-open Song (Song Clear)................................................................................................ 235

Clearing a Track (Track Clear)............................................................................................................................ 235

Naming a Track (Track Name)........................................................................................................................... 235

Changing the Tempo during the Song (Tempo Track)...................................................................................235

Changing the Time Signature during the Song (Beat Track) ......................................................................... 236

Track Edit Function ............................................................................................................................................................ 237

Inserting Blank Measures into a Track (Track Edit Insert)............................................................................. 237

Deleting Unwanted Measures from a Track (Track Edit Delete) ..................................................................237

Copying Measures of a Track (Track Edit Copy) ............................................................................................237

Editing a Phrase (Phrase Edit) ..........................................................................................................................................238

Opening the Phrase Edit Screen......................................................................................................................... 238

Playing a Phrase (Play) ........................................................................................................................................ 238

Erasing the Currently-edited Phrase (Clear) .................................................................................................... 239

Saving a Phrase (Save) ......................................................................................................................................... 239

Specifying the Time Signature of a Phrase (Phrase Beat)............................................................................... 239

Phrase Modify Menu.......................................................................................................................................................... 239

Aligning a Phrase’s Timing (Quantize)............................................................................................................. 240

Erasing Unwanted Performance Data (Erase).................................................................................................. 242

Deleting Unwanted Measures (Delete) .............................................................................................................243

Copying Phrases (Copy)...................................................................................................................................... 243

Inserting a Blank Measure (Insert).....................................................................................................................244

Transpose the Key (Transpose) ..........................................................................................................................244

Changing the Velocity (Change Velocity).........................................................................................................245

Changing the MIDI Channel (Change Channel) .............................................................................................246

Modifying the Length of Notes (Change Duration)........................................................................................ 247

Shifting Performance Data Forward and Back (Shift Clock)..........................................................................248

Thinning Out the Sequencer Data (Data Thin) ................................................................................................249

Deleting Blank Measures (Truncate) .................................................................................................................249

Editing Individual Items of Sequencer Data (Microscope) ..........................................................................................250

Editing Sequencer Data (Basic Procedure in the Microscope)....................................................................... 250

Sequencer Data Handled by Phrases................................................................................................................. 251

Viewing Sequencer Data (View) ........................................................................................................................252

Inserting Sequencer Data (Create) .....................................................................................................................252

Erasing Sequencer Data (Erase).......................................................................................................................... 252

Moving Sequencer Data (Move)......................................................................................................................... 253

Copying Sequencer Data (Copy)........................................................................................................................ 253

Saving a Song (Song Save)...................................................................................254

What the Saved Song Data Contains................................................................................................................. 254

What is Saved at the Same Time as the Song ...................................................................................................254

Saving a Song (Save) ..........................................................................................................................................................254

Resampling the Contents of All Tracks to a Single Sample .........................................................................................255

Copying a Resampled Sample to Your Computer to Create a CD or MP3 .................................................255

Save As an SMF File (Save As SMF) ................................................................................................................................256

15

Contents

07: Sampler ......................................................... 257

Sampling................................................................................................................. 258

Switching External Input On/Off ....................................................................................................................................258

Making Input Source Settings (Input Setting)................................................................................................................258

Functions of Input Setting Parameters ............................................................................................................................258

Input Effect Setup Settings ................................................................................................................................................ 259

Sampling Procedure........................................................................................................................................................... 260

Dividing a Sample During Sampling ................................................................................................................262

Sampling Earlier in Time (Skip Back Sampling)............................................................................................................ 262

Editing a Sample .................................................................................................... 263

Selecting a Sample (Sample List)...................................................................................................................................... 263

Selecting a Sample................................................................................................................................................ 263

Loading a Sample (Load) ....................................................................................................................................264

Loading All Samples (Load All).........................................................................................................................264

Unloading a Sample (Unload)............................................................................................................................ 264

Deleting a Sample (Delete)..................................................................................................................................265

Importing an Audio File (WAV/AIFF) from Your Computer ......................................................................265

Displaying Sample Edit Screen (Sample Edit)................................................................................................................266

Magnifying/Shrinking the Waveform Display (Zoom) ................................................................................. 266

Setting the Start/End Points of the Sample .................................................................................................................... 267

Using the Knobs to Edit the Points ....................................................................................................................267

Making Settings for Sample (Sample Parameters).........................................................................................................268

Sample BPM calculation function ....................................................................................................................................269

Removing Unwanted Portions of a Sample (Truncate) ................................................................................................269

Boosting or Limiting the High-frequency Range of the Sample (Emphasis)............................................................. 269

Maximizing the Volume of a Sample (Normalize)........................................................................................................ 270

Amp ...................................................................................................................................................................................... 270

Stretching or Shrinking a Sample (Time Stretch)...........................................................................................................271

Dividing a Sample into Notes (Chop) .............................................................................................................................272

Saving a Sample (Save)...................................................................................................................................................... 274

Saving all samples (Save All)............................................................................................................................................ 274

Multisample ............................................................................................................275

Creating a multisample...................................................................................................................................................... 275

Creating a multisample in the Patch Edit screen............................................................................................. 275

Editing a multisample........................................................................................................................................................276

About the Multisample Edit screen ...................................................................................................................276

Selecting the notes to edit....................................................................................................................................277

Changing the multisample assigned to a tone (List).......................................................................................277

Erasing the data from the selected region of notes (Erase) ............................................................................277

Assigning a sample to the selected region (Assign)........................................................................................ 277

Copying a sample from a key to another key (Copy) .....................................................................................277

Opening the Tone Switch/Select window (Tone Sw/Sel) ............................................................................. 277

Moving the split point (Split Point) ...................................................................................................................277

Returning a multisample to the last-written state (Reload) ........................................................................... 277

Erasing all notes (Erase All) ................................................................................................................................ 278

Replacing the sample of the current zone (Sample Select)............................................................................. 278

Specify the original key (Original Key) of the sample ....................................................................................278

Sorting samples in the order of their original key (Sort) ................................................................................278

Moving all samples to left or right (Shift).........................................................................................................278

Moving the data of the current zone to left or right (Move).......................................................................... 278

16

Contents

08: Various Settings (Menu and System)............... 279

Menu Reference .....................................................................................................280

Menus................................................................................................................................................................................... 280

Project-related Settings (Project)....................................................................................................................................... 280

Load Project...........................................................................................................................................................280

Save Project............................................................................................................................................................ 281

Save As Project......................................................................................................................................................281

Create Project ........................................................................................................................................................282

Backup Project....................................................................................................................................................... 282

Restore Project....................................................................................................................................................... 283

System Settings (System)................................................................................................................................................... 283

Reset to Default Factory Settings (Factory Reset) ..........................................................................................................284

Format USB Memory..........................................................................................................................................................284

Exchanging Files with Your Computer (USB Storage) .................................................................................................285

Connections........................................................................................................................................................... 285

Specify the Connection-Destination ..................................................................................................................285

Cautions Regarding Folders and Files ..............................................................................................................286

Exiting Storage Mode........................................................................................................................................... 286

Examples of Using Storage Mode ...................................................................................................................... 287

Import Audio.......................................................................................................................................................................289

System Settings (Settings Common to All Modes).............................................290

How to Make System Function Settings .........................................................................................................................290

Saving the System Settings (System Write) ....................................................................................................................290

Functions of System Parameters....................................................................................................................................... 291

Pedal/D Beam....................................................................................................................................................... 291

Keyboard................................................................................................................................................................ 292

Dynamic Pad......................................................................................................................................................... 292

Knob/Slider........................................................................................................................................................... 293

Magic Control........................................................................................................................................................294

Switch S1/S2 .........................................................................................................................................................294

Sync/Temp............................................................................................................................................................295

Metronome ............................................................................................................................................................297

Sound...................................................................................................................................................................... 297

MIDI .......................................................................................................................................................................299

USB .........................................................................................................................................................................300

Scale Tune.............................................................................................................................................................. 300

Preview ..................................................................................................................................................................300

System Ctrl ............................................................................................................................................................301

Screen Saver........................................................................................................................................................... 301

Input/Sampling....................................................................................................................................................301

Startup.................................................................................................................................................................... 302

System Information (Info) .................................................................................................................................................302

Changing the Wallpaper (Wallpaper) .............................................................................................................................303

Importing an Image as Wallpaper (Import) .....................................................................................................303

Delete Wallpaper .................................................................................................................................................. 303

Display-related Settings (Appearance)............................................................................................................................ 304

About V-LINK..........................................................................................................305

What is V-LINK?................................................................................................................................................................. 305

Connection Examples......................................................................................................................................................... 305

Turning the V-LINK ON/OFF .........................................................................................................................................305

V-LINK Settings..................................................................................................................................................................305

V-LINK Parameters..............................................................................................................................................306

Resetting the Image.............................................................................................................................................. 306

17

Contents

09: Appendix....................................................... 307

Installing the Expansion Board ............................................................................308

Cautions When Installing an Expansion Board .............................................................................................................308

How to Install an Expansion Board .................................................................................................................................308

Removing an Expansion Board ........................................................................................................................................309

Configuring the Newly-installed Expansion Board ...................................................................................................... 309

Installation de la carte d’expansion Wave........................................................... 310

Précautions à prendre lors de l’installation d’une carte d’expansion Wave.............................................................. 310

Installation d’une carte d’expansion Wave..................................................................................................................... 310

Retrait d’une carte d’expansion........................................................................................................................................311

Configuration de la carte d’expansion installée............................................................................................................. 311

Expanding the DIMM Memory............................................................................... 312

Precautions for Expanding Memory................................................................................................................................ 312

How to Expand the Memory ............................................................................................................................................312

Removing the Memory........................................................................................................................................ 313

Checking that Memory is Installed Correctly ................................................................................................................313

Ajouter de la mémoire ...........................................................................................314

Précautions à prendre lors de l’ajout de mémoire......................................................................................................... 314

Installation du module de mémoire.................................................................................................................................314

Retrait du module de mémoire ..........................................................................................................................315

Troubleshooting.....................................................................................................316

Problems Concerning the Entire Fantom-G .....................................................................................................316

Issues Related to Sound.......................................................................................................................................316

Issues Related to Effects....................................................................................................................................... 318

Issues Related to Saving Data.............................................................................................................................318

Issues Related to Sequencer ................................................................................................................................319

Issues Related to MIDI and External Devices ..................................................................................................320

Issues Related to Sampling .................................................................................................................................320

Issues Related to a USB memory........................................................................................................................ 321

Issues Related to a USB connection ...................................................................................................................321

Error Messages ...................................................................................................... 322

About MIDI .............................................................................................................. 323

About MIDI Connectors ...................................................................................................................................... 323

MIDI Channels and Multi-timbral Sound Generators.................................................................................... 323

Specifications......................................................................................................... 326

Index........................................................................................................................ 328

18

01: Introduction

This chapter explains the Fantom-G’s panels, provides an overview of the instrument,
and explains basic operation.

• Main Features ............................................................p. 20

• Panel Descriptions.......................................................p. 22

• Making Connections ...................................................p. 25

• Overview of the Fantom-G ...........................................p. 32

• Basic Operation of the Fantom-G .................................. p. 39

(Overview and Basic Operation)

Main Features

Sound quality that’s a class above

The Fantom-G features a new sound engine that provides a
patch multi-effect (PFX) for each sound (patch) at all times,
allowing you to create lavish sounds in a way not possible until
now.

In addition, there are two multi-effects (MFX) processors that
can be used flexibly. Up to twenty-two types of effects, such as
chorus and reverb, can be used simultaneously.

Of course the “integration of audio and MIDI” featured on the
Fantom-X is also provided, letting you use sampled sounds as
internal sounds.

Mode settings optimized for your
situation

The Fantom-G provides modes optimized for your situation; use
“Live mode” for live performances, and “Studio mode” for
music production.

“Live mode” lets you freely create eight-part multitimbral layers
and splits. With functions such as Patch Remain, which ensures
that the notes you were playing before switching sounds are not
cut off, this mode is designed to ensure the expression and speed
you need for a live performances.

“Studio mode” lets the Fantom-G operate as a 16-part
multitimbral instrument, and allows you to use all of its effects
in your music productions.

“Single mode” is what you’ll want to choose when playing a
single sound, such as when using the Fantom-G as a dedicated
piano or organ. Choose this mode when you’re editing a sound.

Support for the new ARX series
expansion boards featuring the
SuperNATURAL sound generator

The Fantom-G features two slots that support the ARX series,
which not only allows you to expand the existing sounds, but
provides an optimal sound engine for each different sound
(Roland’s new “SuperNATURAL” technology, which boasts
amazing expressive power).

This new technology delivers the expressive power and quality
of “the real thing,” surpassing even the high-quality internal
sounds.

“SuperNATURAL” is proprietary
Roland technology that realistically
expresses the tonal changes and
performance techniques that are
distinctive to acoustic instruments and
electric instruments, bringing you
natural and rich expressive power.

New 152-track sequencer is a highly
evolved fusion of audio and MIDI

The fusion of audio and MIDI has evolved to a new dimension.
The new sequencer provides a graphical workflow with up to
128 tracks of MIDI and 24 tracks of audio available
simultaneously. The easy to understand phrase-based interface
lets you use a USB mouse for an even speedier music
production environment.

The latest and greatest internal sounds

Starting with the 88-note multisampled piano that was
acclaimed on the Fantom-X, all sounds have been renewed. The
Fantom-G boasts the world’s best lineup of sounds, with an
emphasis on quality. You’ll have immediately usable sounds for
performance and creativity in every situation. It features 256
MB of internal waveform capacity (double that of the Fantom-X
series), with broad coverage of everything from acoustic sounds
to synth sounds.

Full-fledged sampler

The sampling functionality rivals dedicated samplers, offering
not only detailed wave editing but also the ability to
immediately play recorded samples from the pads or keyboard,
or use them as material in audio tracks. Of course there’s also an
Auto Sync function, which lets you match the current tempo
without changing the pitch, or change the pitch without
affecting the tempo.

* 32 MB of sampling memory is provided as standard, and you

can add DIMM memory (p. 312, p. 314) to expand this to a
maximum of 1 GB.

20

Main Features

Skip Back Sampling function

The Skip Back Sampling function, which was so popular on the
Fantom-X series, is also provided on the Fantom-G.

By constantly recording your performance on the Fantom-G,
this function ensures that you can retroactively record an
inspired improvisation at any time. Never again will you lose a
great idea just because the recorder wasn’t running.

Favorites function

This function gives you one-touch call-up of settings for the
songs in your live performance.

Using this, you can simply press a single button to change
sounds and settings during performances that require quick
changes. Each such setting includes master volume, so you’ll be
able to prepare volume adjustments during your rehearsal to
match the actual live performance environment.

Wide VGA color liquid crystal display

The large wide VGA color liquid crystal screen is a
revolutionary leap that ensures superb visibility and operability
in any situation.

V-LINK

V-LINK functionality opens up a new realm of expression for
your performances because of the way it allows you to
synchronize music and visual images. You can use controllers
such as the D Beam and the Fantom-G’s knobs, sliders, and
dynamic pads to control visual images as part of the process of
performing your music.

Plug-in editor/librarian

The included dedicated editor and librarian software let you
use your computer to edit and manage the Fantom-G’s sounds.
The dedicated editor also supports operation as a VSTi/AU
plug-in.

Support for GM/GM2

The Fantom-G supports GM/GM2. Any music data compatible
with GM/GM2 (GM Scores) can be played by the Fantom-G.

Overview Sound 1 Sound 2 Sound 3 Pad Sampler

A full range of interfaces

USB functionality has been enhanced. The USB MEMORY
connector lets you use USB memory to back up your data. The
USB MOUSE connector lets you connect a two-button wheel
mouse for an even more ideal user interface. The USB
COMPUTER connector handles data transfer between the
Fantom-G and your computer, and also supports USB MIDI and
audio. This lets the Fantom-G connect to various computer­based software tools, and also lets you use the dedicated editor
software to perform editing tasks.

In addition, the external audio inputs include dedicated LINE
(STEREO) input jacks and a dedicated MIC/GUITAR jack.

Menu/System

21

AppendixSequencer

Panel Descriptions

Front Panel

1 8 9 12 15
2
3

5
6

10

11

4

7

16

17

1

D BEAM

Here you can switch the D Beam function on/off. This lets you apply
various effects to the sound by moving your hand above the sensor.

→

(p. 72)

[PAD TRIGGER]

This lets you use the D Beam controller to play the pads, as an
alternative to striking them by hand. → (p. 73)

[SOLO SYNTH]

This lets you use the D Beam controller as a monophonic
synthesizer. → (p. 73)

* By holding down [SHIFT] and pressing the appropriate button,

you can access the D Beam setting screen.

[ASSIGNABLE]

This lets you assign various parameters or functions to the D Beam
controller, and use it to modify the sound in real time. → (p. 75)

[V-LINK]

2

This switches V-LINK on/off. The V-LINK setting screen will appear
when you turn this button on. → (p. 305)

3

INPUT

PEAK Indicator

This will light when the external input volume is too high.

[MIX IN]

This turns the external input on/off. → (p. 258)

* By holding down [SHIFT] and pressing this button you can

access the input setting screen. → (p. 258)

4

VOLUME

VOLUME Knob

This adjusts the overall volume that is output from the rear panel
OUTPUT A (MIX) jacks and PHONES jack. → (p. 28)

5

MODE

[STUDIO]

This puts the Fantom-G in Studio mode. Choose this setting for song
production. → (p. 66)

[LIVE]

This puts the Fantom-G in Live mode. Choose this setting when you
want to play multiple sounds layered together or split across the
keyboard. → (p. 58)

[SINGLE]

This puts the Fantom-G in Single mode. Choose this setting when
you want to play a single sound at a time. → (p. 46)

13 14

[FAVORITE]

This lets you register favorite sounds for immediate call-up — a
convenient capability for live performances. → (p. 54)

6

KEYBOARD

[ARPEGGIO]

This turns the arpeggiator on/off. → (p. 78)

[HOLD]

This switches the arpeggiator’s Hold function on/off. → (p. 78)

[CHORD MEMORY]

This switches Chord Memory on/off. → (p. 81)

* By holding down [SHIFT] and pressing these buttons, you can

access the setting screens for chord memory and the arpeggiator.

[-OCT], [+OCT]

These raise or lower the key range in one-octave steps. (-3– +3)

* By pressing the [-OCT] and [+OCT] buttons simultaneously you

can reset the setting to its original value.

[TRANSPOSE]

If this is on, you can use [-OCT] [+OCT] to raise or lower the key
range in semitone steps. (-5– +6)

* By pressing the [-OCT] and [+OCT] buttons simultaneously you

can reset the setting to its original value.

7

SEQUENCER

Here you can perform sequencer operations such as playback and recording.

]

[

This moves the song position to the beginning of the song. If you
press this during playback, you will return to the beginning of the
song and stop. → (p. 206)

] [ ]

[

These move the song position to the first beat of the previous or next
measure. → (p. 206)

* By holding down [SHIFT] and pressing these buttons, you can

move the song position to the previous or next marker.

[LOOP]

This turns Loop Playback on/off. → (p. 208)

* By holding down [SHIFT] and pressing this button, you can

access the Loop setting screen.

[JUMP]

This jumps to the JUMP marker. If no marker has been set, it jumps
to the beginning of the song. → (p. 208)

* By holding down [SHIFT] and pressing this button, you can

access the Marker setting screen.

22

Panel Descriptions

[PLAY]

This plays back the song. → (p. 204)
It will blink in time with the tempo and time signature. → (p. 297)

[STOP]

This stops playback.

[REC]

This accesses the Recording Standby screen. → (p. 222)
Pressing this during recording will activate the Rehearsal function.

→

(p. 225)

8

CONTROL

Control Knobs 1–4
Control Sliders 1–8

These provide realtime control of the parameters or functions
assigned to them. → (p. 75)

* By holding down [SHIFT] and moving one of the above knobs

(sliders), you can access the setting screen for that control.

→

(p. 76)

MAGIC CTRL (Magic Control)

Magic Control is a function that automatically changes the role of knob
4 and slider 8 according to the screen. For example, in the Patch List
screen (p. 49), knob 4 selects the category and slider 8 scrolls the list.

9

TEMPO/VALUE

This indicates the tempo. When you move a control knob or slider,
this will indicate its value.

