Roland Fantom-Xa User Manual

201a

Before using this unit, carefully read the sections entitled: “USING THE UNIT SAFELY”

and “IMPORTANT NOTES” (p. 2; p. 4). 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.

Listening to the Demo Song

fig.Cover.e

1. Hold down [SHIFT] and press [MENU].

2. Use [CURSOR] to select a song.

3. Press [ENTER] to start demo song playback.

To stop the song, press [EXIT].

2. Select

3. Play

Stop

1

Owner’s Manual

Thank you, and congratulations on your choice of the Roland Fantom-Xa.

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.

202

Copyright © 2004 ROLAND CORPORATION

All rights reserved. No part of this publication may be reproduced in any form without the

written permission of ROLAND CORPORATION.

USING THE UNIT SAFELY

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.

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

002d

• Do not open or perform any internal modifications on
the unit or its AC adaptor. (The only exception would be
where this manual provides specific instructions which
should be followed in order to put in place user­installable options; see p. 214, p. 216.)

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

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 rack or stand that
is recommended by Roland.

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

006

• When using the unit with a rack or stand recommended
by Roland, the rack or stand must be carefully placed so
it is level and sure to remain stable. If not using a rack or
stand, you still need to make sure that any location you
choose for placing the unit provides a level surface that
will properly support the unit, and keep it from
wobbling.

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

008c

• Be sure to use only the AC adaptor supplied with the
unit. Also, make sure the line voltage at the installation
matches the input voltage specified on the AC adaptor’s
body. Other AC adaptors may use a different polarity,
or be designed for a different voltage, so their use could
result in damage, malfunction, or electric shock.

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

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.

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

2

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.

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

012b

• Immediately turn the power off, remove the AC adaptor
from the outlet, and request servicing by your retailer,
the nearest Roland Service Center, or an authorized
Roland distributor, as listed on the “Information” page
when:

• The AC adaptor, 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.

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

022b

• Always turn the unit off and unplug the AC adaptor
before attempting installation of the circuit board (SRX
series; p. 214, DIMM; p. 216).

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

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.

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

101b

• The unit and the AC adaptor should be located so their
location or position does not interfere with their proper
ventilation.

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

101c

• This unit for use only with Roland stand KS-12. Use
with other stands (or carts) is capable of resulting in
instability causing possible injury.

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

102c

• Always grasp only the plug on the AC adaptor cord
when plugging into, or unplugging from, an outlet or
this unit.

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

103b

• At regular intervals, you should unplug the AC adaptor
and clean it by using a dry cloth to wipe all dust and
other accumulations away from its prongs. Also,
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.

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

107c

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

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

108b

• Before moving the unit, disconnect the AC adaptor and
all cords coming from external devices.

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

109b

• Before cleaning the unit, turn off the power and unplug
the AC adaptor from the outlet (p. 16).

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

110b

• Whenever you suspect the possibility of lightning in
your area, disconnect the AC adaptor from the outlet.

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

115a

• Install only the specified circuit board (SRX series,
DIMM). Remove only the specified screws (p. 214, p.

216).

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

118a

• Should you remove the ground terminal screw or
screws that fasten the bottom cover or the PC card
protector, keep them in a safe place out of children’s
reach, so there is no chance of them being swallowed
accidentally.

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

3

IMPORTANT NOTES

291a

In addition to the items listed under “USING THE UNIT SAFELY” on pages 2–3, please read and observe the following:

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.

302

• The AC adaptor will begin to generate heat after long hours of
consecutive use. This is normal, and is not a cause for concern.

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.

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.

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 memory card, or written down on
paper (when possible). During repairs, due care is taken to avoid
the loss of data. However, in certain cases (such as when circuitry
related to memory itself is out of order), we regret that it may not
be possible to restore the data, and Roland assumes no liability
concerning such loss of data.

Additional Precautions

551

• Please be aware that the contents of memory can be irretrievably
lost as a result of a malfunction, or the improper operation of the
unit. To protect yourself against the risk of loosing important
data, we recommend that you periodically save a backup copy of
important data you have stored in the unit’s memory on a
memory card, or other device.

552

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

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.

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.

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

• Use a cable from Roland to make the connection. If using some
other make of connection cable, please note the following precau­tions.

• Some connection cables contain resistors. Do not use cables
that 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.

566a

• The usable range of 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.

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.

4

Before Using Cards

Using Memory Cards

704

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

705

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

707

• This unit’s memory card slot accepts CompactFlash or Smart­Media (3.3 V). Microdrive storage media are not compatible.

708

• CompactFlash and SmartMedia (3.3 V) cards 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.

IMPORTANT NOTES

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

• Unauthorized recording, distribution, sale, lending, public
performance, broadcasting, or the like, in whole or in part, of a
work (musical composition, video, broadcast, public perfor­mance, or the like) whose copyright is held by a third party is
prohibited by law.

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.

220

* All product names mentioned in this document are trademarks or

registered trademarks of their respective owners.

230

* SmartMedia is a trademark of Toshiba Corp.

234

* CompactFlash and are trademarks of SanDisk Corpo-

ration and licensed by CompactFlash association.

235

* Roland Corporation is an authorized licensee of the

CompactFlash™ and CF logo ( ) trademarks.

237

* V-LINK ( ) is a trademark of Roland Corpo-

ration.

5

Contents

USING THE UNIT SAFELY......................................................................2

IMPORTANT NOTES ...............................................................................4

Main Features........................................................................................11

Panel Descriptions................................................................................12

Front Panel................................................................................................................................................. 12

Rear Panel.................................................................................................................................................. 14

Getting Ready........................................................................................15

Connections............................................................................................................................................... 15

Turning On/Off the Power..................................................................................................................... 16

Adjusting the Display Contrast (LCD Contrast).................................................................................. 16

Listening to the Demo Songs ..............................................................17

Various Performance Features............................................................18

Overview of the Fantom-Xa..................................................................19

How the Fantom-Xa Is Organized ......................................................................................................... 19

About Memory.......................................................................................................................................... 21

About the Onboard Effects ..................................................................................................................... 22

About the Sequencer................................................................................................................................ 23

About the Sampling Section.................................................................................................................... 25

Basic Operation of the Fantom-Xa ......................................................26

Switching the Sound Generator Mode ..................................................................................................26

About the Function Buttons.................................................................................................................... 26

Moving the Cursor ................................................................................................................................... 27

Changing a Value ..................................................................................................................................... 27

Assigning a Name ....................................................................................................................................28

Playing in Patch Mode..........................................................................29

About the PATCH PLAY Screen............................................................................................................ 29

Selecting a Patch .......................................................................................................................................30

Selecting Patches from the List............................................................................................................... 30

Selecting Favorite Patches/Rhythm Sets (Favorite Patch) .................................................................31

Selecting Patches by Category................................................................................................................ 32

Transposing the Keyboard in Octave Units (Octave Shift) ................................................................ 33

Transposing the Keyboard in Semitone Steps (Transpose)................................................................ 33

Selecting the Tones That Will Sound (Tone On/Off).......................................................................... 33

Playing Single Notes (Monophonic)...................................................................................................... 34

Creating Smooth Pitch Changes (Portamento) ....................................................................................34

Playing Percussion Instruments............................................................................................................. 34

Selecting the Parameter Controlled by the Realtime Controllers or D Beam Controller

(Control Setting) .......................................................................................................................................34

Creating a Patch....................................................................................35

How to Make Patch Settings................................................................................................................... 35

Saving Patches You’ve Created (Write) ................................................................................................37

Functions of Patch Parameters ...............................................................................................................38

6

Contents

Creating a Rhythm Set .........................................................................55

How to Make Rhythm Set Settings........................................................................................................ 55

Saving Rhythm Sets You’ve Created (Write) .......................................................................................57

Functions of Rhythm Set Parameters .................................................................................................... 58

Playing in Performance Mode..............................................................66

Displaying PERFORM LAYER Screen .................................................................................................. 66

Displaying PERFORM MIXER Screen................................................................................................... 66

Functions in the PERFORMANCE LAYER/MIXER Screen .............................................................. 66

Selecting a Performance........................................................................................................................... 67

Using the LAYER Screen......................................................................................................................... 68

Combining and Playing Sounds Together (Layer).............................................................................. 69

Playing Different Sounds in Different Areas of the Keyboard (Split) ..............................................69

Using the MIXER Screen .........................................................................................................................70

Silencing the Playback of a Specific Part (Mute).................................................................................. 71

Creating a Performance .......................................................................72

Adjusting the Parameters of Each Part ................................................................................................. 72

Changing the Settings of the Patch Assigned to a Part....................................................................... 72

Saving a Performance You’ve Created (Write) .................................................................................... 72

Functions of Parameters of Each Part (Performance Parameters)..................................................... 73

Settings for the Realtime Controllers and D Beam Controller........................................................... 78

MIDI Settings ............................................................................................................................................79

Modifying the Sound in Real Time ......................................................80

D Beam Controller.................................................................................................................................... 80

Realtime Controller ..................................................................................................................................83

Control Pedal ............................................................................................................................................ 85

Playing Arpeggios ................................................................................86

About Arpeggio........................................................................................................................................ 86

Playing Arpeggios.................................................................................................................................... 86

Arpeggio Settings ..................................................................................................................................... 87

Creating an Arpeggio Style (Arpeggio Style Edit) ..............................................................................90

Saving the Styles You Have Created (Write)........................................................................................ 91

Using the Chord Memory Function .....................................................92

About the Chord Memory Function...................................................................................................... 92

Performing with the Chord Memory Function.................................................................................... 92

Creating Your Own Chord Forms .........................................................................................................93

Saving the Chord Forms You Have Created........................................................................................ 93

Playing Rhythms...................................................................................94

About Rhythm Patterns........................................................................................................................... 94

Using Rhythm Groups............................................................................................................................. 94

Playing Rhythm ........................................................................................................................................94

Rhythm Pattern Settings.......................................................................................................................... 96

Creating a Rhythm Pattern (Rhythm Pattern Edit) ............................................................................. 97

Saving the Rhythm Pattern You Have Created (Write)...................................................................... 98

Creating a Rhythm Group (Rhythm Group Edit)................................................................................ 99

Saving the Rhythm Group You Have Created (Write)....................................................................... 99

7

Contents

Sampling..............................................................................................100

Sampling Procedure............................................................................................................................... 100

External Input Settings ..........................................................................................................................101

Skip Back Sampling................................................................................................................................ 103

Editing a Sample .................................................................................104

Sample List .............................................................................................................................................. 104

Sample Edit ............................................................................................................................................. 106

Assigning Samples to a Pad (Assign to Pad)...................................................................................... 112

Assigning a Sample as a Patch to a Part (Assign to Keyboard)....................................................... 113

Create a Rhythm Set (Create Rhythm) ................................................................................................ 114

Creating a Multisample (Create Multisample) ..................................................................................114

Saving a Sample (Write) ........................................................................................................................ 116

Using the Pads ....................................................................................117

Using the Hold Function to Sustain a Sound ..................................................................................... 117

Making Settings for the Pads (Pad Setting) ........................................................................................ 117

Assigning a Pattern to a Pad (RPS Function) .....................................................................................118

Using the Pads to Play Rhythms.......................................................................................................... 118

Playing Back a Song...........................................................................119

Playing a Song Immediately (Quick Play).......................................................................................... 119

Playing Back Songs Consecutively (Chain Play) ............................................................................... 119

Various Playback Methods ...................................................................................................................120

Recording Songs ................................................................................122

Before You Record a New Song ...........................................................................................................122

Recording Your Performance as You Play It (Realtime Recording) ...............................................124

Inputting Data One Step at a Time (Step Recording)........................................................................ 128

Editing Songs......................................................................................131

Loading the Song You Want to Edit ....................................................................................................131

Editing Sequencer Data Over the Specified Range (Track Edit) ..................................................... 133

Editing Individual Items of Sequencer Data (Micro Edit)................................................................ 144

Assigning a Name to a Song (Song Name)......................................................................................... 149

Saving/Loading a Song (Save/Load).................................................150

Saving a Song (Save) .............................................................................................................................. 150

Saving a Song as an SMF File (Save as SMF)...................................................................................... 152

Loading a Song (Load)........................................................................................................................... 153

Playing a Phrase at the Touch of a Finger (RPS).............................154

Before You Use the RPS Function ........................................................................................................ 154

Using the RPS Function While You Perform...................................................................................... 156

8

Contents

Adding Effects.....................................................................................157

Turning Effects On and Off................................................................................................................... 157

Making Effect Settings ........................................................................................................................... 157

Applying Effects in Patch Mode .......................................................................................................... 158

Applying Effects in Performance Mode.............................................................................................. 160