[TEMPO]

You can adjust the tempo by pressing this button and turning the
VALUE dial. → (p. 78, p. 207)

10

LIST/EDIT

[PATCH]

Press this to edit a patch. Press it once to access the Patch Zoom Edit
screen (p. 84), or twice in succession to access the Patch Pro Edit
(p. 86).

screen

[SONG]

Press this to edit a song. Press it once to access the Song Play screen
(p. 205), or twice in succession to access the Song Edit screen (p. 232).

[SAMPLE]

Press this to edit a sample. Press it once to access the Sample Edit
screen (p. 266), or twice in succession to access the Sample List (p.

263).

[EFFECTS (ROUTING)]

Press this to make effect-related settings. → (p. 150)

11

DISPLAY

A variety of information is shown here according to the operations
you perform.

[MENU]

Opens the MENU. → (p. 280)

Function buttons ([F1]–[F8])

When you’re editing, these buttons execute various functions that
will differ depending on the screen.

[DISPLAY]

Displays the shortcut menu. → (p. 44)

12

VALUE

[WRITE]

Writes the modified content into memory.

→

(p. 80, p. 82, p. 88, p. 116, p. 148, p. 254, p. 274, p. 290)

VALUE Dial

Modifies a value. By holding down [SHIFT] and turning the VALUE
dial, you can modify the value in larger steps.

[CURSOR] Buttons

These move the cursor up/down/left/right.

[EXIT]

This returns you to the previous screen or closes an opened window.
In some screens, it cancels the currently executing function.

[ENTER]

Use this to finalize a value or to execute an operation.

[DEC], [INC]

These modify a value. The value will change more rapidly if you
hold down one button and press the other. If you hold down
[SHIFT] while pressing these buttons, the value will change more
rapidly.

[SHIFT]

This button is used in conjunction with other buttons to execute
various functions.

13

EXPANSION

[EXP 1], [EXP 2]

These access the screens for expansion boards installed in the
Fantom-G.

* For details on operation, refer to the owner’s manual of the

expansion board you’ve installed.

14

SAMPLING

[SKIPBACK]

This retroactively samples your performance for a specified period
of time prior to when you pressed the button. → (p. 262)

[SAMPLING]

This accesses the Sampling menu screen. → (p. 260)

15

DYNAMIC PAD

[PAD SETTING]

This accesses the setting and information screen for the currently
selected Pad mode. → (p. 190)

[NUMERIC]

Lets you use the pads as numeric keys. → (p. 41)

[PAD MODE]

Switches the pad mode. → (p. 188)

[ROLL]

Turns the Roll function on/off. → (p. 189)

* Depending on the Pad mode, this will switch banks.

[HOLD]

Turns the Hold function (which causes the pad to continue sounding
even after it’s released) on/off. → (p. 188)

[PAD 1–16]

You can use these to play sounds just like the keyboard. They will also
perform various functions depending on the Pad mode. → (p. 188)

16

[S1] [S2] (Assignable Switches)

You can assign various parameters or functions to these buttons.
They will turn on/off the assigned parameter or function in real time
to modify the sound. → (p. 77)

* By holding down [SHIFT] and pressing one of the above buttons,

you can access the corresponding setting screen. → (p. 77)

17

Pitch Bend/Modulation Lever

You can use this to modify the pitch or apply vibrato.

Overview Sound 1 Sound 2 Sound 3 Pad Sampler

Menu/System

AppendixSequencer

23

Panel Descriptions

4

Rear Panel

1 2 3 4 5 6 7 8 9

1

POWER ON Switch

Press to turn the power on/off. → (p. 28)

2

AC Inlet

Connect the included power cord to this inlet.

3

USB
USB MEMORY Slot

A USB memory (sold separately) can be inserted here.

* Never insert or remove a USB memory while this unit’s power is

on. Doing so may corrupt the unit’s data or the data on the USB
memory.

* Carefully insert the USB memory all the way in—until it is

firmly in place.

USB MOUSE Connector

Connect the USB mouse (sold separately). → (p. 26)

USB COMPUTER Connector

This connector lets you use a USB cable to connect your
computer to the Fantom-G. → (p. 285)

DIGITAL AUDIO 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.

* If you switch off the power to an external device that is

connected to the DIGITAL AUDIO IN jack or disconnect the
cable, noise may subsequently be heard in the input from
DIGITAL AUDIO IN. If this occurs, correctly reconnect the
external device, or turn off the Fantom-G’s [MIX IN] switch.

5

MIDI Connectors (IN, OUT, THRU)

These connectors can be connected to other MIDI devices to
receive and transmit MIDI messages.

6

FOOT PEDAL
CTRL (CONTROL) 1, 2 Jacks

You can connect optional expression pedals (EV-5, etc.) or
optional pedal switches (DP series etc.) to these jacks. By
assigning a desired function to a pedal, you can use it to select or
modify sound or perform various other control. → (p. 31)

925

* 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.

HOLD Jack

An optional pedal switch (DP series, FS-5U etc.) can be
connected to this jack for use as a hold pedal. → (p. 31)

This can also be set so it supports the use of half-pedaling
techniques. So, after connecting an optional pedal switch (DP
series etc.), you can employ pedal work to achieve even finer
control in performances in which piano tones are used.

7

AUDIO INPUT
MIC/GUITAR Jack

You can connect either a mic or guitar. Set the Switch as appropriate
for the device you’ve connected to the MIC/GUITAR jack.

GUITAR (Hi-Z)
PHANTOM OFF

PHANTOM ON

* This instrument is equipped with balanced (XLR/TRS) type

jacks. Wiring diagrams for these jacks are shown below. Make
connections after first checking the wiring diagrams of other
equipment you intend to connect.

fig.XLR/TRSJack.eps

Guitar (High impedance supported)
Dynamic Mic: 1/4“phone plug (balanced or

unbalanced), XLR connector
Condenser Mic: XLR connector (48 V phan-

tom power supported)

* If you don’t need phantom power supply,

select the PHANTOM OFF position.

MIC/GUITAR LEVEL knob

Controls the volume of the mic/guitar input.

LINE Jacks (L, R)

Connect a line-level device such as an audio device (e.g.,
portable music player) or keyboard. If you want to use mono
input, connect to the L jack (p. 258).

LINE LEVEL knob

Controls the volume of the line input.

8

OUTPUT
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. 26)

OUTPUT B Jacks (L, R)

These jacks output the audio signal to the connected mixer/
amplifier system in stereo.

INDIVIDUAL 1–4 Jacks

These jacks output audio signals in mono to an amp or mixer.

* The setting determining whether these jacks are used as stereo

OUTPUT jacks or monaural INDIVIDUAL jacks is made with
the Output Assign setting. → (p. 152)

9

PHONES Jack

This is the jack for connecting headphones (sold separately).

→

(p. 26)

MinMax

MinMax

24

Making Connections

921

to Power outlet

Stereo headphones

Monitor speakers

(powered)

Power amp

Mixer etc.

In order to fully experience the
Fantom-G’s sound, we
recommend using a stereo
amp/speaker system. If you’re
using a mono system,
however, make your
connections to the Fantom-G’s
OUTPUT A (MIX) jack L
(MONO).

Connecting an Amp and Speaker System

Since the Fantom-G 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.

1.

Before hooking anything up, make sure that the power on all of your gear is turned
OFF.

2.

Connect one end of the supplied power cable to the Fantom-G, and the other end to a
power outlet.

3.

Connect the Fantom-G to your amp/speaker system as shown in the diagram.

fig.02-002.e

Overview Sound 1 Sound 2 Sound 3 Pad Sampler

To prevent malfunction and/
or damage to speakers or other
devices, always turn down the
volume, and turn off the
power on all devices before
making any connections.

Audio cables are not included
with the Fantom-G. You’ll
need to provide them.

For details on how to install a
Expansion Board (sold
separately), refer to “Installing
the Expansion Board”
(p. 308, p. 310).

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-G are correct for the
mixer or other input device
you’re using.

25

Menu/System

AppendixSequencer

Making Connections

Connecting a USB Mouse (sold separately)

If you connect a commercially available USB mouse to the Fantom-G’s rear panel USB MOUSE
connector, a mouse cursor will be shown in the display, and you’ll be able to use the mouse.

Action

Left-click
Right-click [ENTER] button / list display
Wheel VALUE dial / scroll
Drag (move while hold-

ing down left button)

Click the button

Click the button

Click the button

Operation

Select (move the cursor)

Drag the mouse on the area or knob for which you
want to input a value. Dragging upward or to the
right will increase the value, and dragging downward
or to the left will decrease it.

Opens the menu (p. 280)

[EXIT] button

Opens the shortcut menu (p. 44)

26

Making Connections

Placing the Fantom-G on a Stand

* Be careful not to pinch your fingers when setting up the stand.

For Fantom-G6/G7 user

If you want to place the Fantom-G6/G7 on a stand, use the Roland KS-18Z.
Place the instrument on the stand as follows.

fig.02-001.e

KS-18Z

Align the front of the
Fantom-G6/G7
with the front of
the stand

WARNING:

Use of stand not according to the instructions above will result in instability causing
possible injury.

For Fantom-G8 user

If you want to place the Fantom-G8 on a stand, use the Roland KS-18Z or KS-G8.
Place the instrument on the stand as follows.

fig.02-001.e

Adjust so that the
height does not
exceed 1 meter
(Adjust the stand
to a level no
higher than the
fourth level from
the bottom)

Adjust the width of the stand so that
the rubber feet of the Fantom-G6/G7
straddle the stand

Top view

Overview Sound 1 Sound 2 Sound 3 Pad Sampler

KS-18Z

KS-G8

Align the screws
of the Fantom-G8
with the front of
the stand

Adjust the width of the stand so that

Align the back of
the Fantom-G8 with
the back of the stand

the rubber feet of the Fantom-G8
are on the inside of the stand

Top view

Place the Fantom-G8 so
that it’s rubber feet are in the
inner side of the stand

Top view

WARNING:

Use of stand not according to the instructions above will result in instability causing
possible injury.

Menu/System

AppendixSequencer

27

Turning On the Power

Once the connections have been completed (p. 25), turn on power to your various devices in
the order specified. By turning on devices in the wrong order, you risk causing malfunction
and/or damage to speakers and other devices.

fig.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-G 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-G.

fig.02-003

* This unit is equipped with a protection circuit. A brief interval (a few seconds) after power

up is required before the unit will operate normally.

3.

Turn on the power for any connected amplifiers or speakers.

4.

Play the Fantom-G’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

941

To ensure proper operation of
the pitch bend lever, make
sure not to touch the lever
when turning the Fantom-G’s
power on.

Do not touch!

Be careful not to set your
listening volume too high to
avoid damage to your amp/
speaker system or your
hearing.

942

Turning Off the Power

1.

Before you turn off the power, consider these two questions:

• Have the volume controls for the Fantom-G and all connected audio devices been
turned to their lowest settings?

• Have you saved your Fantom-G 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-G.

28

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. 7).

Listening to the Demo Songs

981

The Fantom-G has a demo song that will be loaded at start-up.
Here’s how to play the demo.

1.

Press [PLAY].

The demo song will play.

2.

Press [STOP] to stop demo song playback.

.

Overview Sound 1 Sound 2 Sound 3 Pad Sampler

a

All rights reserved.
Unauthorized use of this
material for purposes other
than private, personal
enjoyment is a violation of
applicable laws.

Song Automatically Loaded at Power-on (When Loading a Project)

When the Fantom-G is powered-on (when loading a project), song 001 (the top song in the
Song List) will be loaded automatically.

If you don’t want a song to be loaded automatically at power-on (when loading a project),
delete song 001 as described in “Deleting a Song File (Song Delete)” (p. 210).

When you execute a Factory Reset (p. 284), the demo song will be written to song 001.

Menu/System

AppendixSequencer

29

Various Performance Features

Velocity/Aftertouch

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

For details on the setting, refer
to p. 292.

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. 251).
The Fantom-G 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
vibrato by gently pushing the lever away from you. This is known as

If you push the lever away from you and at the same time move it to the right or left, you can
apply both effects at once.

fig.02-009.e

ModulationPitch Bend

Octave Shift (OCT)

You can shift the pitch of the keyboard in one-octave units over a range of +/-3 octaves.
Use KEYBOARD [-OCT] or [+OCT] at the left of the screen to make the desired setting.
To return to the original setting, press both buttons simultaneously.

Transpose

You can transpose the pitch of the keyboard in semitone units (-5– +6).
At the left of the display, turn on the KEYBOARD [TRANSPOSE] button, and then use the

[-OCT] or [+OCT] button to specify the desired transposition.
To return to the original setting, press both buttons simultaneously.

pitch bend

modulation

. You can also apply

.

You can set the amount of
pitch change for each patch (p.

96).

30

Hold Pedal

Roland

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” (p.

77).

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.

fig.02-010

Control Pedal

If an optional expression pedal or pedal switch (EV-5, DP series.) is connected to the rear panel
PEDAL CONTROL jack (1, 2), you can use the pedal to control the volume or various functions.

fig.02-011

Various Performance Features

For details on the setting, refer
to p. 291.

Overview Sound 1 Sound 2 Sound 3 Pad Sampler

Use only the specified
expression pedal or pedal
switch (EV-5, DP series, BOSS
FS-5U; sold separately). By
connecting any other
expression pedals, you risk
causing malfunction and/or
damage to the unit.

Menu/System

AppendixSequencer

31

Overview of the Fantom-G

WG

Pitch

Envelope

TVF

TVF

Envelope

TVA

Envelope

TVA

LFO 1 LFO 2

Control signal

Tone

Audio signal

How the Fantom-G is Organized

Basic Structure

Broadly speaking, the Fantom-G consists of a

sound generator section, sequencer section
section

.

fig.04-001.j

Audio input

Sequencer section

128 MIDI tracks

24 audio tracks

Recording

(controllers such as the keyboard, pads, and pitch bend lever)

Playback

Controller section

Sampler section

Sound generator

Controller section

controller section

, and

SamplingRecording

section

Performance

,

sampler

Different Units of Sound

When using the Fantom-G, you’ll encounter various units of sound.
Here we’ll provide a simple explanation of these units.

Tone

A Tone is the smallest unit of sound in the Fantom-G. However, you
can’t play a tone by itself. The smallest unit of sound that you can
play is the “Patch,” so you can think of tones as the sonic material
that makes up each patch.

fig.04-002.j

This section includes the keyboard, pads, pitch bend / modulation
lever, the panel knobs, sliders, and D Beam controller, and pedals
connected to the rear panel.

Sound generator section

This section generates sound in response to performance data from
the controller section or sequencer section.

Sequencer section

This is a sequencer with 128 MIDI tracks and 24 audio tracks. The
MIDI tracks record performance data (MIDI) from the keyboard,
pads, and other controllers. The audio tracks record sound (audio)
from a mic or guitar connected to the Fantom-G’s audio input jacks.

Sampler section

A sampler is a device that captures (samples) sound from a CD
player or mic connected to the audio input or digital input, and
saves this sample as a wave file.

A captured sample can be used in the same way as the waveforms of
the sound generator section. You can also sample the sound of the
internal sound generator section itself (p. 258).

The Fantom-G can load WAV/AIFF format wave files from your
computer via USB as samples.

A tone consists of the following five elements.

WG (Wave Generator)

This selects the PCM waveform (wave) that is the basis of the sound,
and specifies how its pitch will change.

All of the patches built into the Fantom-G consist of combinations of
tones that are based on PCM waveforms (waves).

A rhythm tone (percussion instrument sound) contains four wave generators.

TVF (Time Variant Filter)

This specifies how the frequency components of the sound will
change over time.

TVA (Time Variant Amplifier)

This specifies volume change and panning.

Envelope

An envelope specifies a change over time. Dedicated envelopes are
provided for Pitch, TVF (filter), and TVA (volume). For example, if
you want to modify the time over which the sound starts or decays,
you would use the TVA Envelope settings to specify the desired
time-variant volume change.

LFO (Low Frequency Oscillator)

An LFO creates cyclic change (modulation). There are two LFOs, and
each can be applied to one aspect of the sound; WG (pitch), TVF
(filter), or TVA (volume). Applying an LFO to the WG pitch will
produce vibrato, applying it to the TVF cutoff frequency will produce
wah, and applying it to the TVA volume will produce tremolo.

32

A rhythm tone (percussion instrument sound) does not have an LFO.

Overview of the Fantom-G

Live set

Part 1

Patch / Rhythm set / Sample set

Part 2

Patch / Rhythm set / Sample set

Part 3

Patch / Rhythm set / Sample set

Part 4

Patch / Rhythm set / Sample set

Part 5

Patch / Rhythm set / Sample set

Part 6

Patch / Rhythm set / Sample set

Part 7

Patch / Rhythm set / Sample set

Part 8

Patch / Rhythm set / Sample set

Patch

Patches are the basic unit of sound on the Fantom-G; they
correspond to an individual instrument such as “piano,” “organ,” or
“guitar.” A patch can consist of up to four tones. The Structure 1&2
and 3&4 parameters (p. 92) determine how the four tones are
combined. You can apply a “PFX (Patch MFX)” effect to each patch.

fig.04-003.j

Patch

Tone 4

Tone 3

Tone 2

Tone 1

WG

Pitch

Envelope

LFO 1 LFO 2

TVF

TVF

Envelope

TVA

TVA

Envelope

PFX

(PATCH MFX)

Rhythm set

A rhythm set is a group of percussion instrument sounds. Since
percussion instrument sounds are not usually used to play melodies,
there’s no need for them to produce different pitches when played
from the keyboard. Rather, it’s important that you have
simultaneous access to as many percussion instrument sounds as
possible. This is why in a rhythm set, each note (note number) of the
keyboard will play a different percussion instrument sound. You can
apply a “PFX (Patch MFX)” effect to each rhythm set.

fig.04-004.j

Rhythm set

Single / Live / Studio Modes

The Fantom-G can operate in the following three modes.

Single mode

Single mode is when you play a single patch (or rhythm set or
sample set), using the Fantom-G as a single piano, organ, etc. Choose
this mode when you want to edit a patch to create your own original
sound.

Live mode

Live mode is designed for live performance. It lets you play up to
eight patches (or either rhythm sets or sample sets) simultaneously.
For example, you can create layers (p. 62) in which a piano sound
and strings sound are heard simultaneously, or splits (p. 62) in
which your right hand plays a piano sound while your left hand
plays a bass sound.

Live set

Settings for Live mode can be saved as a “live set.”

Overview Sound 1 Sound 2 Sound 3 Pad Sampler

Note number 98 (D7)

Note number 97 (C#7)

Note number 36 (C2)

Note number 35 (B1)

Rhythm tone (percussion instrument sound)

WG (1-4)

Pitch

Envelope

TVF

TVF

Envelope

Envelope

TVA

TVA

PFX

(PATCH MFX)

Sample set

On the Fantom-G, a piece of wave data obtained by audio recording
or sampling is called a Sample. A sample set is a collection of sixteen
samples handled as a set. You can specify how each sample will play
when you press a pad or key.

Studio mode

Studio mode is designed to let you record a song. It provides sixteen
parts, and you can assign a patch (or rhythm set or sample set) to
each part, letting you use sixteen different sounds at the same time.

You can use the mixer screen to adjust the level and pan for each of
the sixteen parts.

Menu/System

Studio set

Settings for Studio mode can be saved as a “studio set.”

AppendixSequencer

33

Overview of the Fantom-G

fig.04-005.j

Studio set

Part 16

About Polyphony

The Fantom-G has a maximum polyphony of 128 simultaneous
notes. Here we’ll explain how the polyphony is counted, and what
happens when the limit of 128 notes is exceeded.

Part 1

Patch /

Rhythm set /

Sample set

Part

On the Fantom-G, a “Part” is a kind of location or slot to which you
can assign a patch, rhythm set, or sample set.

Live mode gives you eight parts, and you can assign a patch, rhythm
set, or sample set to each part. This means that you can play up to
eight sounds together.

Studio mode gives you sixteen parts, and you can assign a patch,
rhythm set, or sample set to each part.

Part group

In addition to the internal parts (the internal sound generator), the
Fantom-G provides part groups for expansion boards 1 and 2, and
for the external MIDI output.

Part group

Internal

EXP 1 Expansion board 1 Up to 16

EXP 2

External

Explanation Number of parts

Internal

(internal sound generator)

Expansion board 2 Up to 16

External MIDI output 16

Live mode: 8
Studio mode: 16

* Depends on the expansion

board

* Depends on the expansion

board

How polyphony is counted

The Fantom-G can produce up to 128 notes simultaneously. This
number of notes will vary depending not only on the number of
notes you’re actually playing, but also on the number of tones used
by each patch, and the number of waves used by each tone. When
playing a patch, the polyphony is calculated as follows.

(number of patches that are sounding) x (number of tones used in the
currently sounding patches) x (number of waves used by those tones)

For example, if a patch consists of four tones, and each of these tones
uses two waves, it will use a total of eight notes of polyphony. If
you’re playing in Live mode (multi) or in Studio mode, count the
polyphony for each part to obtain the total polyphony of all parts.

* If you’re using realtime time stretch, twice as much polyphony will be

used.

Patch polyphony

If you attempt to play more than 128 notes simultaneously on the
Fantom-G, existing notes will be turned off, starting with the note
having the lowest priority of the currently sounding notes. This
priority is specified by the

You can choose either “LAST” or “LOUDEST” as the patch priority.
If you choose “LAST,” notes will be turned off starting with the first­played of the currently sounding notes when you exceed the 128
note limit. If you choose “LOUDEST,” notes will be turned off
starting with the note whose volume is least. Normally, you will
probably want to select “LAST.”

If you’re using multiple patches to play an ensemble, it’s important
to specify which part gets priority for its notes over the others. This
is specified by the
setting (p. 90) will determine how the notes of a patch are turned off.

Voice Reserve

Patch Priority

setting (p. 141). The

setting (p. 90).

patch priority

34

Voice reserve

The Fantom-G provides a
reserve a minimum number of notes for each part. For example, if
you specify a voice reserve setting of “10” for part 16, ten notes of
polyphony will be guaranteed to be available for the sound being
played by part 16 even when the overall Fantom-G reaches its 128
note limit. When making voice reserve settings, you’ll need to
consider the number of notes you actually want to play and the
number of tones in the patches you’re using (p. 141).

You can make voice reserve settings for up to a total of 64 notes
for all parts.

When the audio tracks of a song are playing back, the audio
tracks take priority over the voice reserve settings.

Voice Reserve

setting, which lets you

Overview of the Fantom-G

EXP 2

Fantom-G

Factory data

Internal memory (50 MB)

Factory reset

USB storage

Temporary area

Project

Project

USB memory

(sold separately)

Expansion boards

(sold separately)

Project

Computer

SoundsSamples

System

Sequencer

Patches

USER: 512

EXP 1

Live sets

USER: 512

Studio sets

USER: 128

Rhythm sets

USER: 64

Sample sets

128

2000

samples

2000

phrases

50

songs

64

RPS sets

64

rhythm

pattern sets

Preset data

cannot be
overwritten

Patches

PRESET: 1668

GM: 256

Live sets

PRESET: 512

Studio sets

PRESET: 8

Rhythm sets

PRESET: 64

GM: 9

Waves

2230

(overwritable)

Load Save

LoadSave

Select

Expandable to
1 GB with
DIMM memory
(sold separately)

( )

About Memory

Temporary area

When you switch on the Fantom-G’s power or load a project, the
project data is placed in an area of memory called the “temporary
area.”

When you edit a patch or song, you are modifying the data in this
temporary area.

These edits will be lost if you simply turn off the power; if you want
to keep the changes you made, you must save them (SAVE/WRITE).

DIMM memory (sold separately)

You can install up to 1 GB of DIMM memory. Installing DIMM
memory will allow you to record or sample for a longer period of
time. For details on installing DIMM, refer to

Memory”

(p. 312, p. 314).

“Expanding the DIMM

USB memory (sold separately)

Internal memory can hold only one project, but commercially
available USB memory can hold multiple projects. Connect your
USB memory to the rear panel USB MEMORY connector (p. 24). For
details on how to format USB memory, refer to p. 284.

* If the USB memory is formatted using something other than FAT, it

will not be recognized by the Fantom-G. Use your computer to format

the USB memory with the “FAT” or “FAT32” file system. (If you’re

using Mac OS X, format the USB memory using the “MS-DOS file

system (FAT32).”)

Overview Sound 1 Sound 2 Sound 3 Pad Sampler

Project

The largest unit of memory handled by the Fantom-G is the
“project.” As shown in the illustration, a project contains sequencer
data, samples, sounds, and various system settings. On the Fantom­G you can use one project at a time.

Preset data

This is read-only data for patches, live sets, studio sets, rhythm sets,
and waves.

Internal memory

The Fantom-G has internal memory in which you can save a project.
A project can be overwritten at will. You can also restore the
memory to the factory-set condition (Factory Reset) (p. 284).

The internal memory is approximately 50 MB in size. If you need to
save a project that is larger than 50 MB, you’ll need to save it on USB
memory.

USB storage

You can use a USB cable to connect the Fantom-G to your hard disk,
and save (back up) projects from internal memory or USB memory
to the hard disk of your computer (p. 285).

Samples created using the Fantom-G can also be used by software on
your computer; or conversely, you can use your computer software
to create wave data and use it as samples in the Fantom-G.

Factory data

The factory data is memory that holds the factory-set state of the
internal memory. If you have deleted the factory-set patches or other
data from internal memory, and would like to use this data again,
you can execute the Factory Reset operation (p. 284).

* If you’ve created important data and saved it in the Fantom-G’s

internal memory, be aware that your data will be lost if you execute a

Factory Reset. (

also be lost

The data you’re in the process of editing will

.)

Expansion boards
(ARX series; sold separately)

Up to two expansion boards (ARX series; sold separately) can be
installed in the Fantom-G. An expansion board includes a sound
generator engine, and will expand both the number of available
sounds and the polyphony. For details on installing expansion
boards, refer to

“Installing the Expansion Board”

(p. 308, p. 310).

Menu/System

AppendixSequencer

35

Overview of the Fantom-G

MIDI track 128

MIDI track 2

MIDI track 1

Audio track 24

Audio track 2

Audio track 1

Tempo track

Beat track

Phrase

1

Phrase

2000

Song

Phrases

Sample

1

Sample

2000

Samples

About the Internal Effects

Types of Effects

The Fantom-G contains the following effects units. You can make
settings independently for each one.

PFX (Patch MFX) (Patch multi-effect)

This is a dedicated multi-effect unit for the patch. You can use it as
part of the sound of the patch itself.

You can choose from 76 types including distortion and rotary.

MFX (Multi-effect)

This is a general-purpose multi-effect that can apply various
modifications to the sound.

You can choose from 78 types including distortion and rotary.

Chorus

Chorus is an effect that adds depth and spaciousness to the sound.
You can choose whether to use this as chorus or as delay.

About the Sequencer

Audio and MIDI

The Fantom-G’s sequencer can record audio and MIDI.

Audio (samples)

Audio is a “recording” of the sound from a mic or portable audio
player connected to the Fantom-G’s input jacks. The recorded audio
data is called a “sample.” You can create a song simply by placing
samples in an audio track.

MIDI (phrases)

MIDI records performance data from the keyboard or pads. The
recorded MIDI data is called a “phrase.” You can create a song
simply by placing phrases in a MIDI track.

In the sense that both types of recording can be used to capture a
performance, MIDI is similar to audio, but while audio recording
captures the “sound” of a performance, MIDI recording captures the
notes and other control data of a performance, and allows you to
freely make detailed edits even to the individual note data.

Reverb

Reverb is an effect that simulates the reverberation that characterizes
sounds heard in a hall or other acoustic environment. You can
choose from 10 types of reverb.

Mastering effect

This is a stereo compressor (limiter) applied to the final output of the
Fantom-G. It operates independently for high, mid, and low
frequency bands, compressing sounds that exceed the specified
volume level, and making the overall sound more consistent.

Input effect

This is a dedicated effect for the external input.
You can choose from six types, including equalizer and compressor.

What is a Song?

Performance data for one composition is called a “
consists of audio tracks 1–24, MIDI tracks 1–128, a tempo track, and a
beat track.

fig.04-009.j

song

.” This

36

Overview of the Fantom-G

What is a Track?

A track is an area in which performance data can be recorded.

Audio tracks 1–24

There are twenty-four tracks for recording audio.

Samples

A piece of recorded audio data is called a “sample.” You can create
up to 2,000 samples in one project. The Fantom-G can capture
samples by sampling (p. 258), or by importing WAV/AIFF format
wave files via USB from your computer (p. 287). You can also create
a song by placing samples in an audio track.

Samples also support the Sample Pad function (p. 191) which lets
you play samples simply by pressing a pad.

MIDI tracks 1–128

There are 128 MIDI tracks that can record MIDI performances. A
MIDI track can be assigned to the Fantom-G’s 16 parts (Studio
mode), to the two sets of up to 16 parts for the expansion boards (the
number of parts will depend on the expansion board), or to the 16
parts of the external MIDI connector. You can also assign multiple
tracks to a single part (for example, tracks 1 and 2 could be assigned
to the Fantom-G’s part 1.)

Phrases

The MIDI data recorded in a MIDI track is called a “phrase.” Up to
2,000 phrases can be created in a single project. Just like a track, each
phrase can record a performance of 16 MIDI channels. You can also
create a song simply by placing phrases in a MIDI track.

Phrases also support the RPS function that lets you instantly play a
phrase simply by pressing a pad (p. 194), and the Rhythm Pattern
function that lets you play rhythm patterns by pressing a pad (p.

196). This means that you can use phrases to record performance
data for use in a live performance.

You can also use phrases to record your musical ideas.

Tempo track

The tempo track records tempo changes for the song. Use it when
you want the tempo to change during the song. If the tempo is going
to stay the same from the beginning to the end of the song, you can
ignore the tempo track.

When you record a song on the Fantom-G, the tempo you specify at
the time of recording is stored at the beginning of the tempo track.
This means that this tempo will always be used every time you play
back the song.

In this way, songs are played back according to the data in their
tempo track, but if you change the tempo during playback, the
overall tempo of the entire song will change accordingly.

Beat track

The beat track records time signature information for each measure
of the song. You’ll make beat track settings when recording a new
song, or when you want the time signature to change during the
song.

Songs and the State of the Sound Generator

The Fantom-G’s sequencer is available at all times, regardless of the
sound generator mode (Single, Live, or Studio).

In Studio mode, you can record separate performances for each part
using up to sixteen sounds. This makes Studio mode the ideal choice
when you want to record or play back a song using an ensemble of
multiple instruments such as drums, bass, and piano.

SMF (Standard MIDI File .MID)

SMF (Standard MIDI File) is a file format that allows performance
data to be exchanged between music applications. Songs created on
the Fantom-G can be saved as standard MIDI files (p. 256). The
Fantom-G can also play back commercially available music data that
is compatible with the GM/GM2 system (GM Scores).

Overview Sound 1 Sound 2 Sound 3 Pad Sampler

37

Menu/System

AppendixSequencer

Overview of the Fantom-G

About the Sampling Section

The sampling section “samples” (records) audio input from an
external source such as an audio device or mic. You can play these
sampled sounds as a patch or rhythm set. You can also import
WAV/AIFF format files and use them in the same way.

Samples

A “sample” refers to a waveform (wave) produced by sampling on
the Fantom-G. A sample consists of waveform data together with
parameters such as a start point, loop start, and loop end. The
Fantom-G can hold up to 2,000 samples for a single project.

fig.04-011.j

Sample

Sample list

0001

User Sample

0002

added

2000

Drum sound

Sampling

Wave

(sample)

Automatically

38

Basic Operation of the Fantom-G

Switching the Sound Generator Mode

The Fantom-G provides three sound generator modes: Single, Live,
and Studio. You can switch to the sound generator mode that’s most
appropriate for the way you’re using the Fantom-G.

Single mode

This mode is for playing one sound (patch, rhythm set, sample set) at
a time.

< To select Single mode >

1.

Press [SINGLE].

fig.04-014_50

Live mode

This mode is for combining multiple sounds (patches, rhythm sets,
sample sets) so that you can play them in a live performance.

You can layer patches so that they sound simultaneously, or split
them across the keyboard so that they can be played by separate
hands.

< To select Live mode >

1.

Press [LIVE].

fig.04-015_50

Overview Sound 1 Sound 2 Sound 3 Pad Sampler

“Playing in Single Mode”

(p. 46)

“Playing in Live Mode”

(p. 58)

Studio mode

This mode is for recording a song using multiple sounds (patches,
rhythm sets, sample sets).

This mode is ideal when you need to adjust mixing parameters such
as level and pan for the sixteen parts.

< To select Studio mode >

1.

Press [STUDIO].

fig.04-016_50

Menu/System

“Playing in Studio Mode”

AppendixSequencer

(p. 66)

39

Basic Operation of the Fantom-G

Windows

A small screen displayed within the normal screen is called a
“

window.” Various types of windows will appear as you

operate the Fantom-G. Some windows display lists, others
allow you to make settings or confirm operations.

fig.04-018.j

To close a window, press [EXIT]. Some windows will close
automatically when you perform an operation.

Cursor

How the Function Buttons Work

The eight buttons [F1]–[F8] located below the display (the function
buttons) are used to execute various functions. Their function will
depend on the screen that’s currently shown. The current functions
of these buttons are indicated in the bottom of the screen.

fig.04-017

Moving the Cursor

A single screen or window can contain multiple items (parameters)
to set or select. If you want to modify the setting of a parameter,
move the cursor to the value of that parameter. To select an item,
move the cursor to the desired item. The value or item selected by
the cursor will be highlighted.

fig.04-019.j

Use

fig.04-020

/ / / (cursor buttons) to move the cursor.

: Moves the cursor upward.
: Moves the cursor downward.

: Moves the cursor to the left.

: Moves the cursor to the right.

If you hold down a cursor button and then press the opposite
cursor button, the cursor will move more rapidly in the
direction of the button you pressed first.

In some cases, pressing [ENTER] while the cursor is displayed
will show a list of the parameters you can select. This is a
convenient way to see the choices you have. When a list is
displayed, you can also use the pads to input your choice (p. 41).

Using the mouse for selection

If you’re using a USB mouse, you can move the cursor by clicking
the mouse on a parameter value.

40

Basic Operation of the Fantom-G

Numerals

Editing a Value

To edit a value, you can use either the VALUE dial or [INC] [DEC].

In each of the Fantom-G’s screens, move the highlighted cursor
to the value you want to edit, and then edit the value.

VALUE dial

Turn the VALUE dial toward the right to increase the value, or
toward the left to decrease it. The value will change in larger steps if
you hold down [SHIFT] while turning the VALUE dial.

When the cursor is located at a parameter value, pressing
[ENTER] (or right-clicking the USB mouse) will open a window
where you can specify the value. You can easily select a value
by pressing or to select the desired value and then
pressing [ENTER].

Using the pad for numeric input

If you press the [NUMERIC] pad button, the pads will operate as
numeric keys.

Each pad will enter the following values

Pad

1–9
10 0
11 +
12 ­15 , (comma)
16 BS (backspace)
ROLL Cancel
HOLD Enter

When you’ve entered the value, press [ENTER] to finalize your
input. If you decide to cancel, press [EXIT].

Value entered

1–9

Overview Sound 1 Sound 2 Sound 3 Pad Sampler

[INC], [DEC]

Press [INC] to increase a value, or [DEC] to decrease it. To make the
value continue increasing (or decreasing), hold down the button. To
make the value increase rapidly, hold down [INC] and then press
[DEC]. Conversely, to make the value decrease rapidly, hold down
[DEC] and then press [INC].

The value will change in larger steps if you hold down [SHIFT]
while you press [INC] or [DEC].

Using the mouse for input

Drag up/down or left/right on the value or knob. Dragging up or to
the right will increase the value, and dragging down or to the left
will decrease the value.

Using the knobs for input

If the display shows small numerals (
can use knobs 1–4 to edit the corresponding parameters.

, , , ), you

Menu/System

AppendixSequencer

41

Basic Operation of the Fantom-G

Assigning a Name

On the Fantom-G you can assign a name to each patch, rhythm set,
live set, studio set, song, phrase, or sample when you save it.
Regardless of the type of object you’re naming, the procedure is the
same.

1.

Use [CURSOR] to move the cursor to the position at which
you want to enter a character.

fig.04-022a

2.

Turn the VALUE dial or use [INC] [DEC] to specify the
character that you want to enter.

• [F5 (Delete)]: Deletes the character at the cursor, and moves
the subsequent characters one place forward.

• [F6 (Insert)]: Inserts a space at the cursor location.

• [F7 (Cancel)]: Cancels the name entry procedure.

• [F8 (OK)]: Confirms the name.

•[ ] [ ]: Move the cursor.

•[ ] [ ]: Switch between uppercase and lowercase letters.

Using a mouse to input characters

If you’re using a USB mouse, you can enter characters using a virtual
keyboard.

1.

Click the mouse on the keyboard icon
the name entry screen.

The virtual keyboard will appear.

2.

Click the mouse on the keyboard to enter characters.

3.

Press [F8 (OK)] or click it with the mouse to finalize the
input.

If you use the virtual keyboard for entry, it will be shown again
the next time you enter a name.

shown in

You can use the following characters,
space, A–Z, a–z, 0–9, ! ” # $ % & ’ ( ) * + , - . / : ; < = > ? @ [ \ ] ^ `

{ | }

When assigning a name to a song file, you can’t use spaces,
lowercase letters, or certain symbols (\ / : , ; * ? ” < > |).

42

Basic Operation of the Fantom-G

Basic Pad Operations

For details on using the pads, refer to

Switching the Pad Mode

The pads have sixteen modes. Press [PAD MODE] to switch the pad
mode.

1.

Press [PAD MODE].

[PAD MODE] will blink, and
the currently selected pad
mode (pad [1]–[16]) will
blink.

If you decide not to switch the
pad mode, press [PAD
MODE] once again. [PAD
MODE] will go out and you
will return to the previous state.

2.

Press a pad [1]–[16].

The pad mode will be switched. The following table shows
what the pads do in each mode, and a page reference where you
can learn more.

“Using the Pads”

(p. 188).

Viewing the Pad Settings

Press [PAD SETTING], and the
setting/information screen for
the currently selected pad mode
will appear.

To go back to where you
were, press [PAD SETTING]
once again so its light goes
out.

Using the Pads as Numeric Keys

If you press PAD [NUMERIC],
the pads will operate as numeric
keys. →

“Using the pad for

numeric input”

(p. 41)

Overview Sound 1 Sound 2 Sound 3 Pad Sampler

Pad
number

Pad mode Explanation

SAMPLE PAD Play a sample set p. 191

1
2 RHYTHM Play a rhythm set p. 192
3 CHORD MEMORY Switch the chord form of the

4 ARPEGGIO Switch the style of the Arpeggio

5 RPS Play phrases p. 194
6 RHYTHM PTN Play rhythm patterns p. 196
7 TONE SEL/SW Act as tone select and on/off

8 TRACK MUTE Switch the mute status of the se-

9 BOOKMARK Call up frequently used screens

10 MIDI TX SW Act as on/off switches for exter-

11 EFFECT SW Act as effect switches (except for

12 PATCH MFX SW Act as multi-effect switches for

13 PART SELECT Select parts (1–16) and banks

14 PART MUTE Switch the mute status of parts

15 USER GROUP Store/load user group patches,

16 FAVORITE Store/load favorite settings p. 202

Chord Memory function (p. 81)

function (p. 78)

switches

quencer tracks

you’ve registered for each pad

nal MIDI transmit channels (1–

16)

patch multi-effect)

each part

(INT/EXP1/EXP2/EXT)

(1–16) and banks (INT/EXP1/
EXP2/EXT)

live sets, or studio sets

Page
reference

p. 193

p. 193

p. 197

p. 197

p. 198

p. 198

p. 199

p. 199

p. 200

p. 200

p. 201

Menu/System

AppendixSequencer

43

Basic Operation of the Fantom-G

Shortcut Menu

By pressing the [
most important screens.

1.

Press [DISPLAY].

The Shortcut menu will appear.

You can also open the Shortcut menu by clicking your USB
mouse on the shortcut icon.

2.

Press
jump, then press [F8 (Select)].

If you decide to cancel, press [F7 (Cancel)].