Making Multi-Effects Settings (MFX1–3)............................................................................................ 162

Making Multi-Effects Settings (MFX Control) ...................................................................................162

Specifying the Multi-Effects Structure (MFX Structure)................................................................... 163

Multi-Effects Parameters .......................................................................................................................164

Making Chorus Settings ........................................................................................................................ 189

Making Reverb Settings......................................................................................................................... 190

Mastering Effect...................................................................................................................................... 191

Settings Common to All Modes (System Function) ........................192

How to Make System Function Settings ............................................................................................. 192

Saving the System Settings (System Write) ........................................................................................ 192

System Information................................................................................................................................ 192

Functions of System Parameters ..........................................................................................................193

Data Management Functions/

Reset to Factory Settings (Factory Reset) .......................................203

Backing Up User Data (User Backup) .................................................................................................203

Restoring User Data that You Backed Up (User Restore) ................................................................ 203

Factory Reset ........................................................................................................................................... 203

Initializing a Memory Card (Card Format) ........................................................................................ 203

File-Related Functions (File Utility)...................................................204

Basic Procedure....................................................................................................................................... 204

Copying a File (Copy)............................................................................................................................ 205

Deleting a File (Delete) .......................................................................................................................... 205

Moving a File (Move)............................................................................................................................. 205

Initializing a Memory Card (Card Format) ........................................................................................ 205

Connecting to Your Computer via USB ............................................206

About USB Functions............................................................................................................................. 206

Switching the USB Storage Mode and the MIDI Mode .................................................................... 206

Transferring Files to or from Your Computer (Storage Mode) ....................................................... 207

Exchanging MIDI Messages with Your Computer (MIDI Mode)................................................... 209

Using Fantom-X Editor .......................................................................210

Installing Fantom-X Editor into Your Computer............................................................................... 210

Making Connections .............................................................................................................................. 210

Using Fantom-X Librarian .................................................................................................................... 210

Fantom-X Editor System Requirements.............................................................................................. 211

About V-LINK.......................................................................................212

What is V-LINK? .................................................................................................................................... 212

Connection Example .............................................................................................................................. 212

Turning the V-LINK ON/OFF ............................................................................................................. 212

V-LINK Settings...................................................................................................................................... 212

9

10

Main Features

The Fantom-Xa is a high-quality workstation synthesizer that makes
pro-quality sound, playability, and compositional power available to
everyone. The latest sound generator, versatile effects, a powerful
sequencer, and a sampler that lets you record, process and play
vocals or audio phrases—all brought together in a user-friendly
system. The features listed below make the Fantom-Xa a great choice
for any style of music, in applications ranging from stage
performance to composition and arranging.

The latest sound engine with 128­voice polyphony

The Fantom-Xa provides 128 voices of polyphony—the standard for
the new era. You’ll have plenty of power for multitrack sequencer
recording and for layering complex sounds. The sound engine melds
the latest synthesizer technology with a sampler. Sampled
waveforms imported from your computer or other external device
can be synthesized just like the internal waveforms.

Highly expandable waveform
memory

To supplement the Fantom-Xa’s numerous new patches created
from the carefully selected high-quality built-in waveforms, you can
install one wave expansion board. Depending on your needs and
your favorite musical styles, you can choose one board from the
wide variety of professionally acclaimed Roland SRX series boards
now available.

The sampler section provides 4 MB (approximately 47 seconds in
monaural) of memory as standard, letting you sample immediately
without having to install any options. You can install optional
DIMM memory (up to 512 MB) to expand the sampling time to up to
one and a half hours (monaural).

A full-fledged sampler section with
Skip Back Sampling

The Fantom-Xa provides serious sampler functionality that rivals
dedicated units, with sampling, resampling, and waveform editing
in a graphic display.

Roland’s proprietary Skip Back Sampling function lets you
“retrospectively” capture a cool phrase that just played and would
like to keep. Your inspired moments need never be lost again!

There’s also an Auto Sync function, which matches a phrase sample
to the measure length at the current tempo, and a Solo Sampling
function, which lets you sample only an external vocal or guitar
performance while listening to an accompaniment played by the
internal sequencer. Both WAV and AIFF are supported as external
wave formats, making it easy to transfer waveform data to and from
PC or Mac.

Plenty of external interfacing

Built-in high-resolution 16-track
sequencer

The internal 16-track sequencer lets you record as soon as inspiration
strikes—no need to think about entering any complex sequencer
modes. Loop Recording lets you record each part without stopping,
and you can use the Part Track buttons to quickly select each part
and switch it on/off. The Fantom-Xa is designed to let your creative
imagination flow freely into songs. In addition, songs you created on
your computer-based sequencer (SMF format) can be transferred via
PC card or USB into the Fantom-Xa, and used to play backing tracks
while you play live on stage.

Trigger/Category pads

The Trigger/Category pads are a convenient feature that can also be
used as a numeric key pad. You can use them to play percussion
sounds or hits during a live performance, to trigger Realtime Phrase
Sequences (RPS), or you can assign the pads to play skipback­sampled audio phrases.

Powerful effects including
mastering functionality

The Fantom-Xa provides three multi-effects processors (78 types),
plus independent chorus and reverb processors. There’s a mastering
effect, indispensable for adding the final touch to your production,
bringing your sound CD-master level impact and audio quality.

Versatile sound control
functionality

The versatile array of controllers includes a D Beam controller as
well as realtime control knobs and assignable switches to which you
can freely assign functions. There’s also a hold pedal jack that can
detect half-damper operation. The Fantom-Xa gives you complete
control over your on-stage sound.

Fantom-X Editor/Librarian is
included

Dedicated editor/librarian software is included, letting you edit and
manage Fantom-Xa sounds from the large screen of your computer.

V-LINK functionality

V-LINK allows you to synchronize music and video, opening up
completely new performance possibilities.

When used in combination with a V-LINK capable video device
(such as the Edirol DV-7PR, PR-50, or V-4), you can use the realtime
controllers and pads of the Fantom-Xa to control video as part of the
act of playing music.

The rear panel USB connector supports both file transfer and USB­MIDI, and can be switched as desired. There’s also a PC card slot
that can accommodate SmartMedia or CompactFlash via a
commercially available adaptor. You can use a card to store as much
as 1 GB of data (when using CompactFlash).

GM/GM2 compatibility

The Fantom-Xa is compatible with GM/GM2, and is able to play
back music data that complies with the GM/GM2 standard (GM
scores).

11

Panel Descriptions

Front Panel

fig.Front

3 4

1

7 11 13 14

6

10

8

2

5

15

1

D BEAM

Switches D Beam function on/off. You can apply a variety of effects
to sounds simply by moving your hand (p. 80).

[PAD TRIGGER]

You can use the D Beam controller to control the sounding of the
pads (p. 82).

[SOLO SYNTH]

Play the Fantom-Xa as a monophonic synthesizer (p. 81).

[ASSIGNABLE]

You can assign a variety of parameters and functions to D Beam to
modify the sound in realtime (p. 82).

* Hold down [SHIFT] and press one of the corresponding buttons to

access the D BEAM setting screen.

2

VOLUME knob

Adjusts the overall volume that is output from the rear panel
OUTPUT A (MIX) jacks and PHONES jack (p. 16).

[V-LINK]

Switches the V-LINK function on/off (p. 212).
Press this button to access the V-LINK setting screen.

3

ARP/RHY

BEAT (Beat Indicator)

This blinks in sync with the tempo and beat.

[ARPEGGIO]

Switches the ARPEGGIO on/off (p. 86).

[HOLD]

Switches the Arpeggio Hold function on/off (p. 87).

[RHYTHM]

Switches the RHYTHM on/off (p. 94).

* Hold down [SHIFT] and press [ARPEGGIO] or [RHYTHM] to

access ARPEGGIO or RHYTHM setting screen.

4

REALTIME CONTROL

REALTIME CONTROL knob ( )

Depending on the parameter or function that is assigned, you can
use the knobs to modify the sound in realtime (p. 83).

9

ASSIGNABLE switch ([ ], [ ])

Use these buttons to switch the assigned parameter or function to
modify the sound in realtime (p. 84).

* Hold down [SHIFT] and press (or rotate) one of the above switches (or

knobs) to access the corresponding setting screen.

[OCTAVE] (+/-)

Transposes the pitch of the keyboard in 1 octave units (-3– +3
octaves) (p. 33).

* Hold down [SHIFT] and press [OCTAVE] to transposes the pitch in

semitones (p. 33).

5

SEQUENCER

Perform sequencer operations such as playback and record.

[TEMPO]

Sets the tempo (BPM) (p. 120, p. 123).

[PATTERN]

Lets you edit or record patterns (p. 123, p. 124, p. 128).

[LOOP PLAY]

Turns Loop Play on/off (p. 121).

[ERASE/UNDO]

Cancels the most recent song edit or recording operation.

[]

Moves the song position to the top. If you press this during
playback, you will return to the beginning of the song and stop (p.

120).

[] []

Moves the song position to the first beat of the previous or next
measure (p. 120).

[]

Controls sequencer stop.

[]

Controls sequencer play.

* While stopped, you can hold down [SHIFT] and Press [ ] to

perform MIDI Update (p. 120).

[]

The display changes to the Recording Standby window. (p. 124, p.

128)
If you press this during recording, the Rehearsal function will be

activated (p. 127).

12

12

Panel Descriptions

6

[CHORD MEMORY]

Switches the CHORD MEMORY on/off (p. 92).

[RPS]

Switches RPS on/off (p. 154).

* Hold down [SHIFT] and press [CHORD MEMORY] or [RPS] to

access the CHORD MEMORY or RPS setting screen.

7

Display

This displays information regarding the operation you are
performing.

8

[MENU]

Opens the MENU. The contents of the menu will depend on the
current mode.

Function buttons ([F1]–[F6])

During editing, these buttons execute a variety of functions, and
their function will differ depending on the screen.

[PAGE]

When this button is lit, you can use this to switch the screen.

* Hold down [SHIFT] and press [PAGE] to access the LCD Contrast

setting screen (p. 16).

9

PART/TRACK

[SELECT]

If you press this in Performance mode, buttons [1]–[8] will function
as Part Select buttons (p. 68, p. 70).

[MUTE]

If you press this in Performance mode, buttons [1]–[8] will function
as Mute buttons (p. 71, p. 120).

[1]–[4] (TONE SW [1]–[4])

In Performance mode, these correspond to parts 1–4 (9–12).
In Patch mode, they turn tones or waves on/off (p. 33).

[5]–[8] (TONE SELECT [1]–[4])

In Performance mode, these correspond to parts 5–8 (13–16).
In Patch mode, they select the tone or wave to edit (p. 35, p. 55).

[9-16]

If you press this in Performance mode so it’s lighted, buttons [1]–[8]
will correspond to parts 9–16.

11

[MIXER]

View the Performance mode’s Mixer screen (p. 70).

[LAYER/SPLIT]

View the Performance mode’s Layer screen (p. 68).

[PATCH/RHYTHM]

Enter Patch/Rhythm mode (p. 29).

12

VALUE Dial

This is used to modify values. If you hold down [SHIFT] as you turn
the VALUE dial, the value will change in greater increments.

[DEC], [INC]

This is used to modify values. If you keep on holding down one
button while pressing the other, the value change accelerates. If you
press one of these buttons while holding down [SHIFT], the value
will change in bigger increments (p. 27).

[CURSOR] ( , , , )

Moves the cursor location up/down/left/right (p. 27).

[EXIT]

Return to the previous screen, or close the currently open window.
In some screens, this causes the currently executing function to be
aborted.

[ENTER]

Use this button to execute an operation.

TRIGGER/CATEGORY

PAD [1]–[9]

Use these to play tones or samples, or to start patterns.

[HOLD] (PAD [0])

Turn “hold” (sustaining the sound after you release the pad) on/off
(p. 117).

[TRIGGER]

If you press this so it’s lighted, pads [1]–[9] will play tones or
samples.

[CATEGORY]

If you press this so it’s lighted, pads [0]–[9] will select patch
categories (p. 32)

* If you together press [TRIGGER] and [CATEGORY] so both are

lighted, you can use pads [0]–[9] as a numeric keypad to enter
numeric values (p. 27).

10

[WRITE]

Save edited settings into Temporary Area or a memory card (p. 37, p.
57, p. 72, p. 91, p. 93, p. 116, p. 150).

[PATCH SELECT]

View the PATCH SELECT screen (p. 31).

[PATCH EDIT]

Make patch-related settings (p. 35).

[SONG]

Make settings for song data and song edit (p. 119).

[EFFECTS]

Make effect-related settings (p. 157).