DISPLAY

or to select the screen to which you want to

] button, you can jump directly to the

List of shortcut menu

Menu

Studio Play/Live Play/Single Play
Patch Zoom Edit p. 84
Patch Pro Edit p. 86
Song Play/Song Edit p. 205, p. 232
Sample Edit p. 266
Effects Routing p. 151
Sampling p. 260
Input Setting p. 258
Digital/USB Input Level p. 301
Master Level p. 297
Pad Setting p. 190

Page

p. 66, p. 58. p. 46

44

02: Sound Generator, Section 1

This chapter explains the three modes in which the Fantom-G’s sound generator can
operate.

• Single Mode ..............................................................p. 46

• Live Mode.................................................................. p. 58

• Studio Mode .............................................................. p. 66

(Playing Sounds)

Playing in Single Mode

6

7

9

10 11

8

5

1 2 3 4

5

In Single mode, the keyboard and the pads are each used to play a
single sound (patch/rhythm set/sample set).

About the Single Play Screen

Displaying Single Play Screen

To access the Single Play screen, use the following procedure.

1.

Press [SINGLE].

You will enter Single mode, and the Single Play screen appears.

F-key operations in the Single Play screen

F-key

F1
Patch List

F3
Part View

F4
Control

F5
PFX

F6
User Group

F7
Patch Edit

F8
Tone Sw/Sel

Explanation Page

Select a sound (patch). p. 49

Make detailed settings for each part (key­board, sample pad, rhythm part).

Select the parameters that will be controlled
by the realtime controllers and D Beam con­troller.

Access the PFX (Patch Multi-effect) editing
screen.

Access the user group list screen, where you
can register frequently-used patches.

Edit a patch. p. 84

Select the tones that will be heard. p. 50

p. 51

p. 51

p. 157

p. 201

Functions in the Single Play screen

fig.05-005.e

Number

1

2

3

4

6

7

8

9

10

11

Explanation

Indicates the current sound generator mode.

Indicates the on/off status of each effect.

PFX Patch multi-effect
MFX1 Multi-effect 1
MFX2 Multi-effect 2
IFX Input effect
CHO Chorus
REV Reverb
MAS Mastering effect

Indicates the current location of the song, and the
status of the sequencer.

The Menu/Exit/Shortcut buttons for the USB
mouse.

Indicates/selects the part group, part number, patch
type, bank, number, and name of the selected patch,
rhythm set, or sample set.

Indicates/selects the patch category, and specifies
whether the category will be locked.

Indicates the pad mode. p. 188

Indicates/selects the part group, part, pad type,
bank, number, and name of the rhythm set or sample
set selected for the pads.

Indicates the functions assigned to the realtime con­troller sliders (1–8), knobs (1–4) and the S1/S2
switches.

Indicates the
lever.

Indicates the function assigned to the D Beam con­troller and the state of D Beam controller response.

“Bend Mode”

(p. 97) of the pitch bend

Page

p. 39

p. 150

p. 205

p. 26

p. 47

p. 48

p. 52

p. 51

p. 97

p. 72

46

Selecting a Patch

The Fantom-G has four patch banks, including the User, Preset, User
Sample and GM.

USER

This is the bank inside the Fantom-G which can be rewritten. Patches
you create can be stored in this bank. You can store 512 patches.

PRST (Preset)

This is the bank inside the Fantom-G which cannot be rewritten.
However you may modify the settings of the currently selected
patch, and then store the modified patch in user bank.

Playing in Single Mode

1.

Press [SINGLE] to access the Single Play screen.

fig.05-001.e

Patch type Patch bank Patch category

Patch number / Patch name

Overview Sound 1 Sound 2 Sound 3 Pad Sampler

GM (GM2)

This is an internal bank 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. However you may modify the settings of the
currently selected patch, and then store the modified patch in user
bank. The Fantom-G includes 256 preset patches.

USAM (User Sample)

This bank lets you play the Fantom-G’s internal samples.

2.

Press [CURSOR] to move the cursor to the patch bank.
Turn the VALUE dial or use [INC] [DEC] to choose the patch
bank.

USER:
PRST:
GM:
USAM:

* Make sure that the patch type is set to “Patch.”

If this is set to “Rhythm” or “Sample,” use [CURSOR] to move the

cursor to the patch type, and turn the VALUE dial or press [DEC] to

select “Patch.”

3.

Press [CURSOR] to move the cursor to the patch number.

4.

Turn the VALUE dial, or press [INC] [DEC] to select a patch
number.

You can also use the pads as numeric keys to enter numbers
(patch numbers). → “Using the pad for numeric input”

5.

Play the keyboard to hear the sound.

You can also use the following methods to select a patch.

“Selecting Patches by Category (Patch Finder)”
“Selecting Patches from the List”

User
Preset

GM (GM2)

User Sample

(p. 48)

(p. 49)

(p. 41)

47

Menu/System

AppendixSequencer

Playing in Single Mode

Selecting Patches by Category (Patch Finder)

The Fantom-G 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 [SINGLE] to access the Single Play screen.

fig.05-001.e

Patch type Patch bank Patch category

Patch number / Patch name

* Make sure that the patch type is set to “Patch.”

If this is set to “Rhythm” or “Sample,” use [CURSOR] to move the

cursor to the patch type, and turn the VALUE dial or press [DEC] to

select “Patch.”

2.

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.

Press
VALUE dial or press [INC] to turn “ON”.

4.

Use [CURSOR] to move the cursor to the patch bank or
patch number, and turn the VALUE dial or use [INC] [DEC]
to select the patch.

When the cursor is located at the Patch bank, you can select the
bank. When the cursor is located at the Patch number, you can
specify the number.

You are free to change the category of a patch by editing the
Patch Pro Edit screen (p. 86) parameter

89).

to move the cursor to “Categ Lock,” and turn the

“Patch Category”

(p.

The following categories can be selected.

Category

- - ­PNO AC.Piano Acoustic Piano
EP EL.Piano Electric Piano
KEY Keyboards Other Keyboards (Clav,

BEL Bell Bell, Bell Pad
MLT Mallet Mallet
ORG Organ Electric and Church Organ
ACD Accordion Accordion
HRM Harmonica Harmonica, Blues Harp
AGT AC.Guitar Acoustic Guitar
EGT EL.Guitar Electric Guitar
DGT DIST.Guitar Distortion Guitar
BS Bass Acoustic & Electric Bass
SBS Synth Bass Synth Bass
STR Strings Strings
ORC Orchestra Orchestra Ensemble
HIT Hit&Stab Orchestra Hit, Hit
WND Wind Winds (Oboe, Clarinet etc.)
FLT Flute Flute, Piccolo
BRS AC.Brass Acoustic Brass
SBR Synth Brass Synth Brass
SAX Sax Sax
HLD Hard Lead Hard Synth Lead
SLD Soft Lead Soft Synth Lead
TEK Techno Synth Techno Synth
PLS Pulsating Pulsating Synth
FX Synth FX Synth FX (Noise etc.)
SYN Other Synth Poly Synth
BPD Bright Pad Bright Pad Synth
SPD Soft Pad Soft Pad Synth
VOX Vox Vox, Choir
PLK Plucked Plucked (Harp etc.)
ETH Ethnic Other Ethnic
FRT Fretted Fretted Inst (Mandolin etc.)
PRC Percussion Percussion
SFX Sound FX Sound FX
BTS Beat&Groove Beat and Groove
DRM Drums Drum Set
CMB Combination Other patches which use

No Assign No assign

You can’t select categories for rhythm sets or sample sets.

Contents

Harpsichord etc.)

Split and Layer

48

Playing in Single Mode

Selecting Patches from the List

You can display a list of patches and select a patch from that list.

1.

Press [SINGLE] to access the Single Play screen.

2.

Press [F1 (Patch List)].

The Patch List screen will appear.

fig.05-008_50

You can use [F3 (Patch)], [F4 (Rhythm Set)], and [F5 (Sample
Set)] to switch between patch types (patches, rhythm sets,
samples sets).

3.

Use [F1] [F2] or

You can also use the front panel [Knob 4] to select a category,
and use [Slider 8] to scroll the list.

→ “Magic Control”

/ to select a category.

(p. 294)

Auditioning Patches (Phrase Preview)

The Fantom-G allows you to preview patches by hearing a phrase
appropriate for each type of patch.

1.

Press [SINGLE] to access the Single Play screen.

2.

Press [F1 (Patch List)] to access the Patch List screen.

fig.05-009_50

3.

Press and hold [F7 (Preview)].

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. 300).

Overview Sound 1 Sound 2 Sound 3 Pad Sampler

You can’t select categories for rhythm sets or sample sets.

4.

Turn the VALUE dial or use [DEC] [INC] or
select a patch.

You can press [F7 (Preview)] to audition the patch using an
appropriate phrase that is preset for each category (Phrase
Preview).

By pressing [F6 (User Group)] you can register a frequently
used sound in the user group. For details, refer to

a sound in the User Group screen”

If you’re using a USB mouse, you can click the keyboard symbol

in the screen, and search using the virtual keyboard

that appears in the screen.

5.

Press [F8 (Select)] to confirm your patch selection.

(p. 201).

/ to

“Registering

Menu/System

AppendixSequencer

49

Playing in Single Mode

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.

1.

Press [SINGLE] to access the Single Play screen.

2.

Press [F8 (Tone Sw/Sel)].

The Tone Switch/Select window appears.

fig.05-014_50

3.

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.

4.

Press [EXIT] to close the window.

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 [SINGLE] to access the Single Play screen.

2.

Press [PATCH] twice to access the Patch Pro Edit screen.

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-G’s simultaneous voices.

You can also use the pads to select tones and switch them on/
off (p. 197).

3.

Press [F1 (Up)] or [F2 (Down)] to select the “Solo/Porta”
tab.

A screen like the one shown below appears.

fig.05-015_50

4.

Press or to move the cursor to “Mono/Poly.”

5.

Turn the VALUE dial or press [DEC] to select “MONO.”

Now you can play in mono mode.

If you assign “MONO/POLY” as a function to be controlled by
the assignable switch ([S1] [S2]), you can easily switch between
mono/poly by pressing a button (p. 77).

50

Playing in Single Mode

Part Settings (Part View)

Single mode has the following three parts.

Part

1

Keyboard The part that is heard when you play the

7 Sample

Pad

8 Rhythm

Pad

In the Part View screen you can view and edit the volume and pan
settings of these three parts.

1.

Press [SINGLE] to access the Single Play screen.

2.

Press [F3 (Part View)].

The Part View screen will appear.

fig.08-017_50

Explanation

keyboard
The part that is heard when you set the

pads to

“1 SAMPLE PAD (Using the

Pads to Play Samples)”

The part that is heard when you set the
pads to

“2 RHYTHM (Using the Pads to

Play a Rhythm Set)”

(p. 191) mode

(p. 192) mode

Selecting the Parameter
Controlled by the Realtime
Controllers or D Beam
Controller (Control Setting)

The Fantom-G lets you assign the parameters that will be affected
when you operate the 1–4 knobs, 1–8 sliders, S1/S2 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 [SINGLE] to access the Single Play screen.

2.

Press [F4 (Control)].

The Control Setting screen will appear.

3.

Press [F1 (Up)] or [F2 (Down)] to select the parameter
group.

4.

Use [CURSOR] to move the cursor to the parameter.

5.

Either turn the VALUE dial or use [INC] [DEC] to set the
value.

Overview Sound 1 Sound 2 Sound 3 Pad Sampler

3.

Press [F1 (Up)] or [F2 (Down)] to select the parameter
group.

4.

Use [CURSOR] to move the cursor to the parameter.

5.

Either turn the VALUE dial or use [INC] [DEC] to set the
value.

6.

If you want to keep the settings, press [F7 (Sys Write)].

When Single mode is selected, part settings cannot be saved for
each individual patch. Part settings are saved as system
settings.

7.

When you have finished making settings, press [EXIT] to
return to the Single Play screen.

See

“Level/Pan (When the Part Group is Internal/EXP1/

EXP2)”

(p. 134)–

functions.

“MIDI Rx Filter”

(p. 141) for each parameter’s

6.

If you want to keep the settings, press [F7 (Sys Write)].

When Single mode is selected, controller settings cannot be
saved for each individual patch. Controller settings are saved as
system settings.

7.

When you have finished making settings, press [EXIT] to
return to the Single Play screen.

See

“Keyboard Mode”

parameter’s functions.

(p. 143)–

“Ctrl Switch”

(p. 147) for each

Controller Reset

In Single mode, you can hold down [SHIFT] and press [SINGLE] to
reset the controllers.

In addition to controllers such as bender, modulation, and pedals,
the values of the following part parameters will also be initialized.

Cutoff Offset, Resonance Offset, Attack Time Offset, Release
Time Offset, Decay Time Offset, Vibrato Rate, Vibrato Depth,
Vibrato Delay

Menu/System

AppendixSequencer

51

Playing in Single Mode

Playing Percussion Instruments (Rhythm Set)

In Single mode, you can play percussion instruments from the
keyboard by selecting a rhythm set.

You can also use the pads to play a rhythm set. → p. 192

Pad Mode (Rhythm)

Rhythm set bank

Rhythm set number

1.

Press [SINGLE] to access the Single Play screen.

fig.05-023.e

fig.05-023.e

Patch Type

Rhythm set number

* Make sure that the Patch Type is set to “Rhythm.” If this is set to

“Patch” or “Sample,” use [CURSOR] to move the cursor to the patch

type, and turn the VALUE dial or press [INC] [DEC] to select

“Rhythm.”

Rhythm set bank

Selecting a Rhythm Set

The Fantom-G has three rhythm set banks, including the User bank,
Preset bank and GM bank, with 64 rhythm sets in the User bank, 64
rhythm sets in Preset bank, and 9 rhythm sets in GM bank.

USER

This is the bank inside the Fantom-G which can be rewritten. The
rhythm sets you create can be stored in this bank. You can store 64
rhythm sets.

PRST (Preset)

This is the bank inside the Fantom-G which cannot be rewritten.
However, you can modify the settings of the currently selected
rhythm set, and then save the modified settings in User bank. The
Fantom-G contains 64 preset rhythm sets.

GM (GM2)

This is an internal bank 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. However, you can modify the
settings of the currently selected rhythm set, and then save the
modified settings in User bank. The Fantom-G includes nine preset
rhythm sets.

2.

Press [CURSOR] to move the cursor to the rhythm set bank.

3.

Turn the VALUE dial or press [INC] [DEC] to select the
rhythm set bank.

USER:
PRST:
GM:

4.

Press [CURSOR] to move the cursor to the rhythm set
number.

5.

Turn the VALUE dial or press [INC] [DEC] to select the
rhythm set number.

6.

Play the keyboard to hear the sound.

User
Preset
GM (GM2)

52

Playing in Single Mode

Playing a Sample Set

In Single mode you can select a sample set and play the samples
from the keyboard.

You can also use the pads to play a sample set. → p. 191

Pad Mode (Sample Pad)

Sample set number

Selecting a Sample Set

1.

Press [SINGLE] to access the Single Play screen.

Overview Sound 1 Sound 2 Sound 3 Pad Sampler

fig.05-023.e

Patch Type

Sample set number

* Make sure that the Patch Type is set to “Sample.” If this is set to

“Patch” or “Rhythm,” use [CURSOR] to move the cursor to the patch

type, and turn the VALUE dial or press [INC] [DEC] to select

“Sample.”

2.

Press [CURSOR] to move the cursor to the sample set
number.

3.

Turn the VALUE dial or press [INC] [DEC] to select the
sample set number.

4.

Play the keyboard to hear the sound.

* For a sample set, the sixteen sample tones are mapped to keys B3–D5.

Menu/System

AppendixSequencer

53

Creating a List of Frequently Used Sounds (Favorite)

You can make a list of sounds that you frequently use in live
performance, and recall these sounds instantly. You are free to
register any type of sound — patches, rhythm sets, sample sets, live
sets, studio sets, or songs — so you’ll be able to instantly recall any
sound you need for your performance.

You can register sixteen sounds (steps) in a bank, and you can create
sixteen of these banks.

For example, up to sixteen sounds (steps) that you use in the first
song of your live performance could be registered in bank 1, in the
order in which they appear in the song.

Registering a Sound (Regist)

1.

Access the screen for the patch (or rhythm set, sample set,
live set, or studio set) that you want to register.

2.

Press [FAVORITE] twice so it’s blinking.

The Favorite Edit screen will appear.

Each time you press [FAVORITE], you will alternate between
the Favorite Play screen ([FAVORITE] lit) and the Favorite Edit
screen ([FAVORITE] blinking).

fig.05-001c_50

Step

Currently selected sound

Volume of each step

3.

Press [F1 Bank
which you want to register the sound.

4.

Use the cursor buttons
(step) in which you want to register the sound.

You can register the sound in any of the sixteen steps. You’ll
want to register each sound in the order that’s appropriate for
the progression of your song or live performance.

5.

Press [F8 (Regist)] to register the sound.

For example if you registered the sound to number 02 of bank 1,
the display will indicate “Regist to 1-02”.

] or [F2 Bank ] to select the bank in

or to select the number

Recalling a Sound

Using the Favorite Play screen to
recall sounds

1.

Press [FAVORITE] so it’s lit.

Each time you press [FAVORITE], you will alternate between
the Favorite Play screen ([FAVORITE] lit) and the Favorite Edit
screen ([FAVORITE] blinking).

2.

Press

3.

Use [F1 (1)]–[F8 (8)] to select the step number that you want
to recall.

If you want to select 9--16, hold down [SHIFT] and press [F1
(9)]–[F8 (16)].

The selected sound will be recalled.

or to select the bank that you want to recall.

Bank

F-key operations in the Favorite Edit screen

F-key

F1
Bank

F2
Bank

F3
Step

F4
Step

F5
Dynamic Pad

F6
Util Menu

F7
Remove

F8
Regist

Text display area

Explanation Page

Selects the bank. –

Selects the bank. –

Selects the step and recalls the sound. p. 54

Selects the step and recalls the sound. p. 54

Sets the pads in Favorite mode. p. 54

Font Switches the display

Set Song Registers a song p. 56
Import Text Imports text p. 56
Remove Text Deletes text p. 57
Remove Bank Deletes a bank p. 55
Deletes the registration of a sound. p. 55

Registers a sound. p. 54

font

p. 57

As an alternative to step 3, you can also press
the he step number. In this case, the sound will not be switched
until you press [ENTER].

or to select

Using the Favorite Edit screen to
recall sounds

1.

Press [FAVORITE] twice so it’s blinking.

The Favorite Edit screen will appear.

2.

Press [F1 Bank
from which you want to recall sounds.

3.

Press [F3 Step
number (1–16) that you want to recall.

The selected sound will be recalled immediately.

As an alternative to step 3, you can also press
the he step number. In this case, the sound will not be switched
until you press [ENTER].

] or [F2 Bank ] to select the bank

] or [F4 Step ] to select the step

or to select

54

Creating a List of Frequently Used Sounds (Favorite)

Using the pads to recall sounds

1.

In the Favorite Edit screen, press [F5 (Dynamic Pad)].

The pads will be set to Favorite mode.

• Now you can press pads

[1]–[16] to select the sound
(step) that’s registered for
each pad.

• You can press

[ROLL](BANK) to switch
banks (1–6). → p. 189

If you want to use the pads to successively switch between live
sets (or studio sets), set the system parameter

Source”

mode will change to the setting of that particular live set (or
studio set) when you switch to a live set (or studio set).

(p. 292) to “SYS.” If this is set to “TEMP,” the pad

“Pad Assign

Specifying the Volume for Each Step (Favorite Level)

Here’s how to specify the volume (Favorite Level) for each step. Use
this to adjust the volume of each sound in your live performance.

1.

In the Favorite Edit screen, press
cursor to the step whose volume you want to adjust.

2.

Use knob 4 or [INC] [DEC] to specify the volume (Favorite
Level).

Range:

0–127

or to move the

Changing the Step in Which You Registered a Sound

Here’s how to move a registered sound to a different step.

1.

In the Favorite Edit screen, press
cursor to the step at which the sound you want to move is
registered.

2.

While holding down [SHIFT], press
sound.

or to move the

or to move the

Overview Sound 1 Sound 2 Sound 3 Pad Sampler

Removing a Sound You Registered (Remove)

Here’s how to remove a registered sound from the favorites list.

1.

In the Favorite Edit screen, press
cursor to the step whose registration you want to remove.

2.

Press [F7 (Remove)].

For example if you remove the registration from step number 02
of bank 1, the display will indicate “Remove 1-02,” and that step
will be empty.

or to move the

Removing All Sound Registrations from a Bank (Remove Bank)

Here’s how to remove all sound registrations from a bank.

1.

In the Favorite Edit screen, press [F1 Bank
Bank
want to remove.

2.

Press [F6 (Util Menu)].

The Favorite Utility Menu window will appear.

3.

Press
[F8 (Select)].

If you removed all registrations from bank 1, the display will
indicate “Remove Bank 1,” and that bank will be empty.

] to select the bank whose sound registrations you

or to select “Remove Bank,” and then press

] or [F2

Menu/System

AppendixSequencer

55

Creating a List of Frequently Used Sounds (Favorite)

Registering a Song (Set Song)

Here’s how to register a song instead of a sound.

1.

In the Favorite Edit screen, press [F1 Bank
Bank ] to select the bank in which you want to register a
song.

2.

Press
want to register a song.

3.

Press [F6 (Util Menu)].

The Favorite Utility Menu window will appear.

4.

Press
(Select)].

The Song Select screen will appear.

5.

Press

6.

Press [F8 (Select)] to register the song.

For example if you register the song in number 02 of bank 1, the
display will indicate “Regist to 1-02.”

Songs can be recalled in the same way as recalling sounds.

or to select the number (step) in which you

or to select “Set Song,” and press [F8

or to select a song.

] or [F2

Importing a Text File (Import Text)

You can create a text file on your computer, and import it into the
Fantom-G so that it can be displayed in the Favorite screen.

1.

Use the USB Storage function to place the text file in the
“IMPORT” folder of the Fantom-G’s internal memory or the
USB memory.

“Exchanging Files with Your Computer (USB Storage)”

285)

2.

Access the Favorite Edit screen, and press [F1 Bank ] or
[F2 Bank ] to select the bank in which you want to
display the text.

3.

Press [F6 (Util Menu)].

The Favorite Utility Menu window will appear.

4.

Press
[F8 (Select)].

5.

Press [F1 (Internal)] or [F2 (USB Memory)] to select the
import-source area (either internal memory or USB
memory).

6.

Press

or to select “Import Text,” and then press

or to select the file that you want to import.

(p.

7.

Press [F8 (Import Text)].

The file to be imported will appear.

* If you decide to cancel, press [F7 (Cancel)].

8.

Press [F8 (Execute)].

The file will be imported.

* If you decide to cancel, press [F7 (Cancel)].

You can scroll the screen by pressing

or .

56

Creating a List of Frequently Used Sounds (Favorite)

Removing a Text File (Remove Text)

Here’s how to remove a text file that you imported.

1.

Access the Favorite Edit screen, and press [F1 Bank
[F2 Bank ] to select the bank whose text you want to
remove.

2.

Press [F6 (Util Menu)].

The Favorite Utility Menu window will appear.

3.

Press
[F8 (Select)].

A message will appear, and the text will be removed from the
selected bank.

or to select “Remove Text,” and then press

] or

Switching the Display Font (Font)

Here’s how to switch the display font of the imported text. The
display font will switch each time you perform the following steps.

1.

Press [F6 (Util Menu)].

The Favorite Utility Menu window will appear.

2.

Press

The display font will be switched.

or to select “Font,” and press [F8 (Select)].

Overview Sound 1 Sound 2 Sound 3 Pad Sampler

57

Menu/System

AppendixSequencer

Playing in Live Mode

Live mode is designed for live performances; it lets you play up to
eight patches (or rhythm sets or sample sets) at the same time. For
example you can layer (p. 62) a piano sound with strings, or split (p.

62) sounds across the keyboard so that your right hand plays a piano
sound while your left hand plays a bass sound.

In addition, Live mode lets you play the parts of any installed
expansion boards (the number of parts will depend on the type
of expansion board) and any external MIDI output parts at the
same time as the eight parts of the internal sound generator.

Part group Number of parts

Internal 8
Expansion board 1 Maximum 16

* Depends on the expansion board

Expansion board 2 Maximum 16

* Depends on the expansion board

External MIDI output 16

A “live set” contains a patch (or rhythm set or sample set)
assignment as well as volume and pan for each part.

When you play the keyboard, parts whose keyboard switch is on
will be sounded. If none are on, the current part will sound.

In addition to the settings of each part, the following settings can
also be stored for each live set.

• Controller settings such as the D Beam, 1–4 knobs, 1–8 sliders,

[S1] [S2] buttons, and pads

If the keyboard switch of the part group (INT, EXP1, EXP2,
EXT) is turned on for even one part, the current part will not
sound. If you want to sound the current part, turn off the
keyboard switch for all parts.

Displaying Live Play (Layer/ Split) Screen

To access the Live Play (Layer/Split) Screen, use the following
procedure.

1.

Press [LIVE].

You will enter Live Mode, and the Live Play (Layer/Split)
Screen appears.

fig.04-015_50

F-key operations in the Live Play (Layer/Split) screen

F-key

F1
Patch List

F2
Utility

F3
Part View

F4
Control

F5
LiveSet List

F6 Switches between the normal screen and a

F7
Mixer

F8
Layer Edit

Explanation Page

Selects the patch sound that’s assigned to
each part.

Makes settings common to the entire live set. p. 132

Makes detailed settings for each part of the
live set.

Selects the parameters that will be controlled
by the realtime controllers or the D Beam con­troller.

Selects a live set. p. 60

screen that shows only the parts whose key­board switch is on.

Displays the mixer screen. p. 63

Displays the Layer Edit screen. p. 64

p. 61

p. 133

p. 142

p. 61

58

Playing in Live Mode

3

Functions in the Live Play (Layer/Split) Screen

fig.08-002.j

1 2 3 4

5

11

Number

1

2

4

5

6

7

8

9

10

11

12

13

14

7 8 9

10

Explanation Page

Indicates the current sound generator mode. p. 39

Indicates the on/off status of each effect.

PFX Patch multi-effect
MFX1 Multi-effect 1
MFX2 Multi-effect 2
IFX Input effect
CHO Chorus
REV Reverb
MAS Mastering effect

Indicates the current location of the song, and the
status of the sequencer.

The Menu/Exit/Shortcut buttons for the USB
mouse.

Indicates/selects the bank, name, and number of the
currently selected live set.

Indicates the pad mode. p. 188

Indicates/selects the type, bank, number, and name
of the patch, rhythm set, or sample set for each part.

Indicates/changes the keyboard switch setting. p. 61

Indicates/changes the key range. p. 62

Indicates the key range that the Fantom-G6/G7/G8
can play.

Indicates the functions assigned to the realtime con­trol sliders (1–8), knobs (1–4) and the S1/S2 switch­es.
In Live mode, the sliders (1–8) indicate the levels of
the 8 internal parts. (p. 62)

Indicates the function assigned to the D Beam con­troller and the response state of the D Beam control­ler.

Indicates the
lever.

Specifies the arpeggio part and pad part. p. 61

“Bend Mode”

(p. 97) of the pitch bend

14

12 13

6

p. 150

p. 205

p. 26

p. 60

p. 61

–

p. 142

p. 142

p. 97

Overview Sound 1 Sound 2 Sound 3 Pad Sampler

Menu/System

AppendixSequencer

59

Playing in Live Mode

Live set number

Live set bank

Selecting a Live Set

The Fantom-G has two live set banks, including the User bank and
Preset banks.

USER

This is the bank inside the Fantom-G which can be rewritten. Live
Sets you create can be stored in this bank. You can store 512 live sets.

PRST (Preset)

This is the bank inside the Fantom-G which cannot be rewritten.
However you may modify the settings of the currently selected live
set, and then store the modified live set in User memory. The
Fantom-G contains 512 preset live sets.

1.

Press [LIVE].

2.

Press [CURSOR] to move the cursor to the live set bank.

fig.08-003.e

Selecting Live Sets from the List

You can display a list of live sets and select a live set from that list.

1.

Press [LIVE].

2.

Press [F5 (LiveSet List)].

The Live Set List screen appears.

fig.08-004_50

3.

Turn the VALUE dial or press
set.

4.

Press [F8 (Select)] to close the Live Set List screen.

Pressing [F6 (User Group)] will access the user group list screen,
where you can register frequently-used studio sets.

→ “Registering a sound in the User Group screen”

or to select the live

(p. 201)

3.

Turn the VALUE dial, or press [INC] [DEC] to select a live
set bank.

USER:
PRST:

4.

Press [CURSOR] to move the cursor to the live set number.

5.

Turn the VALUE dial or press [INC] [DEC] to select the live
set number.

User
Preset

If you’re using a USB mouse, you can click the keyboard symbol
in the screen to access a virtual keyboard, which allows you to
perform a keyword search.

60

Playing in Live Mode

Using the Live Play (Layer/ Split) Screen

When you modify the settings of a Live Set, the Live Play screen
will indicate “ .” The settings you modify are temporary, and
will be lost when you turn off the power, switch the sound
generator mode, or select a different sound. If you want to keep
the modified sound, you must save it in the User bank (

a Live/Studio Set You’ve Created (Write)”

(p. 148)).

Selecting a Part

The currently selected part is called the “

1.

Press [LIVE] to access the Live Play (Layer/Split) Screen.

2.

Use or to select the part.

The part number is shown in red for the selected part.

fig.08-007_50

current part

“Saving

.”

The current part will not sound if even one keyboard switch is
on. If you want to hear the current part, turn off the keyboard
switch for all parts.

Selecting the Part Played by the Pads

Use the pad switch to select the part whose rhythm set or sample set
will be played by the pads.

1.

As described in the procedure for “Switching the Pad Mode
(PAD MODE)” (p. 188), set the pad mode to either “1
SAMPLE PAD” or “2 RHYTHM.”

2.

In the Live Play (Layer/Split) screen, use [CURSOR] to move
the cursor to the “SAM” or “RHY” field, and press [INC] to
turn on the pad switch for the part that you want to play
from the pads.

When you press the pads, you’ll hear the part whose pad switch
is on.

Patch Type

Overview Sound 1 Sound 2 Sound 3 Pad Sampler

As you continue pressing
allowing you to select expansion board parts (if an expansion
board is installed) or external MIDI output parts.

, the screen will scroll downward,

Selecting the Part that You want to Sound (Keyboard Switch)

Here’s how to select the parts whose patch, rhythm set or sample set
will sound. For each part, use the switch to specify whether that part
will be played from the keyboard; this is called the “keyboard
switch.”

1.

In the Live Play (Layer/Split) screen, use [CURSOR] to move
the cursor to the “KBD” area, and press [INC] to turn on the
keyboard switch for the part(s) you want to play.

When you play the keyboard, you’ll hear the part(s) whose
keyboard switch you turned on. If all of the keyboard switches
are off, you’ll hear the current part.

fig.08-008_50

Make sure that the Patch Type is set to “SAMPLE“ or
“RHYTHM.” If this is set to “PATCH,” use [CURSOR] to move
the cursor to the patch type, and turn the VALUE dial or press
[INC] [DEC] to select “SAMPLE“ or “RHYTHM.”

In the same way, you can use the “ARP” switch to specify the

“Arpeggio Part Number”

(p. 146).

Selecting the Sound for a Part

If you don’t like the patch that is assigned to a part, it’s easy to
switch the patch.

1.

Select the part whose sound you want to switch.

2.

Press [F1 (Patch List)].

The Patch List screen will appear.

fig.05-008_50

Menu/System

You can turn on the keyboard switch for more than one part.

By pressing [F6
the parts whose keyboard switch is on.

] you can switch to a screen that shows only

For details on using the Patch List screen, refer to

Patches from the List”

(p. 49).

AppendixSequencer

“Selecting

61

Playing in Live Mode

Combining and Playing Sounds Together (Layer)

In live mode you can play the sounds of all parts whose Keyboard
Switch is on. Combining the parts will produce, thicker, fatter
sounds.

You can create layers in the Live Play (Layer/Split) screen.

fig.08-009.e

Part 1

(Rx ch.1)

Rx ch.: Receive Channel
Tx ch.: Transmit Channel

1.

Press [LIVE] to access the Live Play (Layer/Split) Screen.

2.

Use [CURSOR] to move the cursor to “KBD,” and press
[INC] to turn on the keyboard switch for the parts that you
want to hear.

If you press [DEC], the keyboard switch will turn off. The
displayed keyboard shows the key range that will sound.

When you play the keyboard, you’ll hear the parts whose
keyboard switch is on.

3.

Repeat steps 2. to turn the Keyboard Switch on for all parts
you want to play.

Part 2

(Rx ch.2)

KBD Switch:
On

1 (Tx ch.1)

2 (Tx ch.2)

7 (Tx ch.7)

8(Tx ch.10)

Part 7

(Rx ch.7)

Part 8

(Rx ch.10)

Playing Different Sounds in Different Areas of the Keyboard (Split)

In Live mode you can play (split) as many as 56 different patches
across the keyboard.

Part group

Internal
Expansion board 1 Maximum 16

Expansion board 2

External MIDI output 16

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

A split performance is one application of a layer. Changing the
key range of each part in the layer results in a split.

1.

Press [LIVE] to access the Live Play (Layer/Split) Screen.

2.

Use [CURSOR] to move the cursor to “KBD,” and press
[INC] to turn on the keyboard switch for the parts you want
to hear.

3.

Move the cursor to “Lower” and set the lower limit of the
keys that will play the part. Move the cursor to “Upper” and
set the upper limit of the keys that will play the part.

To specify the key range, you can turn the VALUE dial or use
[INC] [DEC]. The displayed keyboard indicates the range of
keys for which each part will sound.

fig.08-011_50

Number of parts

8

* Depends on the expansion board

Maximum 16

* Depends on the expansion board

Part 1 + Part 2:

(Strings + Piano)

Part 2: Piano

The eight sliders in the Live Play (Layer/Split) screen
correspond to the levels of the eight internal parts. You can
control these by using the eight sliders on the Fantom-G’s panel.

62

Value:

Key Range Lower: C-1–UPPER
Key Range Upper: LOWER–G9

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 in Live Mode

Using the Live Set Part Mixer Screen

The Live Set Part Mixer screen lets you adjust the level and effect
settings of each part just as if you were using a mixer.

Here’s how to access the Live Set Part Mixer screen.

1.

Press [LIVE].

You will enter Live Mode, and the Live Play (Layer/Split)
Screen appears.

2.

Press [F7 (Mixer)].

The Live Set Part Mixer screen will appear.

F-key operations in the Live Set Part Mixer screen

F-key

F1
Patch List

F4
Exit

F5
LiveSet List

F6 Switches between the Mixer 1/2 screens. –

F7 Selects the eight parts that will be con-

F8

In this screen, the name of the parameter selected by the cursor

is shown in the “
screen. Here you can also check the value of the current setting.

By pressing the [F7
move the screen to the left or right, switching the displayed part
group.

Part Group Explanation

Audio Track Audio tracks of the song
Internal Internal (internal sound generator)
EXP 1 Expansion board 1
EXP 2 Expansion board 2
External External MIDI output

You can switch the part group by holding down [SHIFT] and

pressing

Explanation Page

Selects the patch sound assigned to each
part.

Returns to the previous screen. –

Selects a live set. p. 60

trolled by the sliders. A frame is shown
around the currently selected parts. By
moving this frame outside the screen, you
can switch the part group that is dis­played.

” area at the lower left of the

] or [F8 ] key several times, you can

or .

p. 61

–

Editing the Part Settings

In the Live Set Part Mixer screen you can set the following
parameters for each part.

Use [F6

1.

Use [CURSOR] to move the cursor to the parameter you
want to edit.

2.

Turn the VALUE dial or use [INC] [DEC] to set the desired
value.

Mixer1/2
Internal

Mixer1

Mixer2 Part Output Level p. 136

EXP 1, EXP 2

Mixer1

Mixer2 Part Output Level p. 136

External

Mixer1

Mixer2 Keyboard Switch p. 135

Audio Track

Mixer1

Mixer2 Part Output Assign

*1 Parts whose Recording Switch is off will not be recorded to audio tracks of the

sequencer. (Nor will they be sampled.) You can turn this off for a part that you
want to hear, but not record as audio. Normally you will leave this turned on.
Effects will not be applied to a part whose Recording Switch is off.

] to switch between Mixer 1/2.

Parameter Page

Mute Switch p. 134
Part Chorus Send Level p. 136
Part Reverb Send Level p. 137
Part Pan p. 134
Part Level p. 134

Part Output Assign p. 136
Recording Switch *1
Keyboard Switch p. 135
Arpeggio Part p. 146
Sample Pad Part p. 146
Rhythm Pad Part p. 146

Mute Switch p. 134
Part EFX1 Send Level p. 137
Part EFX2 Send Level p. 137
Part Pan p. 134
Part Level p. 134
Exp.1/2 Master Chorus Send Level
Exp.1/2 Master Reverb Send Level
Exp.1/2 Master Pan
Exp.1/2 Master Level

Part Output Assign p. 136
Keyboard Switch p. 135
Arpeggio Part p. 146
Rhythm Pad Part p. 146
Exp.1/2 Master Output Level
Exp.1/2 Master Output Assign
Exp.1/2 Master Recording Switch

External Pan p. 135
External Level p. 135

Arpeggio Part p. 146
Rhythm Pad Part p. 146

Mute Switch
Part Chorus Send Level
Part Reverb Send Level
Part Pan
Part Level

Recording Switch *1

Overview Sound 1 Sound 2 Sound 3 Pad Sampler

Menu/System

AppendixSequencer

63

Playing in Live Mode

Using the Layer Edit Screen

In general, the Layer Edit screen operates in the same way as the
Live Play (Layer/Split) screen, but you can use the F3–F6 keys to
instantly switch between the displayed part groups.

F-key

F3 Internal
F4 EXP 1 Expansion board 1
F5 EXP 2 Expansion board 2
F6 External External MIDI output

Here’s how to access the Layer Edit screen.

1.

Press [LIVE].

You will enter Live Mode, and the Live Play (Layer/Split)
Screen appears.

fig.04-015_50

Explanation

Internal (internal sound generator)

Selecting the Sound for a Part

If you don’t like the patch that is assigned to a part, it’s easy to
switch the patch.

1.

Select the part whose sound you want to switch.

2.

Press [F1 (Patch List)].

The Patch List screen will appear.

fig.05-008_50

For details on using the Patch List screen, refer to

Patches from the List”

(p. 49).

“Selecting

Editing the Part Settings

2.

Press [F8 (Layer Edit)].

The Layer Edit screen will appear.

In the Layer Edit screen you can set the following parameters for
each part.

Parameter

Keyboard Switch (p. 135)
Patch Type (p. 134) Type
Patch Bank (p. 134) Bank
Patch Number (p. 134) Patch Name
Keyboard Range Lower (p. 135) Lower
Keyboard Range Upper (p. 135) Upper
Arpeggio Part (p. 146) ARP
Sample Pad Part / Rhythm Pad Part (p. 146) SAM/RHY

1.

Press [LIVE], and then press [F8 (Layer Edit)] to access the
Layer Edit screen.

Shown in the
screen as

KBD

64

2.

Use [CURSOR] to move the cursor to the parameter you
want to edit.

3.

Turn the VALUE dial or use [INC] [DEC] to set the desired
value.

Playing in Live Mode

Performing with the Arpeggio

For details on using the Arpeggio, refer to

Arpeggios”

(p. 78)

.

“Playing

Performing with the Realtime Controllers and D Beam Controller

For details on the setting, refer to

Controlled by the Realtime Controllers or D Beam
Controller (Control Setting)”

“Selecting the Parameter

(p. 142).

Setting Effects

For details regarding effect settings, refer to the pages shown
below.

•

“Making Effect Settings”

•

“Applying Effects in Live Mode”

(p. 151)

(p. 151)

Overview Sound 1 Sound 2 Sound 3 Pad Sampler

Adjusting the Master Level

For details, refer to

“How Do I Adjust the Volume?”

(p. 298)

Making Detailed Settings for a Live Set

Refer to

“Creating a Live/Studio Set”

(p. 132)

.