[SHIFT] (JUMP)

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

SAMPLING

[MIX IN]

Switches the external input on/off (p. 101).

* Hold down [SHIFT] and press this button to access the INPUT

setting screen.

[SAMPLE]

View the SAMPLE EDIT or SAMPLE LIST screen (p. 104, p. 106).

[SAMPLING]

View the Sampling Menu screen (p. 100).

[SKIP BACK SAMPLING]

Sample the performance for a specified duration prior to the moment
you pressed the button (p. 103).

Pitch Bend/Modulation Lever

This allows you to control pitch bend or apply vibrato (p. 18).

13

Panel Descriptions

Rear Panel

fig.Rear

Ground Terminal

927

Depending on the circumstances of a particular setup, you may
experience a discomforting sensation, or perceive that the surface
feels gritty to the touch when you touch this device, microphones
connected to it, or the metal portions of other objects, such as guitars.
This is due to an infinitesimal electrical charge, which is absolutely
harmless. However, if you are concerned about this, connect the
ground terminal (see figure) with an external ground. When the unit
is grounded, a slight hum may occur, depending on the particulars
of your installation. If you are unsure of the connection method,
contact the nearest Roland Service Center, or an authorized Roland
distributor, as listed on the “Information” page.

Unsuitable places for connection

• Water pipes (may result in shock or electrocution)

• Gas pipes (may result in fire or explosion)

• Telephone-line ground or lightning rod (may be dangerous in

the event of lightning)

POWER ON Switch

Press to turn the power on/off (p. 16).

DC IN Jack

Connect the AC adaptor here (p. 15).
Be sure to use only the supplied AC adaptor.

Cord Hook

Anchor the cord of the AC adaptor (p. 15).

PC CARD Slot

A memory card can be inserted here (p. 218).

930

* Never insert or remove a memory card while this unit’s power is on.

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

931

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

place.

USB Connector

This connector lets you use a USB cable to connect your computer to
the Fantom-Xa (p. 206).

CONTROL PEDAL Jack

You can connect optional expression pedals (EV-5, 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. You can
also connect optional pedal switches (DP series etc.) to sustain sound
(p. 18).

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 PEDAL Jack

An optional pedal switch (DP series etc.) can be connected to this
jack for use as a hold pedal (p. 18).

This can also be set so it supports the use of half-pedaling
techniques. So, after connecting an optional expression pedal (DP-8,
etc.), you can employ pedal work to achieve even finer control in
performances in which piano tones are used.

MIDI Connectors (IN, OUT, THRU)

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

LEVEL knob

Controls the volume of the external input.

AUDIO INPUT Jacks (L (MONO)/MIC, R)

Accept input of audio signals in stereo (L/R) from external devices.
If you want to use mono input, connect to the L jack.

When recording from a mic, connect it to the L jack, and set Input
Select (p. 100) to “MICROPHONE.”

926a

* When connection cables with resistors are used, the volume level of

equipment connected to the AUDIO INPUT jacks may be low. If this
happens, use connection cables that do not contain resistors, such as
those from the Roland PCS series.

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. 15).

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. 158, p. 160).

PHONES Jack

This is the jack for connecting headphones (sold separately) (p. 15).

14

Getting Ready

Connections

Since Fantom-Xa 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.

In order to fully experience the Fantom-Xa’s sound, we recommend

using a stereo amp/speaker system. If you’re using a mono system,

however, make your connections to the Fantom-Xa’s OUTPUT A

(MIX) jack L (MONO).

* Audio cables are not included with the Fantom-Xa. You’ll need to

provide them.

fig.Connect.e

921

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.

924

To prevent the inadvertent disruption of power to your unit

(should the plug be pulled out accidentally), and to avoid

applying undue stress to the AC adaptor jack, anchor the power

cord using the cord hook, as shown in the illustration.

15

Getting Ready

Turning On/Off the Power

941

* Once the connections have been completed (p. 15), 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.

Before turning on the Fantom-Xa’s power, consider these

1.

two questions:

• Are all devices connected properly?

• Have the volume controls of the Fantom-Xa 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-Xa.

fig.PowerOn

942

* This unit is equipped with a protection circuit. A brief interval (a few

seconds) after power up is required before the unit will operate

normally.

* To ensure proper operation of the pitch bend lever, make sure not to

touch the lever when turning the Fantom-Xa’s power on.

1.

Before turning off the power, consider these two questions:

• Have the volume controls of the Fantom-Xa and all connected

audio devices been turned to their lowest settings?

• Have you saved your Fantom-Xa 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-Xa.

The characters in the display may be difficult to view immediately

after turning on the Fantom-Xa’s power or after extended use. Your

viewing angle or the current lighting conditions can also affect the

appearance of the display. In such situations, adjust the contrast of

the display.

1.

Hold down [SHIFT] and press [PAGE] to open the LCD
Contrast window.

2.

Turn the VALUE dial to adjust the contrast.

* If you want to keep the contrast of the display, save the setting in

internal system memory (p. 192).

3.

Turn on the power for any connected audio devices.

While playing the keyboard, gradually raise the volume of

4.

the Fantom-Xa and connected devices.

fig.Volume

16

Listening to the Demo Songs

The internal demo songs will feature the Fantom-Xa’s exceptional

sounds and effects.

1.

Press [MENU] to open the Top Menu Window.

fig.TopMenu

2.

Press to select “6. Demo Play.”

fig.DemoPlay

3.

Press [ENTER].

The DEMO MENU screen appears.

fig.DemoMenu

You can also access the DEMO MENU screen by holding down

[SHIFT] and pressing [MENU].

4.

Turn the VALUE dial or press [CURSOR] to select a song.

Press [ENTER] or [ ] to start playback.

5.

Playback will stop automatically when the song ends.

If you press [F6 (PLAY ALL)], the songs will playback

successively, beginning from the first.

* Press [EXIT] or [ ] to stop the demo song.

Press [EXIT] to return to the previous screen.

6.

For the names and copyright information of these demo songs,

refer to the Fantom-Xa’s display.

981a

* All rights reserved. Unauthorized use of this material for purposes

other than private, personal enjoyment is a violation of applicable

laws.

982

* No data for the music that is played will be output from MIDI OUT.

When you perform demo playback, any patch or performance

you may have been editing will be lost.

17

Various Performance Features

Velocity

The velocity—the force with which you play the keyboard—can

affect the volume or timbre of a sound.

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

(

pitch bend

away from you (

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.Bender.e

). You can also apply vibrato by gently pushing the lever

modulation

).

ModulationPitch Bend

Octave Shift

You can shift the pitch of the keyboard in one-octave units over a

range of +/-3 octaves.

• Press OCTAVE [+] or [-] at the left of the screen.

• To return to the original pitch, press both buttons

simultaneously.

Hold Pedal

If an optional pedal switch (DP series) is connected to the rear panel

PEDAL HOLD jack, you can press the pedal to cause notes to sustain

or “hold” even after their keys have been released.

fig.HoldPdl

Control Pedal

If an optional expression pedal or pedal switch (EV-5, DP-2) is

connected to the rear panel PEDAL CONTROL jack, you can use the

pedal to control the volume or various function.

fig.CtrlPdl

Transpose

You can transpose the pitch of the keyboard in semitone steps, over a

range of G–F# (-5– +6 semitones).

• Hold down [SHIFT] and press OCTAVE [+] or [-].

• To return to the original pitch, hold down [SHIFT] and press

both buttons simultaneously.

For details on pedal settings, refer to

(p. 85).

925

Use only the specified expression pedal or pedal switch (EV-5,

DP-2; sold separately). By connecting any other expression

pedals, you risk causing malfunction and/or damage to the

unit.

Control Pedal Settings

18

Overview of the Fantom-Xa

WG

Pitch

Envelope

TVF

TVF

Envelope

TVA

Envelope

TVA

LFO 1 LFO 2

control signal

Tone

audio signal

How the Fantom-Xa Is Organized

Basic Structure

Broadly speaking, the Fantom-Xa consists of a controller section, a

sound generator section, a sequencer section, and a sampler section.

These sections are internally connected via MIDI.

fig.BasicStruct.e

Sequencer

Section

Controller Section (controllers
such as keyboard, pad, pitch bend lever, etc.)

Playback

Recording

Audio Input

Sampler

Section

Sound

Generator

Section

Play

Sampling

Resampling

Controller Section

Classification of Fantom-Xa Sound Types

When using the Fantom-Xa, you will notice that a variety of different

categories come into play when working with sounds. What follows

is a simple explanation of each sound category.

Tones

On the Fantom-Xa, the tones are the smallest unit of sound.

However, it is not possible to play a tone by itself. The patch is the

unit of sound which can be played, and the tones are the basic

building blocks which make up the patch.

fig.Tone.e

This section consists of the keyboard, pad, pitch bend/modulation

lever, panel knobs and buttons, and D Beam controller. It also

includes any pedals that may be connected to the rear panel. The

performance information generated when you do things such as

press/release a key or pad, or depress the hold pedal is converted

into MIDI messages and sent to the sound generator section,

sequencer section, and/or an external MIDI device.

Sound Generator Section

The sound generator section produces the sound. It receives MIDI

messages from the controller section and sequencer section and/or

from an external MIDI device, generates musical sound according to

the MIDI messages that were received, and outputs the sound from

the output jacks or headphones jack.

Sequencer Section

This section records operations of the controller section as MIDI
messages, and transmits the recorded MIDI messages to the sound
generator section. MIDI messages recorded on the sequencer can
also be transmitted from the MIDI OUT connector to allow the
Fantom-Xa to also control external MIDI devices.

Sampler section

A sampler is a device that captures sounds from a CD player or mic

connected to the input (or sounds from a wave file) as “samples.”

Samples you record can be used in the same way as the waveforms

that are built into the internal sound generator (p. 100).

The Fantom-Xa can load WAV or AIFF format wave files as samples

via a USB connection. Loaded sample can be used in patches or

rhythm sets.

Tones consist of the following five components.

WG (Wave Generator)

Specifies the PCM waveform (wave) that is the basis of the sound,

and determines how the pitch of the sound will change.

The Fantom-Xa has 1228 different waveforms. All patches built into

the Fantom-Xa consist of combinations of tones which are created

based on these waveforms.

* There are four wave generators for each rhythm tone (percussion

instrument sounds).

TVF (Time Variant Filter)

Specifies how the frequency components of the sound will change.

TVA (Time Variant Amplifier)

Specifies the volume changes and the sound’s position in a stereo

soundfield.

Envelope

You use Envelope to initiate changes to occur to a sound over time.

There are separate envelopes for Pitch, TVF (filter), and TVA

(volume). For example if you wish to modify the way in which the

sound attacks or decays over time, you would adjust the TVA

envelope.

19

Overview of the Fantom-Xa

Patch

Tone 4

Tone 3

Tone 2

Tone 1

WG

Pitch

Envelope

TVF

TVF

Envelope

TVA

Envelope

TVA

LFO 1 LFO 2

Performance

Part 16

Part 1

Patch/

Rhythm Set

LAYER/SPLIT
MIXER

LFO (Low Frequency Oscillator)

Use the LFO to create cyclic changes (modulation) in a sound. The
Fantom-Xa has two LFOs. You can use the LFO to apply an effect to
either the WG (pitch), the TVF (filter), or the TVA (volume). When
an LFO is applied to the WG pitch, a vibrato effect is produced.
When an LFO is applied to the TVF cutoff frequency, a wah effect is
produced. When an LFO is applied to the TVA volume, a tremolo
effect is produced.

* LFO is not included in the rhythm tones (percussion instrument

sounds).

Patches

Patches are the basic sound configurations that you play during a
performance. Each patch can be configured by combining up to four
tones. How the four tones are combined is determined by the
Structure Type parameter (p. 38).

fig.Patch.e

Each percussion instrument consists of the following four elements.

(For details, refer to the explanations for “Tones.”)

WG (Wave Generator): 1–4

TVF (Time Variant Filter)

TVA (Time Variant Amplifier)

Envelope

Performances

A performance has a patch or rhythm set assigned to each of the 16

parts, and can simultaneously handle 16 sounds.

The Fantom-Xa has two screens: a LAYER screen and a MIXER

screen (p. 68, p. 70).

Use the LAYER screen if you want to play two or more patches

together (Layer) or play different patches in separate areas of the

keyboard (Split).

Use the MIXER screen if you want to “mix” by individually

adjusting the pan and level settings for each of the sixteen parts.