Menu/System

AppendixSequencer

65

Playing in Studio Mode

Studio mode is what you’ll use when recording a song. It provides
sixteen parts, and allows you to assign a patch (or rhythm set or
sample set) to each of these parts, thus allowing you to use sixteen
different sounds simultaneously.

You can use the mixer screen to adjust the level and pan for each of
the sixteen parts.

In addition to sixteen parts of the internal sound generator,
Studio mode allows you to simultaneously use parts of an
expansion board (the number of parts depends on the
expansion board) and external MIDI output parts.

Number of parts

Internal 16
Expansion board 1 Maximum 16

* Depends on the expansion board

Expansion board 2 Maximum 16

* Depends on the expansion board

External MIDI output

A Studio set contains a patch (rhythm set, sample set) assignment for
each part, as well as settings such as volume and pan for each part.

When you play the keyboard, you’ll hear the current part.

16

Displaying Studio Play Screen

The Studio Play screen allows you to adjust the level and effect
settings of each part just as if you were using a mixer.

To access the Studio Play Screen, use the following procedure.

1.

Press [STUDIO].

You will enter Studio Mode, and the Studio Play Screen
appears.

fig.04-015_50

Every part whose keyboard switch (p. 69) is on will sound. We
recommend that you leave the keyboard switch turned off. If it
is on, parts other than the current part will also sound, and this
is probably not what you want when you’re creating a song.

Recording a song

For details on recording a song, refer to

217).

“Recording MIDI”

(p.

F-key operations in the Studio Play screen

F-key

F1
Patch List

F2
Utility

F3
Part View

F4
Control

F5
Studio List

F6 Switches between the Mixer1/2 screens. –

F7 Selects the eight parts that will be controlled

F8

In the Studio Play screen, pressing the [F6

Explanation Page

Selects the patch assigned to each part. p. 68

Makes settings common to the entire studio
set.

Makes detailed settings for each part of the
studio set.

Selects the parameters that will be controlled
by the realtime controllers and the D Beam
controller.

Selects a studio set. p. 68

by the slider. A frame is shown around the
currently selected parts. By moving this
frame outside the screen, you can switch the
part group that is displayed.

p. 132

p. 133

p. 70

–

] a number of
times will display the controller status (the functions assigned
to sliders 1–8, knobs 1–4, switches S1/S2, and the D Beam
controller, and the Bend Mode of the pitch bend lever).

Pressing [F6 ] cycles you through the screens as follows.

MIXER 1➔MIXER 2➔Controller display➔MIXER 1

...

* The controller display will not appear if audio tracks are shown in the

mixer.

66

Playing in Studio Mode

3

Studio set number

Studio set bank

Functions in the Studio Play Screen

fig.08-002.j

1 2 3 4

5 6

7

Number

Explanation

Indicates the current sound generator mode.

1

Indicates the on/off status of each effect.

2

4

5

6

7

8

PFX Patch multi-effect
MFX1 Multi-effect 1
MFX2 Multi-effect 2
IFX Input effect
CHO Chorus
REV Reverb
MAS Mastering effect

Indicates the current location of the song, and the
status of the sequencer.

The Menu/Exit/Shortcut buttons for the USB
mouse.

Indicates/selects the bank, number, and name of the
currently selected studio set.

Indicates/selects the part group, part number, bank,
number, and name of the patch, rhythm set, or sam­ple set for the current part.

Accesses the mixer screen. p. 69

Indicates the pad mode. p. 188

Switching the Displayed Part Group

In addition to the internal (internal sound generator) parts, the
Studio Play screen allows you to switch the view to see audio tracks,
expansion board parts, or external MIDI output parts.

8

Page

p. 39

p. 150

p. 205

p. 26

p. 67

p. 68

Selecting a Studio Set

The Fantom-G has two studio set banks, including the User bank
and Preset banks.

USER

This is the bank inside the Fantom-G which can be rewritten. Studio
Sets you create can be stored in this bank. You can store 128 studio
sets.

PRST (Preset)

This is the bank inside the Fantom-G which cannot be rewritten.
However you may modify the settings of the currently selected
studio set, and then store the modified studio set in User memory.
The Fantom-G contains 8 preset studio sets.

1.

Press [STUDIO].

2.

Press [CURSOR] to move the cursor to the studio set bank.

fig.08-003.e

3.

Turn the VALUE dial, or press [INC] [DEC] to select a studio
set bank.

USER:
PRST:

4.

Press [CURSOR] to move the cursor to the studio set
number.

5.

Turn the VALUE dial or press [INC] [DEC] to select the
studio set number.

User
Preset

Overview Sound 1 Sound 2 Sound 3 Pad Sampler

1.

Press [STUDIO] to access the Studio Play screen.

2.

Press the [F7
screen to left or right, selecting the part group that is
displayed.

Part group

Audio Track
Internal Internal (internal sound generator)
EXP 1 Expansion board 1
EXP 2 Expansion board 2
External External MIDI output

You can switch the part group by holding down [SHIFT] and

pressing

] or [F8 ] key several times to move the

Explanation

Audio tracks in the song

or .

Menu/System

AppendixSequencer

67

Playing in Studio Mode

Selecting Studio Sets from the List

You can display a list of studio sets and select a studio set from that
list.

1.

Press [STUDIO].

2.

Press [F5 (Studio List)].

The Studio Set List screen appears.

fig.08-004_50

3.

Turn the VALUE dial or press
studio set.

or to select the

Using the Studio Play Screen

When you modify the settings of a Studio Set, the Studio Play
screen will indicate “ .” Settings you modify are temporary,
and will be lost if you turn off the power, switch the tone
generator mode, or select a different sound. If you want to keep
the modified sound, you must save it in the User bank (

a Live/Studio Set You’ve Created (Write)”

Selecting a Part

The currently selected part is called the “

1.

Press [STUDIO].

The Studio Play screen appears.

2.

Use [CURSOR] to select the part.

The selected part is highlighted.

fig.08-007_50

current part

(p. 148)).

“Saving

.”

4.

Press [F8 (Select)] to close the Studio Set List screen.

By pressing [F6 (User Group)] you can access the user group list
screen, where you can register frequently-used studio sets.

→ “Registering a sound in the User Group screen”

If you’re using a USB mouse, you can click the keyboard symbol
in the screen, and then use the virtual keyboard in the screen to
perform a keyword search.

(p. 201)

3.

Play the keyboard, and you’ll hear the current part.

Selecting the Sound for a Part

If you don’t like the patch that is assigned to a part, it’s easy to
switch the patch.

1.

Select the part whose sound you want to switch.

2.

Press [F1 (Patch List)].

The Patch List screen will appear.

For details on using the Patch List screen, refer to

Patches from the List”

(p. 49).

“Selecting

68

Playing in Studio Mode

Selecting the Part that You Want to Sound (Keyboard Switch)

Here’s how to select the part that you want to play from the
keyboard. Each part has a setting called the “keyboard switch” that
determines whether that part will sound in response to the
keyboard. If this is turned off for all parts, the current part will
sound.

When you’re recording a song, we recommend that you turn
the keyboard switch off for all parts. If this is turned on for any
parts, the keyboard will not play the current part, which would
not be convenient for song production.

1.

Press [STUDIO].

2.

Press [F6

3.

Use [CURSOR] to move the cursor to the “Keyboard Sw”

].

field, and press [INC] to turn the keyboard switch on.

When you play the keyboard, you’ll hear the parts whose
keyboard switch is on. If the keyboard switch is turned off for
all parts, you’ll hear the current part.

fig.08-008_50

You can turn on the keyboard switch for multiple parts.

Editing the Part Settings

In the Studio Play screen you can set the following parameters for
each part.

1.

Press [STUDIO].

2.

Use [CURSOR] to move the cursor to the parameter you
want to edit.

3.

Turn the VALUE dial or use [INC] [DEC] to set the desired
value.

Use [F6

Mixer1/2
Internal

Mixer1

Mixer2 Part Output Level p. 136

EXP 1, EXP 2

Mixer1

Mixer2 Part Output Level p. 136

External

Mixer1

Mixer2 Keyboard Switch p. 135

Audio Track

Mixer1

Mixer2 Part Output Assign

*1 Parts whose Recording Switch is off will not be recorded to audio tracks of the

sequencer. (Nor will they be sampled.) You can turn this off for a part that you
want to hear, but not record as audio. Normally you will leave this turned on.
Effects will not be applied to a part whose Recording Switch is off.

] to switch between Mixer 1/2.

Parameter Page

Mute Switch p. 134
Part Chorus Send Level p. 136
Part Reverb Send Level p. 137
Part Pan p. 134
Part Level p. 134

Part Output Assign p. 136
Recording Switch *1
Keyboard Switch p. 135
Arpeggio Part p. 146
Sample Pad Part p. 146
Rhythm Pad Part p. 146

Mute Switch p. 134
Part EFX1 Send Level p. 137
Part EFX2 Send Level p. 137
Part Pan p. 134
Part Level p. 134
Exp.1/2 Master Chorus Send Level
Exp.1/2 Master Reverb Send Level
Exp.1/2 Master Pan
Exp.1/2 Master Level

Part Output Assign p. 136
Keyboard Switch p. 135
Arpeggio Part p. 146
Rhythm Pad Part p. 146
Exp.1/2 Master Output Level
Exp.1/2 Master Output Assign
Exp.1/2 Master Recording Switch

External Pan p. 135
External Level p. 135

Arpeggio Part p. 146
Rhythm Pad Part p. 146

Mute Switch
Part Chorus Send Level
Part Reverb Send Level
Part Pan
Part Level

Recording Switch *1

Overview Sound 1 Sound 2 Sound 3 Pad Sampler

Menu/System

In this screen, the name of the parameter selected by the cursor

is shown in the “

” area at the lower left of the

screen. The current value is also shown here.

For details on how to switch between part groups, refer to

“Switching the Displayed Part Group”

(p. 67).

AppendixSequencer

69

Playing in Studio Mode

Performing with the Arpeggio

For details on using the Arpeggio, refer to

Arpeggios”

(p. 78)

.

“Playing

Performing with the Realtime Controllers and D Beam Controller

For details on the setting, refer to

Controlled by the Realtime Controllers or D Beam
Controller (Control Setting)”

“Selecting the Parameter

(p. 142).

Setting Effects

For details regarding effect settings, refer to the pages shown
below.

•

“Making Effect Settings”

•

“Applying Effects in Studio Mode”

(p. 151)

(p. 154)

Adjusting the Master Level

For details, refer to

“How Do I Adjust the Volume?”

(p. 298).

Making Detailed Settings for a Studio Set

Refer to

“Creating a Live/Studio Set”

(p. 132)

.

70

03: Sound Generator, Section 2

This chapter explains the realtime controllers, the arpeggiator, and the chord memory
function.

• Real Time Controller ....................................................p. 72

• Arpeggios..................................................................p. 78

• Chord Memory ...........................................................p. 81

(Controlling Sounds)

Modifying the Sound in Real Time

The usable range of the D Beam controller

The following diagram shows the usable range of the D Beam
controller. Waving your hand outside this range will produce
no effect.

fig.10-003

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
shortens as you move your hand away.

fig.10-002

You can use the D Beam controller, realtime controllers, assignable
switches or a pedal to modify the sound while you perform.

Here we will explain the procedures and settings for using these
functions in Single mode. The operations are the same in Live
Mode/Studio Mode.

Waving Your Hand Over the D Beam to Modify the Sound (D Beam Controller)

The

D Beam controller

over it. It can be used to apply various effects, depending on the
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-G, 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.

can be used simply by waving your hand

1.

Access the Single Play screen (p. 46).

The following area of the screen is the D Beam controller
display area.

fig.10-001

2.

Press either the D BEAM [PAD TRIGGER], [SOLO SYNTH],
or [ASSIGNABLE] button to turn on the D Beam controller.

•

PAD TRIGGER button:

•

SOLO SYNTH button:

•

ASSIGNABLE button:

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.

4.

To turn off the D Beam controller, once again press the
button you pressed in step 2 so the indicator goes out.

Use the D Beam controller to play
sounds instead of striking the pads.

Lets you use the D Beam as a
monophonic synthesizer.

Operates the function assigned to
the D Beam controller.

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. 291).

If live mode is selected, the D Beam controller on/off setting is
saved for each live set as part of the live set settings. Similarly in
studio mode, this setting is saved as part of the studio set.

72

Modifying the Sound in Real Time

Making Settings for the D Beam Controller

Pad Trigger (Pad-related settings)

You can use the D Beam controller to control the pads as an
alternative to striking the pads themselves.

1.

Hold down [SHIFT] and press D BEAM [PAD TRIGGER].

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.

Press [EXIT] to close the window.

Beam Trigger Pad

Specifies the pad number affected by the D Beam.

Value:

Pad 1–Pad 16

Beam Trigger Velo (Beam Trigger Velocity)

Specifies the strength of the pad sound played by the D Beam
controller.

Value:

1–127

Solo Synth

On the Fantom-G you can play a monophonic synthesizer whose
pitch is controlled by the D Beam.

1.

Hold down [SHIFT] and press D BEAM [SOLO SYNTH].

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 the settings, press [F7 (Sys Write)].

Press [EXIT] to close the Solo Synth window.

Setting for the Solo Synth are saved for system settings.

In this screen, the name of the parameter selected by the cursor

is shown in the “
screen. The current value of the setting is also shown here.

OSC 1/2 Waveform

Select the waveform.
wave.

Value:

SAW, SQR

SAW

is a sawtooth wave, and

” area in the lower left of the

SQR

is a square

Overview Sound 1 Sound 2 Sound 3 Pad Sampler

Beam Trigger Mode

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.

Value:

MOMENTARY, LATCH

If Live mode is selected, PAD trigger settings are saved
independently for each live set as part of the live set settings.
This lets you create live sets that make effective use of controller
settings. Similarly in studio mode, this setting is saved as part of
the studio set.

If Single mode is selected, this is saved as part of the system
settings. If you want to save the settings, press [F7 (Sys Write)].

OSC 1/2 Pulse Width

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.

Value:

0–127

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 waveform.

Value:

-63– +63

LFO Osc 2 Pulse Width Depth

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 waveform.

Value:

-63– +63

Menu/System

73

AppendixSequencer

Modifying the Sound in Real Time

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

Specifies the depth to which the LFO will modulate the OSC2 pitch.

Value:

-63– +63

OSC 1/2 Coarse Tune

Adjusts the pitch of the tone’s sound up or down in semitone steps
(+/-4 octaves).

Value:

-48– +48

OSC 1/2 Fine Tune

Adjusts the pitch of the tone’s sound up or down in 1-cent steps (+/­50 cents).

Value:

-50– +50

OSC 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:

ON, OFF

OSC2 Level

Adjust the OSC2 level.

Value:

0–127

Filter Type

Selects the type of filter. A filter modifies the brightness or thickness
of the sound by cutting a specific frequency range.

Value
OFF:
LPF:

BPF:

HPF:

PKG:

No filter is used.
Low Pass Filter. This reduces the volume of all

frequencies above the cutoff frequency (Cutoff Freq).
Band Pass Filter. This leaves only the frequencies in

the region of the cutoff frequency, and cuts the rest.
High Pass Filter. This cuts the frequencies in the

region below the cutoff frequency.
Peaking Filter. This emphasizes the frequencies in

the region of the cutoff frequency.

Cutoff

Selects the frequency at which the filter begins to have an effect on
the waveform’s frequency components.

Value:

0–127

Resonance

Emphasizes the portion of the sound in the region of the cutoff
frequency, adding character to the sound.

Value:

0–127

LFO Rate

Adjusts the modulation rate, or speed, of the LFO.

Value:

0–127

Range (Solo synth range)

Specifies the range in which the pitch of the solo synth will vary.

Value:

2 OCT, 4 OCT, 8 OCT

Chorus Send Level

Sets the level of the signal sent to chorus.

Value:

0–127

Reverb Send Level

Sets the level of the signal sent to reverb.

Value:

0–127

Level

Sets the volume.

Value:

0–127

74

Modifying the Sound in Real Time

Assignable

You can assign various functions to the D Beam controller and apply
a wide range of effects to the sound in real time.

1.

Hold down [SHIFT] and press D BEAM [ASSIGNABLE].

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.

Press [EXIT] to close the window.

Type (Assignable Type)

Specifies the function controlled by the D Beam controller.

Value
OFF:
CC01–31, CC32(OFF), 33–95:

AFTERTOUCH:
BEND UP:

BEND DOWN:

ARPEGGIO ACCENT:
ARPEGGIO SHUFFLE:
ARPEGGIO OCT UP:

ARPEGGIO OCT DOWN:

Off

Control Change
Aftertouch
Controls the pitch as specified by the

“Pitch Bend Range Up” setting (p. 96).
Controls the pitch as specified by the

“Pitch Bend Range Down” setting (p.

96).
Arpeggio accent rate
Arpeggio shuffle rate
The range in which the arpeggio is

sounded will rise in steps of an octave.
The range in which the arpeggio is

sounded will lower in steps of an octave.

Using Knobs, Sliders or S1/S2 Buttons to Modify the Sound (Realtime Controller)

You can use the knobs, sliders and [S1] [S2] buttons to modify the
sound in real time.

1.

Access the Single Play screen (p. 46).

The “Realtime Control” area shows the function that is assigned
to each realtime controller knob, slider and [S1] [S2] button.

fig.10-007.e

2.

While playing the keyboard to produce sound, operate the
knobs, sliders or [S1] [S2] buttons.

The sound will change according to the function assigned to
each knob, slider or button.

Overview Sound 1 Sound 2 Sound 3 Pad Sampler

Range Min

Specify the lower limit of the range of the D Beam controller.

Value:

0–127

Range Max

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

If Live mode is selected, The settings for the ASSIGNABLE are
saved independently for each live set as part of the live set
settings. This lets you create live sets that make effective use of
controller settings. Similarly in studio mode, this setting is
saved as part of the studio set.

If Single mode is selected, this is saved as part of the system
settings. If you want to save the settings, press [F7 (Sys Write)].

Menu/System

AppendixSequencer

75

Modifying the Sound in Real Time

Changing Realtime Controller Settings

Knob 1–4 Settings

1.

Hold down [SHIFT] and rotate one of the knobs.

The Knob screen appears.

2.

Move the cursor to the parameter that you want to set, and
turn the VALUE dial or press [INC] [DEC] to set it.

3.

If you want to save your settings, press [F7 (Sys Write)].
Press [Exit] to return to the previous screen.

Realtime controller settings are saved independently for each
live set as part of the live settings. This lets you create live sets
that make effective use of controller settings. Similarly in studio
mode, this setting is saved as part of the studio set.

Knob 1–4 Assign

Specify the functions that will be controlled by the knobs.

Value
OFF:
CC01–31, CC32(OFF), 33–95:

AFTERTOUCH:
PITCH BEND:
ARPEGGIO ACCENT:
ARPEGGIO SHUFFLE:
ARPEGGIO OCT UP:

ARPEGGIO OCT DOWN:

MASTER LEVEL:
DIGITAL/USB INPUT LEVEL:

* If the system setting

“System,” the system settings will be used. If it is set to “TEMP,” the

settings of the live set or studio set will be used.

Off

Control Change
Aftertouch
Pitch Bend
Arpeggio accent rate
Arpeggio shuffle rate
The range in which the arpeggio is

sounded will rise in steps of an octave.
The range in which the arpeggio is

sounded will lower in steps of an octave.
Master Level (p. 297)

Digital/USB Input Level (p. 258)

“Knob Assign Source”

(p. 293) is set to

Slider 1–8 Settings

1.

Hold down [SHIFT] and move one of the sliders.

The Slider screen appears.

2.

Move the cursor to the parameter that you want to set, and
turn the VALUE dial or press [INC] [DEC] to set it.

3.

If you want to save your settings, press [F7 (Sys Write)].
Press [Exit] to return to the previous screen.

Realtime controller settings are saved independently for each
live set as part of the live settings. This lets you create live sets
that make effective use of controller settings. Similarly in studio
mode, this setting is saved as part of the studio set.

Slider 1–8 Assign

Specify the functions that will be controlled by the sliders.

Value
OFF:
CC01–31, CC32(OFF), 33–95:

AFTERTOUCH:
PITCH BEND:
ARPEGGIO ACCENT:
ARPEGGIO SHUFFLE:
ARPEGGIO OCT UP:

ARPEGGIO OCT DOWN:

* If the system setting

“System,” the system settings will be used. If it is set to “TEMP,” the

settings of the live set or studio set will be used.