Because the Fantom-Xa sound generator can control multiple sounds

(instruments), it is called a Multi-timbral sound generator.

fig.Performance.e

Rhythm Sets

Rhythm sets are groups of a number of different percussion
instrument sounds. Since percussion instruments generally do not
play melodies, there is no need for a percussion instrument sound to
be able to play a scale on the keyboard. It is, however, more
important that as many percussion instruments as possible be
available to you at the same time. Therefore, each key (note number)
of a rhythm set will produce a different percussion instrument.

fig.RhythmSet.e

20

Rhythm Set

Note Number 98 (D7)

Note Number 97 (C#7)

Note Number 36 (C2)

Note Number 35 (B1)

Rhythm Tone (Percussion instrument sound)

WG

Pitch

Envelope

TVF

TVF

Envelope

TVA

TVA

Envelope

Part

On the Fantom-Xa, a “part” is something to which you assign a

patch or rhythm set. Patch mode has two parts, the Pad part and the

Keyboard part, and you can assign a patch or rhythm set to each of

these parts. In Performance mode, each performance has sixteen

parts, and you can assign a patch or rhythm set to each part.

Overview of the Fantom-Xa

Temporary Area

Rhythm Set

32

Patch

256

Select

Fantom-Xa

GM (GM2)

* 1 The selected Patches/Rhythm Sets cannot be changed.

Performance

64

User (USER)

System

WriteSelect

SelectWrite

Wave Expansion Board

Memory Card

Patch

256

Rhythm Set

32

Performance

64

Rhythm Set

Patch

EXP Slot

CARD Slot

Select Select

* 1

Patch

256

Rhythm Set

9

Performance

64

Rhythm Set

36

Patch

128

Preset B (PR-B)

Preset A (PR-A)

Preset C (PR-C)

Preset D (PR-D)

Preset F (PR-F)

Preset E (PR-E)

Preset (PRST)

About Simultaneous Polyphony

The Fantom-Xa can play a maximum of 128 sounds simultaneously.
The following paragraphs discuss what this means, and what will
happen when more than 128 simultaneous voices are requested from
the Fantom-Xa.

Calculating the Number of Voices
Being Used

The Fantom-Xa is able to play up to 128 notes simultaneously. The
polyphony, or the number of voices (sounds) does not refer only to
the number of patches actually being played, but changes according
to the number of tones used in the patches, and the number of waves
used in the tones. The following method is used to calculate the
number of sounds used for one patch being played.

(Number of patches being played) x (Number of tones used by
patches being played) x (Number of waves used in the tones)

For example, a patch that combines four tones, each of which use
two waves, will use eight notes of polyphony at once. Also, when
playing in Performance mode, the number of sounds for each part is
counted to obtain the total number of sounds for all parts.

How a Patch Sounds

About Memory

Patch and performance settings are stored in what is referred to as

memory. There are three kind of memory: temporary, rewritable,

and non-rewritable.

fig.04-006.e

When the Fantom-Xa is requested to play more than 128 voices
simultaneously, currently sounding notes will be turned off to make
room for newly requested notes. The note with the lowest priority
will be turned off first. The order of priority is determined by the
Patch Priority setting (p. 40).

Patch Priority can be set either to “LAST” or “LOUDEST.” When
“LAST” is selected, a newly requested note that exceeds the 128
voice limit will cause the first-played of the currently sounding notes
to be turned off. When “LOUDEST” is selected, the quietest of the
currently sounding notes will be turned off. Usually, “LAST” is
selected.

Note Priority in Performance Mode

Since Performance mode is usually used to play an ensemble
consisting of several patches, it is important to decide which parts
take priority. Priority is specified by the Voice Reserve settings (p.

75). When a note within a patch needs to be turned off to make room

for a new note, the Patch Priority setting of the patch will apply (p.

40).

Voice Reserve

The Fantom-Xa has a Voice Reserve function that lets you reserve a
minimum number of notes that will always be available for each
part. For example if Voice Reserve is set to “10” for part 16, part 16
will always have 10 notes of sound-producing capacity available to it
even if a total of more than 128 notes (total for all parts) are being
requested. When you make Voice Reserve settings, you need to take
into account the number of notes you want to play on each part as
well as the number of tones used by the selected patch (p. 75).

It is not possible to make Voice Reserve settings that would
cause the total of all parts to be greater than 64 voices.

21

Overview of the Fantom-Xa

Temporary Memory

Temporary Area

This is the area that holds the data for the patch or performance that

you’ve selected using the panel buttons.

When you play the keyboard or play back a sequence, sound is

produced based on data in the temporary area. When you edit a

patch or performance, you do not directly change the data in

memory; rather, you call up the data into the temporary area, and

edit it there.

Settings in the temporary area are temporary, and will be lost when

the power is turned off or when you select another patch/

performance. To keep the settings you have changed, you must write

them into rewritable memory.

Rewritable Memory

System Memory

System memory stores system parameter settings that determine

how the Fantom-Xa functions.

User Memory

User memory is the internal memory area that holds patches,

performances, samples, and performance data.

About the Onboard Effects

Effect Types

The Fantom-Xa has built-in effect units, and you can independently

edit each unit’s settings.

Multi-Effects

The multi-effects are multi-purpose effects that completely change

the sound type by changing the sound itself. Contained are 78

different effects types; select and use the type that suits your aims. In

addition to effects types composed of simple effects such as

Distortion, Flanger, and other such effects, you can also set up a

wide variety of other effects, even connecting effects in series or in

parallel. Furthermore, while chorus and reverb can be found among

the multi-effects types, the following chorus and reverb are handled

with a different system. In Performance mode, three types of multi-

effect can be used simultaneously; these are referred to as MFX1,

MFX2, and MFX3. In Patch mode, the Keyboard part can use MFX1

and the Pad part can use MFX2.

Chorus

Chorus adds depth and spaciousness to the sound. You can select

whether to use this as a chorus effect or a delay effect.

Memory Card

You can use a memory card to store patches, performances, samples,

and performance data just as you can in User memory.

Non-Rewritable Memory

Preset Memory

Data in Preset memory cannot be rewritten. However, you can call

up settings from preset memory into the temporary area, modify

them and then store the modified data in rewritable memory (except

GM2).

Wave Expansion Board
(SRX Series)

The Fantom-Xa can be equipped with a Wave Expansion Board (SRX

series; sold separately). Wave Expansion Boards contain Wave data,

as well as patches and rhythm sets that use this Wave data, which

can be called directly into the temporary area and played.

Reverb

Reverb adds the reverberation characteristics of halls or

auditoriums. Five different types are offered, so you can select and

use the type that suits your purpose.

Mastering Effect

This is a stereo compressor (limiter) that is applied to the final

output of the Fantom-Xa. It has independent high, mid, and low

ranges. Independently for the high-frequency, mid-frequency, and

low-frequency regions, this compresses any sounds that exceed the

specified level, making the volume more consistent.

22

In Patch Mode

Multi-effects can be used individually by each patch and rhythm set.

Overview of the Fantom-Xa

23

Overview of the Fantom-Xa

Tempo Track

The Tempo track records tempo changes of a song over time. It can

be used for tempo changes during a song. If a song has the same

tempo from beginning to end, the Tempo track can be ignored.

When a song is first recorded on the Fantom-Xa, a tempo setting at

the time of recording will be stored at the beginning of the Tempo

track. Therefore when song playback starts from the beginning, the

song will always play back at this initial tempo.

Thus playback tempo is determined by the Tempo track setting. If

you modify the tempo during playback, the overall tempo of the

song will be controlled by the setting you make.

Beat Track

The Beat track records the time signature of each measure of a song.

Set the Beat track when recording a new song, or when you want to

change time signature during a song.

Pattern

Patterns are a place to store performance data separately from

phrase tracks. You can create up to one hundred patterns; as with a

phrase track, each pattern can contain up to sixteen MIDI channels of

data.

Patterns can be assigned to phrase tracks. This means that if your

song uses repeating phrases such as drum or bass riffs, you can

record each phrase as a pattern, and then use the Step Recording

window to assign the patterns at the appropriate locations (p. 130).

In this case, the phrase track only contains “pattern call numbers”

which specify which pattern is to be played. This is convenient, and

also lets you conserve memory.

The RPS function (p. 154) for immediate playback also applies to

Patterns. Patterns are therefore convenient for live performance, if

you’ve recorded necessary sequencer data as Patterns and take them

to the gig.

Patterns also make fine scratch-pads for musical ideas.

Positions for Storing a Song

Temporary Area

The sequencer has an area called

temporarily store one song. So we call this

The song in Temporary Area is volatile and will be lost when the

power is turned off. To keep a song, you must save it to user

memory or memory card.

Temporary Area

temporary song

that can

.

Memory Card/User Memory

If you want to keep the song in Temporary Area that you recorded

or edited, you must save it as a song file onto a memory card or into

user memory. Either method lets you save up to 256 songs.

A card and user memory can contain two file types. The three-letter

symbol shown in parentheses ( ) is a file name extension that

distinguishes the different file types.

Song File (.SVQ)

This file is a song created on the Fantom-Xa. It is called an

song

.

Standard MIDI File (.MID)

Standard MIDI File

data to be exchanged between most musical applications. Fantom-Xa

files can be saved as Standard MIDI Files. This also allows you to

play back commercially available music data (GM scores) that is

compatible with the GM/GM2 system.

fig.SongFile.e

is a standard file format that allows sequencer

Temporary Memory

Temporary Area

User Memory

Song file

Standard MIDI file

MRC Pro

Songs and the Sound Generator Mode

The Fantom-Xa’s sequencer can be used at any time, regardless of

the mode of the sound generator (Patch/Performance).

In Performance mode you can use up to sixteen sounds, with each

part playing a different sound. This means that Performance mode is

ideal for recording or playing an ensemble that uses multiple

instruments, such as drums, bass, and piano.

In Patch mode you can play using the sounds that are assigned to the

Keyboard part and the Pad part.

24

Fantom-Xa

Memory Card

Song file

Standard MIDI file

Overview of the Fantom-Xa

Sampler Section

User Bank

Preset Bank

Card Bank

Memory Card

Preset Memory

User Memory

Sample Memory

Fantom-Xa

Load

Load

Write

Load/Write

Write

Write

Write

Write

Sampling

About the Sampling Section

The Sampling section samples (records) external sounds from an

audio device or mic as digital data. Sampled sounds can be played as

a patch or rhythm set. You can also import WAV/AIFF format files

and use them in the same way.

Samples

A

sample

contains the waveform data sampled by the Fantom-Xa.

In addition to the actual waveform data itself, a sample also contains

parameters such as start point, loop start, and loop end. The Fantom-

Xa can hold 9,000 samples (User: 2000, Card: 7000).

fig.Sample.e

Sample

Sample List

User Sample

0001
0002

2000

Drum

Sampling

Wave

(Sample)

Added

automatically

Multisamples

Two or more samples assigned to the keyboard are collectively

called a multisample. A multisample is divided into 128 “splits.”

Each split contains the number of a sample in the sample list—it

does not contain the actual sample data itself.

fig.Multisample1.e

Multisample

Where Samples are Stored

Samples that you record or import are stored in sample memory.

This sample memory is temporary, and its data will be lost when

you turn off the power. If you want to keep these samples, you must

save them to user memory or a memory card.

* You cannot save data to the preset memory.

fig.SampleMemory.e

sample

sample

No.001

No.002

Number in the sample list

No.001Multisample

sample
No.003

No.128Multisample

sample
No.127

A multisample is

divided into 128

sample
No.128

25

Basic Operation of the Fantom-Xa

To select the LAYER screen

Switching the Sound Generator Mode

The Fantom-Xa has two sound generating modes: Patch mode,

Performance mode. You can select the sound generating mode

(state) that is most appropriate for how you are playing the Fantom-

Xa.

Use the following procedure to switch between these modes.

Patch Mode

In this mode you can use the keyboard and pads to play individual

sounds (patches/rhythm sets).

The keyboard and pads each have their own sound generator and

part, and are connected on a single MIDI channel.

To select Patch mode

1.

Press [PATCH/RHYTHM].

fig.PatchPlay

1.

Press [LAYER/SPLIT].

fig.PfmLayer

To select the MIXER screen

1.

Press [MIXER].

fig.PfmMixer

About the Function Buttons

The six [F1]–[F6] buttons (function buttons) located below the

display execute various functions, and their operation will differ

depending on the screen. Functions will be listed in the bottom of the

screen.

fig.FButtons

Performance Mode

This mode allows you to combine multiple sounds (patches or

rhythm sets).

LAYER/SPLIT screen

Use this screen when you want to play two or more sounds

(patches/rhythm sets) together.

You can play patches together (Layer) or divide the keyboard into

two regions and play different patches in each region (Split).

MIXER screen

Use this screen when you want to mix the sounds by adjusting the

level and pan for each of the 16 parts.