Off

Control Change
Aftertouch
Pitch Bend
Arpeggio accent rate
Arpeggio shuffle rate
The range in which the arpeggio is

sounded will rise in steps of an octave.
The range in which the arpeggio is

sounded will lower in steps of an octave.

“Slider Assign Source”

(p. 293) is set to

76

Modifying the Sound in Real Time

S1/S2 Switch Settings

1.

Hold down [SHIFT] and press [S1] [S2].

The Switch screen appears.

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 [F7 (Sys Write)].
Press [Exit] to return to the previous screen.

Realtime controller settings are saved independently for each
live set as part of the live settings. This lets you create live sets
that make effective use of controller settings. Similarly in studio
mode, this setting is saved as part of the studio set.

Switch S1/S2 Assign

Specify the functions that will be controlled by the [S1] [S2] switches.

Value

Switch 1/2 Assign Mode

Specify the functions that will be controlled by the [S1] [S2] switches.

Value
LATCH:

MOMENTARY:

OFF, CC01 - CC31, CC32 (OFF), CC33 - CC95,
AFTERTOUCH, MONO/POLY, PFX SWITCH,
MFX SWITCH, RESERVE, CHORUS SWITCH,
REVERB SWITCH, MASTERING SWITCH,
MASTER KEY UP, MASTER KEY DOWN,
SCALE TUNE SWITCH

The on/off status will alternate each time you press
[S1] [S2].

The status will be on only while you hold down [S1]
[S2].

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 CONTROL 1, 2 jacks.

Pedal such as expression pedals (DP-8; available separately), pedal
switches (DP series; available separately), or foot switches (BOSS FS­U; available separately) can be connected to the Fantom-G.

1.

Access the Single Play screen (p. 46).

2.

While playing the keyboard to produce sound, operate a
pedal.

The sound will change according to the function that is assigned
to the control pedal.

Making Control Pedal Settings

1.

Press [MENU].

2.

Turn the VALUE dial or use [CURSOR] to select “System,”
and then press [ENTER].

The System Setup screen appears.

3.

Press [F1 (Up)] or [F2 (Down)] to select “Pedal/D Beam.”

4.

Turn the VALUE dial or press [INC] [DEC] to make the
setting.

5.

If you want to save your settings, press [F7 (Sys Write)].
Press [Exit] to return to the Single Play screen.

See

“Pedal/D Beam”

(p. 291) for each parameter’s functions.

Overview Sound 1 Sound 2 Sound 3 Pad Sampler

If Single mode is selected, assignable switches are available
when the keyboard part is selected.

Menu/System

AppendixSequencer

77

Playing Arpeggios

About Arpeggio

The Fantom-G’s Arpeggio function lets you produce arpeggios
automatically; simply hold down some keys, and a corresponding
arpeggio will be played automatically.

Playing Arpeggios

Use

“Arpeggio Part Number”

will use the Arpeggio function. The Chord Memory function (p. 81)
will also apply to the parts selected by the

If you want to play arpeggios in Live mode or Studio mode,
you’ll also need to check the
the live set or studio set.

In Live mode or Studio mode, if the keyboard switch is turned
off for all part groups, the current part will be the arpeggio part.

(p. 146) to specify the parts that

“Arpeggio”

Arpeggio Part

(p. 146) parameter of

setting.

2.

Press VALUE dial or [INC], [DEC] to set the tempo value
(5.00–300.00), or set the value by tapping [F6 (Tap Tempo)]
a number of times with the same rhythm (Tap Tempo).
By holding down [SHIFT] and turning the VALUE dial you
can adjust the value below the decimal point.

* If you press [F7 (Click)] to turn on, the click will sound.

3.

When you have made the setting, press [F8 (Close)].

Holding an Arpeggio

By using the following procedure, you can produce arpeggios even
without continuing to press the keyboard.

1.

Press [HOLD].

The indicator will light.

2.

Play a chord on the keyboard.

3.

If you play a different chord or notes while the arpeggio is
being held, the arpeggio will change accordingly.

4.

To cancel Arpeggio Hold, press [HOLD] once again.

When Using a Hold Pedal

Turning Arpeggio On and Off

1.

Press [ARPEGGIO] to turn it on.

The button will light.

2.

Play a chord on the keyboard.

The Fantom-G will play an arpeggio, according to the notes
forming the chord you have just voiced.

3.

To finish playing arpeggios, press [ARPEGGIO] again to
turn it off.

For details regarding each parameter, refer to

Settings”

(p. 78).

Using in Combination with the Chord
Memory Function

When performing with the Arpeggio, you can also use it along
with the Chord Memory function (p. 81). 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.

“Arpeggio

If you play an arpeggio while pressing the hold pedal, the arpeggio
will continue to be played even if you release the chord.

1.

Connect an optional pedal switch (DP series etc.) to the
HOLD PEDAL jack.

2.

Press [ARPEGGIO] to turn on the arpeggio.

3.

Play a chord while pressing the hold pedal.

4.

If you play a different chord or notes while the arpeggio is
being held, the arpeggio will change accordingly.

Arpeggio Settings

1.

Hold down [SHIFT] and press [ARPEGGIO].

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.

3.

When you have made the setting, press [EXIT].

Style (Arpeggio Style)

Specifies the basic way in which the arpeggio will be played.

Determining the Tempo for Arpeggio Performances

This sets the arpeggio/rhythm tempo.

1.

Press [TEMPO].

The current tempo value appears in the display.

78

You can create your own original Arpeggio Style by importing
SMF or phrase data into an arpeggio user style. For details, refer
to

“Importing SMF or Phrases to an Arpeggio Style”

(p. 79).

Playing Arpeggios

Variation (Arpeggio Variation)

The arpeggiator provides several variations (performance patterns)
for each arpeggio style. This parameter selects the variation number.
The number of variations will differ according to the arpeggio style.

Motif (Arpeggio Motif)

Sets the order in which notes of the chord will sound.

Value
UP:

Notes you press will be sounded, beginning from

low to high.

DOWN:

Notes you press will be sounded, from high to low.

UP&DOWN:

RANDOM:
NOTE ORDER:

GLISSANDO:

CHORD:
AUTO1:

AUTO2:

PHRASE:

Notes you press will be sounded, from low to high,

and then back down from high to low.

Notes you press will be sounded, in random order.

Notes you press will be sounded in the order in

which you pressed them. By pressing the notes in
the appropriate order you can produce melody
lines. Up to 128 notes will be remembered.

Each chromatic step between the highest and

lowest notes you press will sound in succession,
repeating upward and downward. Press only the
lowest and the highest notes.

All notes you press will sound simultaneously.

The timing at which keys will sound will be

assigned automatically, giving priority to the
lowest key that was pressed.

The timing at which keys will sound will be

assigned automatically, giving priority to the
highest key that was pressed.

Pressing a single key will sound the phrase based

on the pitch of that key. If multiple keys are
pressed, the last-pressed key will be valid.

Accent Rate (Arpeggio Accent Rate)

Modifies the strength of accents and the length of the notes to adjust
the “groove” feel of the arpeggio. A setting of “100%” will produce
the most pronounced groove feel.

Value:

0–100%

Shuffle Rate (Arpeggio Shuffle Rate)

This setting lets you modify the note timing to create shuffle
rhythms.

With a setting of “50%” the notes will be spaced evenly. As the value
is increased, the note timing will have more of a “dotted” (shuffle)
feel.

Value:

0–100%

fig.Shuffle Rate

Shuffle Rate = 50%

Shuffle Rate = 90%

Keyboard Velocity (Arpeggio Keyboard Velocity)

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).

Value:

REAL, 1–127

Octave Range (Arpeggio Octave Range)

Sets the key range in octaves over which arpeggio will take place. If
you want the arpeggio to sound using only the notes that you
actually play, set this parameter to “0.” To have the arpeggio sound
using the notes you play and notes 1 octave higher, set this
parameter to “+1.” A setting of “-1” will make the arpeggio sound
using the notes you play and notes 1 octave lower.

Value:

-3– +3

Key Trigger (Arpeggio Key Trigger)

Turn this “ON” if you want the arpeggio to start at the moment that
you press the key. If you want the arpeggio to start playing in
synchronization with the sequencer, turn this “OFF.”

Value:

OFF, ON

Importing SMF or Phrases to an Arpeggio Style

You can create your own original Arpeggio Style by importing SMF
or phrase data into an arpeggio user style.

If you want to import SMF data, you must first copy the
Standard MIDI File (SMF) from your computer to the Fantom-G
as described in

Your Computer to the Fantom-G”

1.

Hold down [SHIFT] and press [ARPEGGIO].

2.

Press [F1 (Import Style)].

3.

Press [F2 (SMF List)] or [F3 (Phrase List)] to switch the list
from which you want to import.

4.

Turn the VALUE dial to select the SMF or phrase that you
want to import.

By pressing [F7 (Preview)] you can audition the selected SMF or
phrase.

If you decide not to import, press [F8 (Exit)].

“Copying a Standard MIDI File (SMF) from

(p. 212).

Overview Sound 1 Sound 2 Sound 3 Pad Sampler

Menu/System

50 50 50 50

90 10 90 10

Shuffle Resolution (Arpeggio Shuffle Resolution)

Specify the timing resolution in terms of a note value. The note value
can be specified as either an 16th note or a eighth note.

Value:

,

5.

Press [F6 (Import)].

6.

Assign a name to the Arpeggio Style that you want to
import. After you’ve assigned a name, press [F8 (OK)].

For details on how to enter a name, refer to

Name”

(p. 42).

“Assigning a

AppendixSequencer

79

Playing Arpeggios

7.

Select the desired Import Destination. Turn the VALUE dial
to make your choice, and then press the [F8 (Write)] button.

A confirmation message will appear.

8.

Press [F7 (OK)] to execute.

The SMF or phrase will be imported into the arpeggio user
style.

Please note the following points regarding importing an
arpeggio.

• Only SMF Format 0 is supported. If the data is incorrect, the
screen will indicate

“Illegal File!”

• Only the note data will be imported from the original data into
the arpeggio.

• Up to 500 events (with a note on/off counting as one event) can
be imported. If there are more than 500 events, the screen will
indicate

“Too Many Data!”

“Cannot Import SMF Format 1!”

.

.

or

Saving the Arpeggio You Have Created (Write)

The Arpeggios you create are temporary; they are deleted as soon as
you turn off the power or select some other Arpeggio. You can store
128 arpeggios in the User memory.

1.

Confirm that the current Arpeggio is the one you want to
save.

2.

Press [F7 (Write)].

The Arpeggio name entry screen will appear (p. 42).

3.

When you have finished entering the name, press [F8 (OK)].

A screen in which you can select the destination for the write
will appear.

4.

Turn the VALUE dial or use [INC] [DEC] to select the write
destination.

5.

Press [F8 (Write)].

A message will ask you for confirmation.

6.

To write the data, press [F7 (OK)].

Never switch off the Fantom-G while data is being saved.
To cancel, press [F8 (EXIT)].

80

Using the Chord Memory Function (Chord Memory)

About the Chord Memory Function

Chord Memory is a function that allows you to play chords based on
pre-programmed
keyboard. The Fantom-G can store 128 user chord forms.

When you use the Chord Memory function with a tone for
which the Mono/Poly Parameters (p. 105) is Mono, only one
sound in the chord is played. When using the Chord Memory
function to turn Poly the Mono/Poly Parameters.

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. 78). 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.

Chord Forms

, just by pressing a single key on the

Performing with the Chord Memory Function

Use

“Arpeggio Part Number”

will use the Chord Memory function. The Arpeggio function (p.

78) will also apply to the pats selected by the
setting.

Turning Chord Memory Function On and Off

1.

Press [CHORD MEMORY] to turn it on.

The button will light.

2.

Play the keyboard.

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.

(p. 146) to specify the parts that

Arpeggio Part

Overview Sound 1 Sound 2 Sound 3 Pad Sampler

3.

To finish the chord Memory Function, 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.

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].

Menu/System

81

AppendixSequencer

Using the Chord Memory Function (Chord Memory)

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.

1.

Hold down [SHIFT] and press [CHORD MEMORY].

The Chord Memory screen appears.

2.

Press [F1 (Rolled Chord)] to turn on.

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 (Rolled Chord Type)

You can change the order in which the notes of a chord are sounded.

1.

Hold down [SHIFT] and press [CHORD MEMORY].

The Chord Memory screen appears.

2.

Use

3.

Either turn the VALUE dial or use [INC] [DEC] to change a
value.

Value
UP:

DOWN:

ALTERNATE:

L-DOWN:

U-UP:

or to select “Rolled Chord Type.”

Notes will be sounded in order from bottom

to top.

Notes will be sounded in order from top to

bottom.

The order in which the notes are sounded

will change each time you play the
keyboard.

The lowest note will be sounded first, and
then notes will be sounded in order from the
top down.

* If you press C E G B, the notes will be sounded

as C B G E.

The highest note will be sounded first, and
then notes will be sounded in order from the
bottom up.

* If you press C E G B, the notes will be sounded

as B C E G.

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.

1.

Hold down [SHIFT] and press [CHORD MEMORY].

2.

Turn the VALUE dial to select a chord form.

3.

Press [F6 (Chord Edit)].

The Chord Form Edit screen appears.

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.

5.

If you want to save the chord form you created, proceed to
step 3 of “Saving the Chord Forms You Have Created” (p.

82). If you don’t want to save it, press [F8 (Exit)].

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-G’s user
memory.

1.

Hold down [SHIFT] and press [CHORD MEMORY].

Confirm that the chord form is selected that you want to save.

2.

Press [F7 (Write)].

The Chord Form name entry screen will appear (p. 42).

3.

When you have finished entering the name, press [F8 (OK)].

A screen will appear, allowing you to select the write
destination.

4.

Use

or to select the write destination.

82

5.

Press [F8 (Write)].

A message will ask you confirm.

6.

To save the chord form, press [F7 (OK)].

Never switch off the Fantom-G while data is being saved.

* To cancel, press [F8 (EXIT)].

04: Sound Generator, Section 3

This chapter explains how to create sounds such as patches, live sets, and effects.

• Patch......................................................................... p. 84

• Rhythm Set ............................................................... p. 112

• Sample Set............................................................... p. 126

• Live Set/Studio Set....................................................p. 132

• Adding Effects ..........................................................p. 150

• Effects List ................................................................p. 161

(Creating Sounds)

Creating a Patch

Four Tips for Editing Patches

● Select a patch that is similar to the sound you wish to
create (p. 47).

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.

●

With the Fantom-G, you have total control over a wide variety of
settings. Each item that can be set is known as a
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.

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.

parameter

. When

Editing a Patch Quickly (Patch Zoom Edit)

The Patch Zoom Edit screen allows you to edit the most important
parameters of a patch. If you want to have access to all of the
parameters, use the Patch Pro Edit screen (p. 86).

1.

Select the patch whose settings you want to edit (p. 47).

2.

Press [PATCH].

The Patch Zoom Edit screen appears.

fig.05-015_50

Groups

Parameters

Decide which tones will sound (p. 50).
When creating a patch, it is important to decide which

tones you are going to use. In the Patch Pro 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.

● Check the Structure setting (p. 92).

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. 150).

Since the Fantom-G 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 will hear the original sound of the patch itself when
the 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.

F-key operations in the Patch Zoom Edit screen

F-key

F1
Group/Up

F2
Group/Down

F4
Util Menu

F5
PFX

F6
Pro Edit

F7
Part Select

F8
Tone Sw/Sel

Explanation

Moves the edit group tab upward. –

Moves the edit group tab downward. –

Patch
Initialize

Tone
Initialize

Tone
Copy

Accesses the PFX (Patch Multi-effect) ed­iting screen.

Accesses the Patch Pro Edit screen, where
you can edit all of the parameters.

Selects the part to be edited. –

Selects the tones that will sound. p. 85

Initializes the settings of
the currently selected
patch.

Initializes the settings of
the currently selected
tone.

Copies tone settings from
a patch to the specified
tone of the currently se­lected patch.

Page

p. 87

p. 87

p. 87

p. 157

p. 86

84

3.

The parameters are organized into several editing groups.
Press [F1 (Up)] or [F2 (Down)] to select the tab for the
editing group that contains the parameter you wish to edit.

For details on each parameter, refer to the following pages.

Parameter name

Pitch Envelope p. 97 Structure Type p. 92
TVF p. 98 LFO1/2 p. 103
TVF Envelope p. 100 Step LFO p. 104
TVA Envelope p. 101

•

To change the part that you want to edit

Press [F7 (Part Select)].

4.

Press [CURSOR] button 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 Switch/Select window appears.

fig.06-001_50

Page

Parameter name

Page

Creating a Patch

9.

If you wish to save the changes you’ve made, press
[WRITE] to perform the Save operation (p. 88). If you do not
wish to save changes, press [EXIT].

If you return to the Single Play screen without saving, the “
symbol will be displayed at the right of the patch name,

indicating that the patch settings have been edited.

The settings you edit are temporary, and will be lost if you turn
off the power, switch the sound generator mode, or select a
different sound.

Overview Sound 1 Sound 2 Sound 3 Pad Sampler

”

Press any one of the [F5 (Select 1)]–[F8 (Select 4)] 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 (Select 1)]–[F8
(Select 4)] buttons, making them light.

•

To switch a tone on/off

Press a [F1 (Sw 1)]–[F4 (Sw 4)] button to switch the
corresponding tone on/off.

You can also use the pads to select tones and switch them on/off.

→ “7 TONE SEL/SW (Using the Pads to Select Tones or

Switch Them On/Off)”

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.

8.

Repeat steps 3–7 to set each parameter you want to edit.

(p. 197)

Menu/System

85

AppendixSequencer

Creating a Patch

Groups

Parameters

Editing All Parameters of a Patch (Patch Pro Edit)

3.

The parameters are organized into several editing groups.
Press [F1 (Up)] or [F2 (Down)] to select the tab for the
editing group that contains the parameter you wish to edit.

The Patch Pro Edit screen allows you to edit all parameters of a patch.

1.

Select the patch whose settings you want to edit (p. 47).

If you want to create a patch from scratch (rather than starting
from an existing patch), execute the

2.

Press [PATCH] twice.

Initialize

operation (p. 87).

The Patch Pro Edit screen appears.

fig.05-015_50

F-key operations in the Patch Pro Edit screen

F-key

F1
Group/Up

F2
Group/Down

F3
Set Stereo

F4
Util Menu

F5
PFX

F6
Zoom Edit

F7
Part Select

F8
Tone Sw/Sel

Explanation Page

Moves the edit group tab upward. –

Moves the edit group tab downward. –

This is shown if you’re editing the WAVE
group. It recalls the right wave (R) from
the left wave (L) of a stereo wave.

Patch
Initialize

Tone
Initialize

Tone
Copy

Accesses the PFX (Patch Multi-effect) ed­iting screen.

Accesses the Zoom Edit screen, where
you can edit the most important parame­ters.

Selects the part to be edited. –

Selects the tones that will sound. p. 85

Initializes the settings of
the currently selected
patch.

Initializes the settings of
the currently selected
tone.

Copies tone settings from
a patch to the specified
tone of the currently se­lected patch.

p. 91

p. 87

p. 87

p. 87

p. 157

p. 84

See

“Functions of Patch Parameters”

(p. 89) for each

parameter’s functions.

•

To change the part that you want to edit

Press [F7 (Part Select)].

4.

Press [CURSOR] button 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 Switch/Select window appears.

fig.06-001_50

Press any one of the [F5 (Select 1)]–[F8 (Select 4)] 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 (Select 1)]–[F8
(Select 4)] buttons, making them light.

•

To switch a tone on/off

Press a [F1 (Sw 1)]–[F4 (Sw 4)] button to switch the
corresponding tone on/off.

You can also use the pads to select tones and switch them on/off.

→ “7 TONE SEL/SW (Using the Pads to Select Tones or

Switch Them On/Off)”

6.

When you have made your selection, press [EXIT].

7.

Turn the VALUE dial or press [INC] [DEC] to get the value

(p. 197)

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.

8.

Repeat steps 3–7 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. 88). If you do not
wish to save changes, press [EXIT] to return to the Single
Play screen.