The LAYER screen and MIXER screen provide different views

of the same performance. For example, you’ll want to use the

LAYER/SPLIT screen when you’re setting up a keyboard split,

or use the MIXER screen when you’re adjusting the effect

settings or volume balance of the patches for each part.

Window

The somewhat smaller screens that appear temporarily on top

of the normal screens are called windows. Various types of

windows appears according to the situation. Some display lists,

others allow you to make settings, and still others ask you to

confirm an operation.

fig.Tempo

Press [EXIT] to close the window. Some windows will close

automatically when an operation is performed.

26

Basic Operation of the Fantom-Xa

Moving the Cursor

A single screen or window displays multiple parameters or items for

selection. To edit the setting of a parameter, move the cursor to the

value of that parameter. To select an item, move the cursor to that

item. When selected with the cursor, a parameter value or other

selection is highlighted.

fig.CursorScreen

Cursor

Move the cursor with the , , and (cursor buttons).

fig.CURSOR

: moves the cursor up.

: moves the cursor down.

: moves the cursor to the left.

: moves the cursor to the right.

• If you hold down one cursor button while you also press the

cursor button for the opposite direction, the cursor will move

more rapidly in the direction of the first-pressed cursor button.

• When the cursor is displayed, pressing [ENTER] will sometimes

display a list of the available choices for that parameter. This is

convenient when you want to see what your choices are.

Changing a Value

VALUE Dial

Turning the VALUE dial clockwise increases the value,

counterclockwise decreases the value.

• Holding down [SHIFT] as you move the VALUE dial increases

value increments so you can make large value changes faster.

[INC] and [DEC]

Pressing [INC] increases the value, and [DEC] decreases it.

• Keep the button pressed for continuous adjustment.

• For faster value increases, keep [INC] pressed down and press

[DEC]. For decreasing value faster, keep [DEC] pressed down

and press [INC].

• If you press [INC] or [DEC] while holding down [SHIFT], the

value increments will get bigger.

When the cursor is located at a parameter value, press [ENTER]

to display a window where you can set the value. Use

to select a value, and then press [ENTER] to finalize the setting.

Using the pads

In some cases when the cursor is located at an input location, you

can press [ENTER] to see a list of parameter values. For some of

these lists, you can use the pads to input or specify the value.

1.

Press [TRIGGER] and [CATEGORY] simultaneously so both
buttons are lit.

You can use the pads to input or specify the value.

To change the value, use the VALUE dial or the [INC] [DEC]

buttons.

fig.VALUE

In each screen of the Fantom-Xa, you can use the cursor buttons

to move the area displayed as highlighted, and modify its value.

* Each parameter has its own range of possible values, so you cannot set

any value smaller than the minimum value or greater than the

maximum value.

When inputting a numerical value

PAD [0]–[9]:

[SHIFT]:

fig.PadNumber

Input numerals 0–9

Cancels the numeral you input

When inputting directly

Pressing a pad will directly input the corresponding value.

From the top, the items in the list correspond to pads [0]–[9].

fig.PadDirect

27

Basic Operation of the Fantom-Xa

Assigning a Name

On the Fantom-Xa, you can assign names to each patch, rhythm set,

performance, Song, Sample, and Pattern. The procedure is the same

for any type of data.

fig.PatchName

1.

Press to move the cursor to the location where you
wish to input a character.

Turn the VALUE dial, or press [INC] [DEC] to specify the

2.

character.

• [F2 (TYPE)]: Selects the type of character. Each time you

press this, you will alternately select the first

character of a character set: uppercase (A),

lowercase (a), or numerals and symbols (0).

• [F3 (DELETE)]: Deletes the character at the cursor location.

• [F4 (INSERT)]: Inserts a space at the cursor location.

• or : Move the cursor.

•, :Switch between uppercase and lowercase

letters.

Using the Pads to Specify Characters

You can use the pads to specify characters.

By pressing a pad one or more times, you can successively select the

letters, numerals, and symbols that appear on the pad. For example,

if you repeatedly press pad 1, you will cycle through the available

choices like this: 1 → A → B → C → 1 → A...

• You can switch between uppercase and lowercase letters for the

character to be entered by pressing [F1 (CAPS LOCK)] to add a

check mark (✔).

• Press PAD [0] (SPACE) to replace the character at the cursor

location with a space.

fig.PAD

* If you decide to discard your input, press [F5 (CANCEL)].

Available Characters/Symbols

space, A–Z, a–z, 0–9, ! “ # $ % & ` ( ) * + , - . / : ; < = > ? @ [ \ ] ^

_ ` { | }

From a naming screen you can press [MENU] and select “1.

Undo” to return the name to what it was before you changed it.

From [MENU] you can select “2. To Upper” or press to

change the character at the cursor to uppercase. From [MENU]

you can select “3. To Lower” or press to change the

character at the cursor to lowercase. From [MENU] you can

select “4. Delete All” to clear all the characters you were

inputting.

Song file names may not contain lowercase characters or certain

symbols (“ * + , . / : ; < = > ? [ \ ] |).

28

Playing in Patch Mode

Patch group Patch number

Patch category

Patch name

1

4

1

4

6

6

Displays the Control Setting screen.

Adjusts the volume of the keyboard part and pad part.

1

8

2

3

4

12

6

5

13

7

11

10

3

3

Switches the keyboard part and pad part.

9

2

2

5

8

11 12 13109

11 12 13109

5

7

Indicates the current sound generating mode.

Indicates the volume of the Keyboard part and Pad part.

Indicates multi-effects (MFX1, 2), chorus (CHO),
reverb (REV), and masterring (MASTER) on and off.

Indicates the name of the currently selected song,
the measure location.

Indicates the time signature, and the tempo.

Determines whether you will be selecting
patches or rhythm sets.

Indicates/selects the patch category.

Selects whether the patch category will be locked.

Indicates/selects the group, number,
and name of the selected patch.

This indicates the function that is assigned to the D Beam,
and the response status of the D Beam.

8

In Patch mode, the keyboard and the pads are each used to play a

single sound (patch/rhythm set).

The keyboard controller section and the pad controller section each

have their own sound generator part, and each are connected by

their own MIDI channel. This means you can play separate sounds

on the keyboard and the pads.

About the PATCH PLAY Screen

Press [PATCH/RHYTHM]. You will enter Patch mode, and the

PATCH PLAY screen appears.

fig.PatchPlay

Keyboard Part and Pad Part

Adjust the Volume of the Keyboard Part and Pad Part

1.

In the PATCH PLAY screen, press [F4 (LEVEL)].

The PART LEVEL window appears.

fig.PartLevel

2.

Press [F4 (KBD)] or [F5 (PAD)] to select the part.

Use the VALUE dial or [INC] [DEC] to adjust the volume.

3.

Press [F6 (CLOSE)] to close the window.

4.

Functions in the PATCH PLAY screen

fig.PatchFunc.e

The Fantom-Xa has two parts; a Keyboard part and a Pad part.

• Press [F1 (KBD)] to select the Keyboard part.

fig.KbdPart

• Press [F2 (PAD)] to select the Pad part.

fig.PadPart

• Press [PAGE] to switch the PATCH PLAY screen.

This screen simultaneously displays the settings of the

Keyboard part and the Pad part.

fig.DualPart

fig.DualPart2

29

Playing in Patch Mode

Patch/Rhythm Set Group

The Fantom-Xa has several patch groups, including the User group

and Preset groups A–F and GM, with each group storing 128 patches

(256 in GM, USER). What’s more, you can further expand your

options by installing an optional Wave Expansion Board (SRX series;

sold separately), enabling you to select from a huge assortment of

available patches.

USER

This is the group inside the Fantom-Xa which can be rewritten.

Patches you yourself create can be stored in this group. The Fantom-

Xa includes 256 preset patches and 32 rhythm sets.

PR-A–F (Preset A–F), PRST (Preset)

This is the group inside the Fantom-Xa which cannot be rewritten.

However you may modify the settings of the currently selected

patch, and then store the modified patch in User memory. Groups

A–F already contain 128 prepared patches each, for a total of 768

patches.

GM (General MIDI 2)

This is an internal group of patches compatible with General MIDI 2,

a system of MIDI function specifications designed to transcend

differences between makers and types of devices; these patches

cannot be overwritten. Furthermore, settings of currently selected

patches from this group cannot be changed. The Fantom-Xa includes

256 preset patches.

Selecting a Patch

Press [PATCH/RHYTHM] to access the PATCH PLAY

1.

screen.

2.

Press [F1 (KBD)] or [F2 (PAD)] to select the Keyboard part
or Pad part.

* To select a rhythm set, press [F5 (RHYTHM)] to add a check mark

(✔).

3.

If you select a patch group (or a rhythm set group), press

and use the VALUE dial or [INC] [DEC] to select.

fig.PatchGroup

Press to move the cursor to the patch number.

4.

5.

Use the VALUE dial or [INC] [DEC] to select a patch (or a
rhythm set).

If you selected a patch (or a rhythm set) for the keyboard part,

play the keyboard to hear the sound. If you selected a patch (or

a rhythm set) for the pad part, play the pads to hear the sound.

Selecting Patches from the List

CARD (Memory Card)

This group lets you use patches stored on a memory card inserted in

the rear panel card slot. Since the data in this group can be rewritten,

you can use this group to store patches that you create.

EXP (Wave Expansion Board installed in EXP
Slot)

These are groups used when using patches from Wave Expansion

Board installed in the EXP slot, and cannot be rewritten. However

you may modify the settings of the currently selected patch, and

then store the modified patch in User memory and Memory card.

The number of onboard patches depends on the specific Wave

Expansion Board installed.

* EXP patches can be selected only if a Wave Expansion Board (SRX

series; sold separately) is installed in the slot.

You can display a list of patches and select a patch from that list.

Press [PATCH/RHYTHM] to access the PATCH PLAY

1.

screen.

Press [ENTER].

2.

The PATCH LIST screen appears.

fig.PatchList

To select a patch, press [F3 (PATCH)].

3.

To select a rhythm set, press [F4 (RHYTHM)].

If you press [F4 (RHYTHM)], the RHYTHM LIST screen

appears.

4.

Press to select a group.

Use the VALUE dial, [INC] [DEC], or to select a

5.

patch/rhythm set.

Press [ENTER] to confirm your selection.

6.

30

Playing in Patch Mode

Using the PATCH SELECT Screen

1.

Press [PATCH/RHYTHM] to access the PATCH PLAY
screen.

Press [PATCH SELECT].

2.

The PATCH SELECT screen appears.

fig.PatchSelect

3.

To select a rhythm set, press [F5 (RHYTHM)] to add a check
mark (✔).

If you add a mark, the RHYTHM SELECT screen appears.

4.

Press [F1] or [F2] to select a group.

5.

Use [F3], [F4], PART/TRACK [1]–[8], [INC] [DEC], ,
or the VALUE dial to select a patch/rhythm set.

Press [ENTER] to return to the PATCH PLAY screen.

6.

Auditioning Patches/Rhythm Sets (Phrase Preview)

Selecting Favorite Patches/ Rhythm Sets (Favorite Patch)

In the patch mode, you can bring together your favorite and most

frequently used patches (or rhythm sets) in one place by registering

them in the favorite patch. By using this function, you can rapidly

select favorite patches from Preset/User/Card area or a Wave

Expansion Board. You can register a total of 64 sounds (8 sounds x 8

banks) as favorite patches.

Registering a Favorite Patch/ Rhythm Set

1.

In the PATCH PLAY screen, select the patch (or rhythm set)
that you wish to register.

2.

Press [ENTER].

The PATCH LIST screen appears.

3.

Press [F1 (FAVORIT)].

The FAVORITE PATCH screen appears.

fig.Favorite

The Fantom-Xa allows you to preview patches by hearing a phrase

appropriate for each type of patch.

1.

Press [PATCH/RHYTHM] to access the PATCH PLAY
screen.

Press [ENTER] to access the PATCH LIST screen.

2.

3.

Press and hold [F5 (PREVIEW)].

The patch selected in the PATCH LIST screen will be sounded.

Release your finger from [F5 (PREVIEW)], and the phrase

4.

will stop playing.

* If you wish to change how the phrase is played by Phrase Preview, you

can edit the Preview Mode parameter (p. 194).

Use the VALUE dial or to select the Bank.

4.

5.

Press PART/TRACK [1]–[8], [INC] [DEC], or to
select a favorite number.

6.

Press [F3 (REGIST)] to execute the registration.

Press [F1 (LIST)] to return to the PATCH LIST screen.

7.

Canceling a patch registration

By pressing [F2 (REMOVE)] you can cancel the patch (or rhythm set)

registration that is selected in the FAVORITE PATCH screen.

Choosing the Favorite Patch/ Rhythm Set

1.

Press [PATCH/RHYTHM] to access the PATCH PLAY
screen.

2.

Press [ENTER] to access the PATCH LIST screen.

3.

Press [F1 (FAVORIT)].

The FAVORITE PATCH screen appears.

4.

To change the Bank, use the VALUE dial or .

5.

Press PART/TRACK [1]–[8], [INC] [DEC], or to
select the patch.

6.

Press [F6 (SELECT)] or [ENTER] to confirm your selection.

31

Playing in Patch Mode

Selecting Patches by Category

The Fantom-Xa allows you to specify a type (category) of patch so

that you can quickly find the desired patch. There are a total of 38

categories.

1.

Press [PATCH/RHYTHM] to access the PATCH PLAY
screen.

2.

Press [F1 (KBD)] or [F2 (PAD)] to select the Keyboard part
or Pad part.

* If a check mark (✔) is displayed above [F5 (RHYTHM)], press [F5

(RHYTHM)] to remove the mark.

Press to move the cursor to the “Patch Category,” and

3.

use the VALUE dial or [INC] [DEC] to select the desired
category.

4.

Press [F6 (CATEG LOCK)] to add a check mark (✔).

fig.PatchCategory

5.

Use [CURSOR] to move the cursor to the patch group or
patch number, and use the VALUE dial or [INC] [DEC] to
select the patch.

Selecting from the List

Press [PATCH/RHYTHM] to access the PATCH PLAY

1.

screen.

2.

Press [ENTER].

The PATCH LIST screen appears.

Press [F2 (CATEG)].

3.

The CATEGORY screen appears.

fig.CategoryList

The following categories can be selected.

Category

- - ­PNO AC.Piano Acoustic Piano 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 GUITAR
EGT EL.Guitar Electric Guitar
DGT Dist.Guitar Distortion Guitar
BS Bass Acoustic & Electric Bass BASS
SBS Synth Bass Synth Bass
STR Strings Strings STR/
ORC Orchestra Orchestra Ensemble
HIT Hit&Stab Orchestra Hit, Hit
WND Wind Winds (Oboe, Clarinet etc.) WIND/
FLT Flute Flute, Piccolo
BRS AC.Brass Acoustic Brass
SBR Synth Brass Synth Brass
SAX Sax Sax
PLK Plucked Plucked (Harp etc.) WORLD
ETH Ethnic Other Ethnic
FRT Fretted Fretted Inst (Mandolin etc.)
BPD Bright Pad Bright Pad Synth PAD/
SPD Soft Pad Soft Pad Synth
VOX Vox Vox, Choir
HLD Hard Lead Hard Synth Lead SYNTH
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
PRC Percussion Percussion DRUM
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 —

Contents Group

[PAD]

[0]

ORG/

Harpsichord etc.)

Split and Layer

KBD

[1]

[2]

[3]

ORCH

[4]

BRASS

[5]

[6]

VOX

[7]

[8]

[9]

4.

Use PAD [0]–[9] to select the category group.

Press to select the desired category.

5.

6.

Use the VALUE dial, [INC] [DEC], or to select a
patch.

7.

Press [F6 (SELECT)] or [ENTER] to confirm your selection.

From the PATCH PLAY screen, you can access the CATEGORY

screen by pressing [CATEGORY].

32

Playing in Patch Mode

Transposing the Keyboard in Octave Units (Octave Shift)

The Octave Shift function transposes the pitch of the keyboard in 1

octave units (-3– +3 octaves).

For playing a bass part more easily using your right hand, transpose

the keyboard down by 1 or 2 octaves.

* Octave Shift applies only to the keyboard part.

In the PATCH PLAY screen, press OCTAVE [-] or [+] to set

1.

the amount of transposition (-3– +3).

The button will light if this is set.

• Each time you press OCTAVE [+], the amount of transposition

will change in the order of +1, +2, and +3. Each time you press

OCTAVE [-], the amount of transposition will change in the

order of -1, -2, and -3.

• If you press both buttons simultaneously, the amount of

movement will be zero.

fig.OctaveShift

Transposing the Keyboard in Semitone Steps (Transpose)

Transpose changes keyboard pitch in units of semitones.

This function is useful when you play transposed instruments such

as trumpet or clarinet following a printed score.

* Transpose applies only to the keyboard part.

1.

In the PATCH PLAY screen, hold down [SHIFT] and press
OCTAVE [-] or [+] to adjust the Transpose setting (G–F#: -5–
+6 semitones).

• If you hold down [SHIFT] and press both buttons

simultaneously, the amount of movement will be zero.

fig.Transpose

There is a single Transpose setting (Setup parameter) for the

entire Fantom-Xa. The changed setting will be remembered

even if you switch patches or performances.

There is a single Octave Shift setting (Setup parameter) for the

entire Fantom-Xa. The changed setting will be remembered

even if you switch patches or performances.

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.

• In the PATCH PLAY screen, press TONE SW [1]–[4] (PART/

TRACK [1]–[4]) to turn each tone on/off.

* 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-Xa’s simultaneous voices.

33

Playing in Patch Mode

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.

From the PATCH PLAY screen, press [PATCH EDIT].

2.

Press [F1 (COMMON)] and then press [F4 (CTRL)].

Press to move the cursor to “Mono/Poly.”

3.

Use the VALUE dial or [INC] [DEC] to select “MONO.”

4.

Now you can play in mono mode.

If you assign “Mono/Poly” as a function to be controlled by the

assignable switches ([ ]/[ ]), you can easily switch

between mono/poly by pressing a button (p. 84).

Creating Smooth Pitch Changes (Portamento)

Portamento is an effect which smoothly changes the pitch from the

first-played key to the next-played key. By applying portamento

when Mono mode is selected (see the preceding item), you can

simulate performance effects such as slurring on a violin.

From the PATCH PLAY screen, press [PATCH EDIT].

1.

2.

Press [F1 (COMMON)] and press [F3 (PORTMNT)].

Press to move the cursor to “Portamento Switch.”

3.

Use the VALUE dial or [INC] [DEC] to select “ON.”

4.

You’re ready to play portamento.

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

The Fantom-Xa lets you assign the parameters that will be affected

when you operate the realtime control knobs, assignable switches, D

Beam, pitch bend, or modulation lever. This lets you modify the

sound in a variety of ways by operating the controllers.

Specifying the Part that Will be Affected by the Controller

You can specify whether operating the controller will affect the

sound assigned to the keyboard part or the sound assigned to the

pad part.

1.

From the PATCH PLAY screen, press [F3 (CONTROL)] and
press [F3 (PART)].

The CONTROL SETTING screen appears.

fig.ControlPart

2.

Press to select the parameter.

3.

Use the VALUE dial or [INC] [DEC] to select the part.

4.

If you want to keep the settings, press [F6 (WRITE)].

* When Patch mode is selected, controller settings cannot be saved for

each individual patch. Controller settings are saved as system settings.

5.

Press [EXIT] to return to the PATCH PLAY screen.

If you assign “Portamento Switch” as a function to be controlled

by the assignable switches ([ ]/[ ]), you can use a button

to easily turn portamento on/off (p. 84).

Playing Percussion Instruments

In Patch mode, you can play percussion instruments from the

keyboard and pad by selecting a rhythm set. As the rhythm tone

assigned to each key and pad varies by the rhythm set selected, you

can play a wide range of percussion instruments.

34

Parameter

Bender and Modu­lation Part Select

D Beam Part Select Part controlled by the D Beam
Knob Part Select Part controlled by the realtime

For details on assigning a parameter to a controller, refer to

Modifying the Sound in Real Time

Value Explanation

KBD,
PAD

Part controlled by pitch bend mes­sages or modulation messages

control knobs

(p. 80).

Creating a Patch

Four Tips for Editing Patches

Select a patch that is similar to the sound you wish to

create

With the Fantom-Xa, 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.

(p. 30)

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.

Decide which tones will sound (p. 33)

Since a patch is a combination of up to any four tones, you

should listen to how the individual tones sound before you

edit. Then decide which tones you are going to use. It is

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. 38)

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. 157)

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.

How to Make Patch Settings

1.

Press [PATCH/RHYTHM] to access the PATCH PLAY
screen.

parameter

. When

Press [F1]–[F6], and then press to select the

5.

parameter.

Some parameters can be set independently for each tone.

To select the tone you want to edit, press TONE SELECT [1]–[4]

(PART/TRACK [5]–[8]) or .

fig.WavePitch

6.

Use the VALUE dial or [INC] [DEC] to change the value.

7.

Repeat steps 4–6 to set each parameter.

8.

Press [WRITE] to save the changes you’ve made (p. 37).
If you do not wish to save changes, press [EXIT] to return to
the PATCH PLAY screen.

If you return to the PATCH PLAY screen without saving, an “*”

will be displayed at the left of the patch group.

If you turn off the power or select a different sound while the

display indicates “*,” your edited patch will be lost.

Editing in a Graphic Display (Zoom Edit)

You can edit while viewing a graphic display of the most frequently

used important parameters. Zoom Edit lets you edit the following

parameters.

Parameter

Pitch Envelope
TVF p. 45 LFO 1/2 p. 52
TVF Envelope p. 46 Step LFO p. 54

With the screen for editing the above parameters shown,

1.

press [F6 (ZOOM)].

The Zoom Edit screen will appear.

fig.ZoomEdit

page Parameter page

p. 44 TVA Envelope p. 48

Select the part (keyboard or pad) and patch whose settings

2.

you want to edit (p. 30).

* You cannot edit the patches in the GM2 group.

3.

Press [PATCH EDIT] to access the PATCH EDIT screen.

fig.PatchEdit

* Set the Structure Type (p. 38) and Booster Gain (p. 39) parameters in

this screen.

4.

Press [F1 (COMMON)]–[F6 (LFO&OUT)] to select the
parameter group.

2.

Press [F1]–[F5] to select the parameter group.

Press [CURSOR] to select the parameter.

3.

Use the VALUE dial or [INC] [DEC] to change the value.

4.

You can use the REALTIME CONTROL knobs to set the value.

5.

When you have finished editing, press [F6 (EXIT)].

35

Creating a Patch

Using the REALTIME CONTROL Knobs to Change the Value

If a number is displayed for the parameter name ( , , ,

), you can use the REALTIME CONTROL knobs (C1–C4) to set

4

the value.

If you press the button located at the right of the REALTIME

CONTROL knobs to make the indicator light, the knobs will control

their original functions.

fig.06-010

1 2 3 4

You can use the same knobs to edit the values in the Zoom Edit

screen (p. 35) as well.

1

2 3

Initializing Patch Settings

“Initialize” means to return the settings of the currently selected

sound to a standard set of values.

* 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-Xa’s settings to their factory values,

perform a Factory Reset (p. 203).

1.

Press [PATCH/RHYTHM] to access the PATCH PLAY
screen.

2.

Select the part (keyboard or pad) and patch that you want to
initialize (p. 30).

3.

Press [PATCH EDIT] to access the PATCH EDIT screen.

4.

Hold down [SHIFT] and press [F5 (INIT)].

A message will ask you for confirmation.

5.

Press [F6 (EXEC)].

The initialization will be carried out.

* To cancel, press [F5 (CANCEL)].

Copying Patch (Tone) Settings

This operation copies the settings of any desired patch to the

currently selected patch.

Press [PATCH/RHYTHM] to access the PATCH PLAY

1.

screen.

2.

Select the part (keyboard or pad) and the copy-destination
patch (p. 30).

Press [PATCH EDIT] to access the PATCH EDIT screen.

3.

4.

Hold down [SHIFT] and press [F6 (TONE CPY)].

The Patch Tone Copy window appears.

fig.ToneCopy

5.

Press [CURSOR] to move the cursor, and use the VALUE
dial or [INC] [DEC] to select the “Source (copy-source)”
group and number, and the tone.

* By pressing [F4 (COMPR)] to add a check mark (✔), you can check

the copy-source patch (Compare function).

Press [CURSOR] to move the cursor, and select the

6.

“Destination (copy-destination)” tone.

7.

Press [F6 (EXEC)].

A message will ask you for confirmation.

8.

Press [F6 (EXEC)] to execute the copy operation.

* To cancel, press [F5 (CANCEL)].

The Compare Function

For the Patch Tone Copy and Patch Save operations, you can

use the Compare function.

If you want to play the copy-source or write-destination patch,

press [F4 (COMPR)] to add a check mark (✔). Now you can

play the copy-source or write-destination patch from the

keyboard or pads.

* The patch auditioned using the Compare function may sound

slightly different than when it is played normally.

36

Changes you make to sound settings are temporary, and will be lost

if you turn off the power or select another sound. If you want to keep

the modified sound, you must save it in the internal USER group

(user memory) or CARD group (memory card).