If you return to the Single Play screen without saving, the “
symbol will be displayed at the right of the patch name,

indicating that the patch settings have been edited.

”

86

The settings you edit are temporary, and will be lost if you turn
off the power, switch the sound generator mode, or select a
different sound.

Creating a Patch

Initializing Patch/Tone Settings (Patch Initialize/Tone Initialize)

“Initialize” means to return the settings of the currently selected
sound to a standard set of values.

Patch Initialize will initialize the settings of the currently selected
patch.

Tone Initialize will initialize the settings of the currently selected
tone.

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-G’s settings to
their factory values, perform a Factory Reset (p. 284).

1.

Select the patch that you want to initialize (p. 47).

2.

Press [PATCH].

3.

Press [F4 (Util Menu)].

The Patch Utility Menu window appears.

Copying Patch (Tone) Settings (Patch Tone Copy)

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.

1.

Select that you want to edit and the copy-destination patch
(p. 47).

2.

Press [PATCH].

3.

Press [F4 (Util Menu)].

The Patch Utility Menu window appears.

4.

Press
press [F8 (Select)].

If you decide to cancel the operation, press [F7 (Cancel)].
The Patch Tone Copy window appears.

5.

Press [CURSOR] to move the cursor, select the “Source
(copy-source)” bank and number, and patch tone.

6.

Turn the VALUE dial or use [INC] [DEC] to make settings.

7.

Press [CURSOR] to move the cursor, select the
“Destination (copy-destination)” patch tone number.

or to choose “Patch Tone Copy,” and then

Overview Sound 1 Sound 2 Sound 3 Pad Sampler

4.

Press
(Patch Initialize or Tone Initialize), and then press [F8
(Select)].

If you decide to cancel the operation, press [F7 (Cancel)].
A message will ask you for confirmation.

5.

Press [F7 (OK)] to execute.

To cancel, press [F8 (EXIT)].

or to choose what you want to initialize

8.

Turn the VALUE dial or use [INC] [DEC] to make settings.

9.

Press [F8 (Execute)].

A message will ask you for confirmation.

10.

Press [F7 (OK)] to return to execute.

To cancel, press [F8 (EXIT)].

The Compare Function

For the Patch Tone Copy operations, you can use the Compare
function.

The Compare function allows you to hear the copy-source patch
in order to verify it.

If you want to play the copy-source patch, press [F6 (Compare)].

The patch auditioned using the Compare function may
sound slightly different than when it is played normally.

Menu/System

87

AppendixSequencer

Creating a Patch

Cautions When Selecting a Waveform

The sounds of the Fantom-G 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-G fall into the following two banks.

One-shot:

A one-shot waveform records the initial rise and fall of the sound.
Some of the Fantom-G’s one-shot waveforms are sounds that are
complete in themselves, such as percussive instrument sounds. The
Fantom-G 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:

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-G’s looped waveforms also include
components of other sounds, such as piano-string resonant
vibrations and the hollow sounds of brass instruments.

The following diagram shows an example of sound (electric organ)
that combines one-shot and looped waveforms.

fig.06-005.e

TVA ENV for looped
Organ waveform

These waveforms contain sounds that have short decays.

These waveforms include sounds with long decays as well

Level

TVA ENV for one-shot
Key-click waveform

Resulting TVA ENV
change

+=

Saving Patches You’ve Created (Write)

Edits you make to the settings are temporary, and will be lost if you
turn off the power, switch the sound generator mode, or select a
different sound. If you want to keep the modified sound, you must
save it in the USER bank.

When you edit the patch settings, the “ ” symbol will appear in
the Single Play screen. When you save the patch, the “ ” symbol
will disappear.

When you perform the save procedure, the data that previously
occupied the save destination will be lost.

1.

Make sure that the patch you wish to save is selected.

2.

Press [WRITE].

The WRITE MENU window appears.

Time

Note off

Note off

Cautions When Using a One-shot Waveform

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.

Cautions When Using a Loop Waveform

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 you intend.

fig.06-006.e

Level

Tone change stored

with the wave

Envelope

for the TVF filter

Resulting

tone change

Looped portion

Time

3.

Select “Patch / Rhythm / Sample Set.”

Press
then press [F8 (Select)].

The Patch Name window appears.

fig.06-008_50

4.

Assign a name to the patch.

For details on assigning names, refer to
(p. 42)

5.

When you have finished inputting the name, press [F8 (OK)].

A screen will appear, allowing you to select the write­destination patch.

or to select “Patch / Rhythm / Sample Set,” and

“Assigning a Name”

88

6.

Turn the VALUE dial or use [INC] [DEC] to select the patch
number.

Creating a Patch

Functions of Patch Parameters

Overview Sound 1 Sound 2 Sound 3 Pad Sampler

By pressing [F6 (Compare)] you can check the save-destination
patch (Compare function).

7.

Press [F8 (Write)].

A message will ask you for confirmation.

Never switch off the Fantom-G while data is being saved.

8.

Press [F7 (OK)] to execute the save operation.

To cancel the operation, press [F8 (EXIT)].

Auditioning the Save-Destination Patch (Compare)

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.

1.

Follow the procedure in “Saving Patches You’ve Created
(Write)” through step 6 to select the save destination.

2.

Press [F6 (Compare)] to turn on.

3.

Play the keyboard or pad to sound the save destination
patch, then check whether you really want to overwrite it.

This section explains the functions the different patch parameters
have, as well as the composition of these parameters.

Parameters marked with a “★” can be controlled using
specified MIDI messages (Matrix Control). Settings in Matrix
Ctrl screen will determine how these parameters are controlled
(p. 109).

If a number is displayed for the parameter name, ( , , ,

), 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.

fig.06-010

Settings Common to the Entire Patch (General)

Patch Name

Specifies the name of the patch.
By pressing [ENTER], you can assign a name to the patch.

space, A–Z, a–z, 0–9, ! ” # $ % & ’ ( ) * + , - . / : ; < = > ? @ [ \ ] ^ _ ` { | }

Value:

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 turning the VALUE dial.

5.

Press [F8 (Write)].

A message will ask you for confirmation.

6.

Press [F7 (OK)] once again to execute the Save operation.

For details on entering a name, refer to
(p. 42).

“Assigning a Name”

Patch Category

Specifies the type (category) of the patch.
It also determines the phrase that will be sounded when using the

Phrase Preview function.

For details on the possible category names, refer to (p. 48).

Patch Level

Specifies the volume of the patch.

Value:

0–127

Patch Pan

Specifies the pan of the patch. “L64” is far left, “0” is center, and
“63R” is far right.

Value:

L64–0–63R

Menu/System

AppendixSequencer

89

Creating a Patch

1

2

3

OFF

2

1

OFF

3

High note range

Pitch difference from
equal temperament

Parameter value

Low note range

Patch Priority

This determines how notes will be managed when the maximum
polyphony is exceeded (128 voices).

Value
LAST:

LOUDEST:

The last-played voices will be given priority, and
currently sounding notes will be turned off in order,
beginning with the first-played note.

The voices with the loudest volume will be given
priority, and currently sounding notes will be turned
off, beginning with the lowest-volume voice.

Octave Shift

Adjusts the pitch of the patch’s sound up or down in units of an
octave (+/-3 octaves).

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

★

Patch Fine Tune

Adjusts the pitch of the patch’s sound up or down in 1-cent steps (+/

-50 cents).

Value:

-50– +50

Stretch Tune Depth

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.

Value:

OFF, 1–3

The diagram shows the pitch change relative to equal temperament
that will occur in the low and high ranges. This setting will have a
subtle effect on the way in which chords resonate.

fig.06-011.e

One cent is 1/100th of a semitone.

Analog Feel (Analog Feel Depth)

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.)

By adding this “1/f modulation,” you can simulate the natural
instability characteristic of an analog synthesizer.

Value:

0–127

Cutoff Offset

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. 98).

Value:

-63– +63

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.

90

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. 98).

Range:

-63– +63

*

Resonance:

frequency, adding character to the sound.

This value is added to the resonance value of a tone, so if the
resonance value of any tone is already set to “127” (maximum),
positive “+” settings here will not produce any change.

emphasizes the overtones in the region of the cutoff

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 TVA Env Time 1 parameters (p. 102), TVF Env
Time 1 parameters (p. 100).

Range:

-63– +63

*

Attack Time:

volume after the key is pressed and sound begun.

This value is added to the attack time value of a tone, so if the
attack time value of any tone is already set to “127” (maximum),
positive “+” settings here will not produce any change.

The time it takes for a sound to reach maximum

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 TVA Env Time 4 parameters (p. 102), TVF
Env Time 4 parameters (p. 100).

Range:

-63– +63

*

Release Time:

until the sound disappears.

The time from when you take your finger off the key

Modifying Waveforms (Wave)

Wave Group

Selects the group for the waveform that is to be the basis of the tone.

Value
INT:

Waveforms stored in internal

SAMP:
MSAM:

Wave Number L (Mono)
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.

Value:

OFF, 1– (The upper limit will depend on the wave group.)

If you specify only the right side (R), there will be no sound.

If you want to select a left/right pair of Waves, select the left (L)
Wave number and then press [F3 (Set Stereo)]; the right (R)
(Wave) will be recalled.

* When using a sample in stereo, you must specify the same number for

L and R.

Sample waveforms
Multisample waveforms

Overview Sound 1 Sound 2 Sound 3 Pad Sampler

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”
(maximum), positive “+” settings here will not produce any
change.

Velocity Sens 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 Velocity Sens parameter (p. 99)
Level Velocity Sens parameter (p. 100)

Range:

-63– +63

*

Velocity:

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.

Pressure with which the key is pressed.

Menu/System

AppendixSequencer

91

Creating a Patch

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.”

TONE 1 (3)

TONE 2 (4)

TVATVF

WG

WG

TVF TVA

TYPE 1

Wave Gain

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. 94).

Value:

-6, 0, +6, +12

Wave Tempo Sync

When you wish to synchronize a Phrase Loop to the clock (tempo),
set this to “ON.” This is valid only when selected as the sample for a
tone.

Value:

OFF, ON

• 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. 108) to “0.” With other settings, a
delay effect will be applied, and you will be not be able to play
as you expect.

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.

Value:

1–4

FXM Depth ★

Specifies the depth of the modulation produced by FXM.

Value:

0–16

Changing How a Tone Is Sounded (TMT)

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
Mix Table (TMT).

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

Realtime Time Stretch

If the wave group is “SAMP,” and the Wave Tempo Sync
parameter is turned “ON,” you can vary the playback speed of
the waveform without affecting the pitch.

FXM Switch

This sets whether FXM will be used (ON) or not (OFF).

Value:

OFF, ON

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.

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
sounds for each tone.

fig.06-015

TYPE 2

TONE 1 (3)

TONE 2 (4)

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.

fig.06-016

TYPE 3

TONE 1 (3)

TONE 2 (4)

This type mixes the sound of tone 1 (3) and tone 2 (4), applies a filter,
and then applies a booster to distort the waveform.

WG

WG

WG

WG

TVA

TVA TVF

TVF

TVF TVA

B: Booster

B

TVF TVA

92

Creating a Patch

TONE 1 (3)

TONE 2 (4)

TVATVF

WG

WG

TVF TVA

R

TYPE 10

R: Ring Modulator

fig.06-017

TYPE 4

TONE 1 (3)

TONE 2 (4)

WG

TVA TVF

WG

B

B: Booster

TVF 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
volume balance between the two tones and adjusts booster level.

fig.06-018

TYPE 5

TONE 1 (3)

TONE 2 (4)

WG

TVA TVF

WG

R

R: Ring Modulator

TVF TVA

This type uses a ring modulator to create new overtones, and
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

TYPE 6

TONE 1 (3)

TONE 2 (4)

WG

TVA TVF

WG

R

R: Ring Modulator

TVF TVA

fig.06-021

TYPE 8

TONE 1 (3)

TONE 2 (4)

WG

WG

TVATVF

R: Ring Modulator

R

TVF TVA

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
filter to the result.

fig.06-022

TYPE 9

TONE 1 (3)

TONE 2 (4)

WG

WG

TVATVF

TVF TVA

R: Ring Modulator

R

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
modulator.

fig.06-023

Overview Sound 1 Sound 2 Sound 3 Pad Sampler

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
(3) TVA can adjust the amount of the ring-modulated sound.

fig.06-020

TYPE 7

TONE 1 (3)

TONE 2 (4)

WG

WG

TVATVF

R: Ring Modulator

R

TVF TVA

This type applies a filter to tone 1 (3) and ring-modulates it with tone
2 (4) to create new overtones.

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
(4), tone 1 (3) TVA can adjust the amount of the ring-modulated
sound.

• 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.

• If you limit the keyboard area in which a tone will sound
(Keyboard Range p. 94) or limit the range of velocities for which
it will sound (Velocity Range p. 95), 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.

Menu/System

AppendixSequencer

93

Creating a Patch

Booster

The Booster is used to distort the incoming signal.

fig.06-024.e

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
Wave Gain parameter (p. 92).

fig.06-025.e

Booster 1&2, 3&4 (Booster Gain 1&2, 3&4)

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.

Value:

0, +6, +12, +18

Booster level

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.)

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
such as bells.

fig.06-026

Uses WG1 as LFO

WG1

TVA

Adjusts WG1 output

Booster

WG2

WG2

Adds to WG1

Distorted area of the

Waveform changes

Shift in waveform by WG1

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.”

Value:

0–127

Keyboard Range Lower

Specifies the lowest note that the tone will sound for each tone.

Value:

C-1–UPPER

Keyboard Range Upper

Specifies the highest note that the tone will sound for each tone.

Value:

LOWER–G9

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.

94

Creating a Patch

Range Lower

Range Upper

Fade Lower

Fade Upper

Level

Velocity

Keyboard Fade Width Upper

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 above the keyboard
range is played, set this parameter to “0.”

Value:

0–127

fig.06-027.e

Level

Pitch

Fade Lower

Range Lower

Fade Upper

Range Upper

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).

When set to “RANDOM,” the patch’s constituent tones will sound
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 Range Upper

This sets the highest 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:

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.

When using the Matrix Control (p. 109) to have different tones
played, set the lowest value (Lower) and highest value (Upper)
of the value of the MIDI message used.

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.”

Value:

0–127

fig.06-028.e

Overview Sound 1 Sound 2 Sound 3 Pad Sampler

Use

“Velocity Range Lower”

Upper”

(p. 95) to specify the range of keyboard dynamics.

(p. 95) and

“Velocity Range

If Velocity Range Lower and Velocity Range Upper are set to
the same values, you won’t be able to obtain any effect by
setting TMT Velocity Control to “RANDOM” or “CYCLE.”

Instead of using Velocity, you can also have tones substituted
using the Matrix Control (p. 109, p. 95). 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.”

Velocity Fade Width Lower

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

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

TMT Control Switch

Use the Matrix Control (p. 109) to enable (ON), or disable (OFF)
sounding of different tones.

Value:

OFF, ON

You can also cause different tones to sound in response to notes
played at different strengths (velocity) on the keyboard (p. 95).
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. 95) to “OFF.”

Menu/System

AppendixSequencer

95

Creating a Patch

Modifying Pitch (Pitch/Pitch Env)

Pitch

Tone Coarse Tune ★

Adjusts the pitch of the tone’s sound up or down in semitone steps
(+/-4 octaves).

Value:

-48– +48

Tone Fine Tune ★

Adjusts the pitch of the tone’s sound up or down in 1-cent steps (+/­50 cents).

Value:

-50– +50

Wave Pitch Key Follow

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
the same pitch.

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

One cent is 1/100th of a semitone.

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:

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

+50

0

-50

C4C3C2C1 C5 C6 C7

-100-200

Key

Pitch Bend Range Up

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.

Value:

0– +48

Pitch Bend Range Down

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.

Value:

-48–0

96

Pitch Env Velocity Sens

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

Pitch Env Time 1 Velocity Sens

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

Creating a Patch

C4C3C2C1 C5 C6 C7

0

+50

+100

-50

-100

Key

Time

T1 T2 T3 T4

L3

L4

L2

L1

L0

Note off

Pitch

Time

Note on

T: Time L: Level

Pitch Env Time 4 Velocity Sens

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.

Value:

-63– +63

Pitch Env Time Key Follow

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.

Value:

-100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10,

fig.06-031.e

+20, +30, +40, +50, +60, +70, +80, +90, +100

Bend Mode Control

This specifies the CC (control change) whose value is used to switch
the pitch bend lever’s operation between the mode specified by Bend
Mode (control values 64 or higher) and conventional operation
(control values 63 or lower).

Value

: CC01–31, CC32(OFF), CC33–95

Pitch Env (Pitch Envelope)

Pitch Env Depth

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

Pitch Env Time 1–4

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

fig.06-032.e

★

Overview Sound 1 Sound 2 Sound 3 Pad Sampler

Hold Bend

This specifies whether pitch bend will be disabled (ON) or enabled
(OFF) while it’s being held by the pedal and during the release
portion of the sound.

Value:

OFF, ON

Bend Mode

Specifies what will happen when you operate the pitch bend lever.

Value
NORMAL:

TOUCH:

CATCH:

LAST:

CATCH+LAST:

The pitch bend lever will apply in the conventional
way.

Moving the pitch bend lever will change the pitch
smoothly, but the pitch will instantly return to
center if you return the lever even slightly.

If you play a note-on with the pitch bend lever
already moved, the pitch will sound at the center
position. The pitch will change only after the lever
has passed through the center position.

The pitch bend lever will apply only to the last­played note.

The operation of “CATCH” and “LAST” will be
combined.

Pitch Env 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.

Value:

-63– +63

Menu/System

AppendixSequencer

97

Creating a Patch

LPF BPF HPF PKG

parameter value

Level

Cutoff frequency

Frequency

High

Low

Modifying the Brightness of a Sound with a Filter (TVF/TVF Env)

TVF

Filter Type

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:

BPF:

HPF:

PKG:

LPF2:

LPF3:

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 Freq), 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 Freq). 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 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.

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.

Cutoff Frequency ★

Selects the frequency at which the filter begins to have an effect on
the waveform’s frequency components.

Value:

0–127

With “LPF/LPF2/LPF3” selected for the Filter Type parameter,
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.

With “PKG” selected, the harmonics to be emphasized will vary
depending on Cutoff Frequency setting.

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. 90).

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

To edit the overall patch while preserving the relative
differences in the Resonance values set for each tone, set the
Resonance Offset parameter (p. 91).

fig.06-034.e

98

If you set “LPF2” or “LPF3,” the setting for the Resonance
parameter will be ignored (p. 98).

Creating a Patch

1234567

TVF 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.

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.06-035.e

Cutoff frequency
(Octave)

+200

+2

+1

o

-1

-2

C4C3C2C1 C5 C6 C7

+100

+50

0

-50

-100-200

Key

Resonance Velocity Sens

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

TVF Env 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.

Value:

FIXED, 1–7

fig.06-036

TVF Env Velocity Sens

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

Overview Sound 1 Sound 2 Sound 3 Pad Sampler

Cutoff 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.

Value:

FIXED, 1–7

fig.06-036

1234567

Cutoff Velocity Sens

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

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. 91).
However, this setting is shared by the Level Velocity Sens
parameter (p. 100).

TVF Env Time 1 Velocity Sens

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

TVF Env Time 4 Velocity Sens

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

Menu/System

AppendixSequencer

99

Creating a Patch

C4C3C2C1 C5 C6 C7

0

+50

+100

-50

-100

Key

Time

1234567

TVF ENV (TVF Envelope)

TVF Env 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.

Value:

-63– +63

TVF Env Time Key Follow

Use this setting if you want the TVF 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

fig.06-031.e

Adjusting the Volume (TVA/TVA Env)

TVA

Tone Level ★

Sets the volume of the tone. This setting is useful primarily for
adjusting the volume balance between tones.

Value:

0–127

Level Velocity Curve (TVA Level Velocity Curve)

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.”

Value:

FIXED, 1–7

fig.06-036

Level Velocity 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
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

TVF Env Time 1–4 ★

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

fig.06-037.e

T1 T2 T3 T4

Cutoff

Frequency

TVF Env 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:

T: Time L: Level

0–127

L0

Note on

L3

L2 L4

L1

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. 91). However, this setting is shared by the Cutoff
Velocity Sens parameter (p. 99).

Time

100