When you edit the patch settings, an “*” will appear in the PATCH

PLAY screen.

When you perform the save procedure, the data that previously

occupied the save destination will be lost.

1.

Make sure that the patch you wish to save is selected.

2.

Press [WRITE].

The WRITE MENU screen appears.

fig.PatchWrite

Creating a Patch

One-shot Waveform and Loop
Waveform

The internal waveforms of the Fantom-Xa fall into the following two

groups.

One-shot:

These waveforms contain sounds that have short decays. A one-shot

waveform records the initial rise and fall of the sound.

The Fantom-Xa 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.

* 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.

Loop:

These waveforms include sounds with long decays as well as

sustained sounds. Loop waveforms repeatedly play back (loop) the

portion of the waveform after the sound has reached a relatively

steady state.

The Fantom-Xa’s looped waveforms also include components of

other sounds, such as piano-string resonant vibrations and the

hollow sounds of brass instruments.

3.

Press [F2 (PAT/RHY)].

* Alternatively, you can use or to select “Patch/Rhythm,”

and then press [ENTER].

The PATCH NAME screen appears.

fig.PatchName

4.

Assign a name to the patch.

For details on assigning names, refer to p. 28.

5.

When you have finished inputting the name, press [F6
(WRITE)].

A screen will appear, allowing you to select the write-

destination patch.

6.

Use the VALUE dial, [INC] [DEC], or and [F1
(USER)] [F2 (CARD)] to select the write destination and
patch number.

* By pressing [F4 (COMPR)] to add a check mark (✔), you can check

the write-destination patch (Compare function).

The following diagram shows an example of sound (electric organ)

that combines one-shot and looped waveforms.

fig.06-005.e

Tips for Using an Acoustic
Instrument’s Waveform

With many acoustic instruments such as piano and sax, extreme

timbral changes occur during the first few moments of each note.

7.

Press [F6 (WRITE)].

A message will ask you for confirmation.

Press [F6 (EXEC)] to execute the save operation.

8.

* To cancel, press [F5 (CANCEL)].

Never switch off the Fantom-Xa while data is being saved.

37

Creating a Patch

Functions of Patch Parameters

Changing How a Tone Is Sounded (Structure)

Parameter

Struct 1 & 2, 3 & 4

Value Explanation

TYPE 01–TYPE 10 Determines how tone 1 and 2, or tone 3 and 4 are connected.

(Structure Type)

TYPE 1

TONE 1 (3)

TONE 2 (4)

WG

WG

TVATVF

TVF TVA

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.

TYPE 3

TONE 1 (3)

TONE 2 (4)

WG

WG

TVA TVF

B

TVF TVA

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.

TYPE 5

TONE 1 (3)

TONE 2 (4)

WG

TVA TVF

WG

R

TVF TVA

The following 10 different Types of combination are available.

TYPE 2

TONE 1 (3)

TONE 2 (4)

WG

WG

TVA

TVF

TVF TVA

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.

TYPE 4

TONE 1 (3)

TONE 2 (4)

WG

TVA TVF

WG

B

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.

TYPE 6

TONE 1 (3)

TONE 2 (4)

WG

TVA TVF

WG

R

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.

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.

TYPE 7

TONE 1 (3)

TONE 2 (4)

WG

WG

TVATVF

R

TVF TVA

This type applies a filter to tone 1 (3) and ring-modulates it with tone
2 (4) to create new overtones.

TYPE 8

TONE 1 (3)

TONE 2 (4)

WG

WG

TVATVF

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.

TYPE 9

TONE 1 (3)

TONE 2 (4)

WG

WG

TVATVF

TVF TVA

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.

TYPE 10

TONE 1 (3)

TONE 2 (4)

WG

WG

TVATVF

TVF TVA

R

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.

38

Creating a Patch

Booster

fig.Boost1.e

The Booster is used to distort the incoming signal.

Booster level

TVA

WG1

WG2

Booster

Adds to WG1

Shift in waveform by WG1

Distorted area of the

Waveform changes

WG2

Uses WG1 as LFO

Adjusts WG1 output

* If you limit the keyboard area in which a tone will sound (Keyboard Range, p. 42) or limit the range of velocities for which it will sound (Velocity Range, p.

42), 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.

Parameter

Booster 1&2, 3&4
(Booster Gain)

fig.Boost2.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. 43).

Value Explanation

0, +6, +12, +18 When a Structure Type of TYPE 3 or TYPE 4 is selected, you can adjust the depth of the booster.

The booster increases the input signal in order to distort the sound. This creates the distortion effect
frequently used with electric guitars. Higher settings will produce more distortion.

Ring Modulator

fig.RingMod

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.

39

Creating a Patch

Parameter Group [F1 (COMMON)] Settings Common to the Entire Patch

[F1 (GENERAL)]

Parameter marked with a “★” can be controlled using specified MIDI messages

(Matrix Control, p. 49)

Parameter

Patch Category
Patch Level 0–127 Volume of the patch
Patch Pan L64–0–63R Left/right position of the patch
Patch Priority LAST, LOUDEST How notes will be managed when the maximum polyphony is exceeded (128 voices)

Octave Shift -3– +3 Pitch of the patch’s sound (in units of an octave)
Patch Coarse Tune
Patch Fine Tune -50– +50 Pitch of the patch’s sound (in 1-cent steps; one cent is 1/100th of a semitone)
Stretch Tune Depth OFF, 1–3 Stretched tuning (a system by which acoustic pianos are normally tuned, causing the lower range

Analog Feel 0–127 Depth of 1/f modulation (a pleasant and naturally-occurring ratio of modulation that occurs in a

Stretched Tuning

fig.06-011.e

Pitch difference from
equal temperament

Value Description

Refer to p. 32. Type (category) of the patch

LAST:

The last-played voices will be given priority (Notes will be turned off in order, begin-

ning with the first-played note.)

LOUDEST:

the lowest-volume voice.)

-48– +48

★

Pitch of the patch’s sound (in semitones, +/- 4 octaves)

to be lower and the higher range to be higher than the mathematical tuning ratios would other­wise dictate)

OFF:

Equal temperament

1–3:

Higher settings will produce the greater difference in the pitch of the low and high ranges.

babbling brook or rustling wind)

* You can simulate the natural instability characteristic of an analog synthesizer by adding this “1/f mod-

ulation.”

Parameter value

3

2

The loudest voices will be given priority (Notes will be turned off, beginning with

1

OFF

1

2

3

Low note range

High note range

OFF

[F2 (MODIFY)]

These values are added to the parameter values of each tone.

Parameter

Cutoff Offset
Resonance Offset -63– +63 Resonance (p. 45)
Attack Time Offset -63– +63 F-Env Time 1, A-Env Time 1 (p. 46, p. 48)
Release Time Offset -63– +63 F-Env Time 4, A-Env Time 4 (p. 46, p. 48)
Velocity Sens Offset -63– +63 Cutoff V-Sens, Level V-Sens (p. 46, p. 47)

Value Description

-63– +63 Cutoff Frequency (p. 45)

40

[F3 (PORTMNT)]

C5

D4
C4

press D4 key

Pitch

Portamento Start: NOTEPortamento Start: PITCH

Time

press C4 key

press C5 key

C5

D4
C4

press D4 key

Pitch

Time

press C4 key

press C5 key

Portamento is an effect which smoothly changes the pitch from the first-played key to the next-played key.

Creating a Patch

Parameter

Portamento Switch
Portamento Mode NORMAL, LEGATO

Portamento Type RATE, TIME

Portamento Start PITCH, NOTE

Value Explanation

OFF, ON Specifies whether the portamento effect will be applied (ON) or not (OFF).

NORMAL:
LEGATO:

RATE:
TIME:

PITCH:
NOTE:

Portamento will always be applied.

Portamento will be applied only when you play legato.

The time it takes will depend on the distance between the two pitches.

The time it takes will be constant, regardless of how far apart in pitch the notes are.

Starts a new portamento when another key is pressed while the pitch is changing.

Portamento will begin anew from the pitch where the current change would end.

Portamento Time 0–127 Specifies the time over which the pitch will change.

fig.PortaStart.e

[F4 (CTRL)]

Parameter

Mono/Poly

Legato Switch OFF, ON

Legato Retrigger

Pitch Bend Range Up
Pitch Bend Range Down -48–0 Degree of pitch change in semitones when the Pitch Bend lever is all the way left

Value Explanation

MONO, POLY

MONO:

Only the last-played note will sound. This setting is effective when playing a solo instru-

ment patch such as sax or flute.

POLY:

Two or more notes can be played simultaneously.

ON:

Pressing a key while continuing to press a previous key causes the note to change pitch to
the pitch of the most recently pressed key, sounding all the while. This is effective when you wish
to simulate the hammering-on and pulling-off techniques used by a guitarist.

* Legato Switch is valid when the Mono/Poly parameter is set to “MONO.”

OFF, ON

OFF:

When one key is held down and another key is then pressed, only the pitch changes, with­out the attack of the latter key being played. Set this to “OFF” when performing wind and string
phrases or when using modulation with the mono synth keyboard sound.

ON:

Normally you will leave this parameter “ON.”

* Legato Retrigger is valid when the Mono/Poly is set to “MONO” and the Legato Switch is set to “ON.”

0– +48 Degree of pitch change in semitones when the Pitch Bend lever is all the way right

41

Creating a Patch

Velo Range Lower

Velo Range Upper

Velo Fade Lower

Velo Fade Upper

Level

The tone sounded
when you play softly

The tone sounded
when you play strongly

Velocity

[F5 (KEY RNG)] (TMT KEY RANGE)

You can use the note number to control the way each Tone is played.

fig.TMT-K.e

Level

The tone sounded
in the lower range

The tone sounded
in the upper range

Pitch

Key Fade Lower

Key Range Lower

Parameter

Key Fade Lower

Value Explanation

0–127 Determines what will happen to the tone’s level when a note that’s lower than Key Range Lower is

Key Fade Upper

Key Range Upper

played.

If you don’t want the tone to sound at all, set this parameter to “0.”
Key Range Lower C - –(Upper) Specifies the lowest note that the tone will sound for each tone.
Key Range Upper (Lower)–G9 Specifies the highest note that the tone will sound for each tone.
Key Fade Upper 0–127 Determines what will happen to the tone’s level when a note that’s higher than Key Range Upper is

played.

If you don’t want the tone to sound at all, set this parameter to “0.”

[F6 (VEL RNG)] (TMT VELO RANGE)

You can use the force with which keys are played to control the way each Tone is played.

fig.TMT-V.e

Parameter

Tone Mix Velo
Control

Control Switch OFF, ON Use the Matrix Control (p. 49) to enable (ON), or disable (OFF) sounding of different tones.
Velo Fade Lower 0–127 Determines what will happen to the tone’s level when the tone is played at a velocity lower than Velo

Velo Range Lower 1–(Upper) Specifies the lowest velocity at which the tone will sound.
Velo Range Upper (Lower)–127 Specifies the highest velocity at which the tone will sound.
Velo Fade Upper 0–127 Determines what will happen to the tone’s level when the tone is played at a velocity greater than Velo

Value Explanation

OFF, ON,
RANDOM,
CYCLE

Determines whether a different tone is played (ON) or not (OFF) depending on the force with which the
key is played (velocity).

RANDOM:

CYCLE:

Range Lower.

If you don’t want the tone to sound at all, set this parameter to “0.”

Range Upper.

If you don’t want the tone to sound at all, set this parameter to “0.”

The patch’s constituent tones will sound randomly, regardless of any Velocity messages.

The patch’s constituent tones will sound consecutively, regardless of any Velocity messages.

42

When using the Matrix Control to have different tones played, set the lowest value (Lower) and highest value (Upper) of the value of the

MIDI message used.

Instead of using Velocity, you can also have tones substituted using the Matrix Control (p. 49). 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 Tone

Mix Velo Control parameter to “OFF.”

Parameter Group [F2 (WG)] Modifying Waveforms/Pitch/Pitch Envelope

[F1 (WG PRM)]

Creating a Patch

Parameter

Wave Group

Wave Bank PRST, USER,

Wave No. L (Mono)
Wave No. R

Wave Gain

Wave Tempo Sync

Value Explanation

INT, EXP,
SAMP,
MSAM

CARD

----, 1–1228 Basic waveform for a tone (The upper limit will depend on the wave group.)

-6, 0, +6, +12 Gain (amplification) of the waveform

OFF, ON When you wish to synchronize a Phrase Loop to the clock (tempo), set this to “ON.”

Group for the waveform that is to be the basis of the tone

INT:

Waveforms stored in internal

EXP:

Waveform stored in a Wave Expansion Board (SRX series) installed in EXP slots

SAMP:

Sample waveforms

MSAM:

Multisample waveforms

When the Wave Group is SAMP: PRST, USER, CARD
When the Wave Group is MSAM: USER, CARD

When in monaural mode, only the left side (L) is specified. When in stereo, the right side (R) is also
specified.

If you want to select a left/right pair of Waves, select the left (L) Wave number, and then hold down
[SHIFT] and press [F4 (STEREO)] to add a check mark (✔); the right (R) (Wave) will be recalled.

* When using a multisample in stereo, you must specify the same number for L and R.

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. 39).

* This is valid only when a separately sold wave expansion board is installed, and a waveform that indicates a

tempo (BPM) is selected as the sample for a tone.

If a waveform from a wave expansion board is selected for the tone, turning the Wave Tempo Sync pa­rameter “ON” will cause pitch-related settings (p. 44) and FXM-related settings (p. 43) to be ignored.

• 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 this parameter is set to “ON,” set the Tone Delay Time parameter (p. 51) to “0.”

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.”

Parameter marked with a “★” can be controlled using specified MIDI messages

Parameter

FXM Switch
FXM Color 1–4 How FXM will perform frequency modulation

FXM Depth

★

Value Explanation

OFF, ON This sets whether FXM will be used (ON) or not (OFF).

Higher settings result in a grainier sound, while lower settings result in a more metallic sound.

0–16

Depth of the modulation produced by FXM

Realtime Time Stretch

If the wave group is “SAMP” or “MSAM,” and the Wave

Tempo Sync parameter is turned “ON,” you can vary the

playback speed of the waveform without affecting the pitch.

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.

(Matrix Control, p. 49)

43

Creating a Patch

C4C3C2C1 C5 C6 C7

0

+50

+100

+200

-50

-100-200

Key

Pitch Pitch Keyfollow

C4C3C2C1 C5 C6 C7

0

+50

+100

-50

-100

Key

Time Time Keyfollow

[F2 (PITCH)]

Parameter marked with a “★” can be controlled using specified MIDI messages

(Matrix Control, p. 49)

Parameter

Tone Coarse Tune ★-48– +48
Tone Fine Tune
Rand Pitch Depth 0–1200 Width of random pitch deviation that will occur each time a key is pressed (in 1-cent steps)

Pitch Keyfollow -200– +200 Amount of pitch change that will occur when you play a key one octave higher

P-Env V-Sens -63– +63 Keyboard playing dynamics can be used to control the depth of the pitch envelope.

P-Env T1 V-Sens -63– +63 This allows keyboard dynamics to affect the T1 of the Pitch envelope.

P-Env T4 V-Sens -63– +63 Use this parameter when you want key release speed to affect the T4 value of the Pitch envelope.

P-Env Time KF
(Time Keyfollow)

Value Explanation

Pitch of the tone’s sound (in semitones, +/-4 octaves)

-50– +50

★

Pitch of the tone’s sound (in 1-cent steps; one cent is 1/100th of a semitone)

If you do not want the pitch to change randomly, set this to “0.”

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.”

If you want the pitch envelope to have more effect for strongly played notes, set this parameter to a
positive (+) value.

If you want T1 to be speeded up for strongly played notes, set this parameter to a positive (+) value.

If you want T4 to be speeded up for quickly released notes, set this parameter to a positive (+) value.

-100– +100 Use this setting if you want the pitch envelope times (T2–T4) 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.

[F3 (PCH ENV)]

Parameter

P-Env Depth -12– +12 Depth of the Pitch envelope

P-Env Time 1–4

P-Env Level 0–4 -63– +63 Pitch envelope levels (L0–L4)

Pitch Envelope

Pitch

L0

Note on

44

Value Explanation

Higher settings will cause the pitch envelope to produce greater change. Negative (-) settings will in­vert the shape of the envelope.

0–127

★

Pitch envelope times (T1–T4)

Higher settings will result in a longer time until the next pitch is reached.

Specify how the pitch will change at each point, relative to the pitch set with Coarse Tune or Fine Tune.

T1 T2 T3 T4

L1

L2

L3

Note off

Parameter marked with a “★” can be controlled using specified MIDI messages

(Matrix Control, p. 49)

Time

L4

Creating a Patch

Parameter Group [F3 (TVF)] Modifying the Brightness of a Sound with a Filter (TVF/TVF Envelope)

A filter cuts or boosts a specific frequency region to change a sound’s brightness, thickness, or other qualities.

[F1 (TVF PRM)]

Parameter marked with a “★” can be controlled using specified MIDI messages

(Matrix Control, p. 49)

Parameter

Filter Type

Cutoff Frequency
Resonance

★

Cutoff Keyfollow

Value Explanation

OFF,
LPF,
BPF,
HPF,
PKG,
LPF2,
LPF3

Type of filter

OFF:

No filter is used.

LPF:

Low Pass Filter. This reduces the volume of all frequencies above the cutoff frequency in order to

round off, or un-brighten the sound.

BPF:

Band Pass Filter. This leaves only the frequencies in the region of the cutoff frequency, and cuts the

rest. This can be useful when creating distinctive sounds.

HPF:

High Pass Filter. This cuts the frequencies in the region below the cutoff frequency. This is suitable

for creating percussive sounds emphasizing their higher tones.

PKG:

Peaking Filter. This emphasizes the frequencies in the region of the cutoff frequency. You can use

this to create wah-wah effects by employing an LFO to change the cutoff frequency cyclically.

LPF2:

Low Pass Filter 2. Although frequency components above the Cutoff frequency are cut, the sensi­tivity of this filter is half that of the LPF. This filter is good for use with simulated instrument sounds
such as the acoustic piano.

LPF3:

Low Pass Filter 3. Although frequency components above the Cutoff frequency are cut, the sensi­tivity of this filter changes according to the Cutoff frequency. While this filter is also good for use with
simulated acoustic instrument sounds, the nuance it exhibits differs from that of the LPF2, even with the
same TVF Envelope settings.

* If you set “LPF2” or “LPF3,” the setting for the Resonance parameter will be ignored.

★

0–127 Frequency at which the filter begins to have an effect on the waveform’s frequency components
0–127 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.

-200–
+200

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.

LPF BPF

Level

High

Cutoff frequency

parameter value

Low

Frequency

Resonance

HPF PKG

Cutoff frequency
(Octave)

+2

+1

o

-1

-2

Cutoff Keyfollow

C4C3C2C1 C5 C6 C7

+200

+100

+50

0

-50

-100-200

Key

45

Creating a Patch

Parameter

Cutoff V-Curve

Value Explanation

FIX, 1–7 Curve that determines how keyboard playing dynamics (velocity) will affect the cutoff frequency

Set this to “FIX” if you don’t want the Cutoff frequency to be affected by the keyboard velocity.

1234567

Cutoff V-Sens -63– +63 Use this parameter when changing the cutoff frequency to be applied as a result of changes in playing ve-

locity. If you want strongly played notes to raise the cutoff frequency, set this parameter to positive (+) set­tings.

Resonance V-Sens -63– +63 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.

F-Env V-Curve FIX, 1–7 Curve that determines how keyboard playing dynamics (velocity) will affect the TVF envelope

Set this to “FIX” if you don’t want the TVF Envelope to be affected by the keyboard velocity.

1234567

F-Env V-Sens -63– +63 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.

F-Env T1 V-Sens -63– +63 This allows keyboard dynamics to affect the T1 of the TVF envelope.

If you want T1 to be speeded up for strongly played notes, set this parameter to a positive (+) value.

F-Env T4 V-Sens -63– +63 Use this parameter when you want key release speed to affect the T4 value of the TVF envelope.

If you want T4 to be speeded up for quickly released notes, set this parameter to a positive (+) value.

[F2 (TVF ENV)]

Parameter Value Explanation

F-Env Depth

F-Env Time KF
(Time Keyfollow)

F-Env Time 1–4

F-Env Level 0–4 0–127 TVF envelope levels (L0–L4)

TVF Envelope

Cutoff

Frequency

L0

Note on

-63– +63 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.

-100–

+100

Use this setting if you want the TVF envelope times (T2–T4) 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.

★

0–127 TVF envelope times (T1–T4)

Higher settings will lengthen the time until the next cutoff frequency level is reached.

Specify how the cutoff frequency will change at each point, relative to the Cutoff Frequency value.

T1 T2 T3 T4

L3

L2 L4

L1

Note off

Parameter marked with a “★” can be controlled using specified MIDI messages

(Matrix Control, p. 49)

Time

Time

Time Keyfollow

C4C3C2C1 C5 C6 C7

-100

-50

0

+50

+100

Key

46

Creating a Patch

Parameter Group [F4 (TVA)] Adjusting the Volume (TVA/TVA Envelope)

[F1 (TVA PRM)]

Parameter marked with a “★” can be controlled using specified MIDI messages

(Matrix Control, p. 49)

Parameter

Tone Level

★

Level V-Curve FIX, 1–7 Curve that determines how keyboard playing dynamics (velocity) will affect the volume

Level V-Sens -63– +63 Set this when you want the volume of the tone to change depending on keyboard playing dynamics.

Bias

Bias Level -100– +100 Angle of the volume change that will occur in the selected Bias Direction

Bias Position C - –G9 Key relative to which the volume will be modified
Bias Direction LWR, UPR,

Value Explanation

0–127

Volume of the tone.

This setting is useful primarily for adjusting the volume balance between tones.

Set this to “FIX” if you don’t want the volume of the tone to be affected by the keyboard velocity.

1234567

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.

Bias causes the volume to be affected by the keyboard position. This is useful for changing volume through keyboard
position (pitch) when playing acoustic instruments.

Larger settings will produce greater change. Negative (-) values will invert the change direction.

Direction in which change will occur starting from the Bias Position

L&U, ALL

LWR:

The volume will be modified for the keyboard area below the Bias Point.

UPR:

The volume will be modified for the keyboard area above the Bias Point.

L&U:

The volume will be modified symmetrically toward the left and right of the Bias Point.

ALL:

The volume changes linearly with the bias point at the center.

LWR

Level

Parameter

Tone Pan

+

0

–

C-1 G9

Bias Position

Value Explanation

★

L64–0–63R

UPR

Level

Key

C-1 G9

Bias Position

Left/right position of the tone

L&U

+

Level

0

–

Key

+

0

–

C-1 G9

Bias Position

+

0

–

Pan Keyfollow -100– +100 Use this parameter if you want key position to affect panning.

Positive (+) settings will cause notes higher than C4 key (center C) to be panned increasingly further
toward the right, and negative (-) settings will cause notes higher than C4 key (center C) to be panned
toward the left. Larger settings will produce greater change.

Pan Pan Keyfollow

R

o

L

C4C3C2C1 C5 C6 C7

+100

+50

0

-50

-100

Key

ALL

Level

Key

–

0

+

C-1 G9

Bias Position

+

0

–

Key

47

Creating a Patch

Parameter

Random Pan Depth

Value Explanation

0–63 Use this parameter when you want the stereo location to change randomly each time you press a key.

Higher settings will produce a greater amount of change.

Alter Pan Depth L63–0–63R This setting causes panning to be alternated between left and right each time a key is pressed.

Higher settings will produce a greater amount of change. “L” or “R” settings will reverse the order in
which the pan will alternate between left and right. For example if two tones are set to “L” and “R”
respectively, the panning of the two tones will alternate each time they are played.

* When any value from Type “2”–”10” is selected for the Structure parameter in the Pan KF, Rnd Pan Depth, Alter

Pan Depth parameter settings, the output of tones 1 and 2 are joined in tone 2, and the output of tones 3 and 4
are joined in tone 4. For this reason, tone 1 will follow the settings of tone 2, and tone 3 will follow the settings of
tone 4 (p. 38).

[F2 (TVA ENV)]

Parameter marked with a “★” can be controlled using specified MIDI messages

(Matrix Control, p. 49)

Parameter

A-Env T1 V-Sens

A-Env T4 V-Sens -63– +63 Use this parameter when you want key release speed to affect the T4 value of the TVA envelope.

A-Env Time KF
(Time Keyfollow)

A-Env Time 1–4

A-Env Level 1–3 0–127 TVA envelope levels (L1–L3)

Value Explanation

-63– +63 This allows keyboard dynamics to affect the T1 of the TVA envelope.

If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive
(+) value. If you want it to be slowed down, set this to a negative (-) value.

If you want T4 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.

-100– +100 Use this setting if you want the TVA envelope times (T2–T4) to be affected by the keyboard loca-

tion. Based on the TVA envelope times for the C4 key (center C), positive (+) settings will cause
notes higher than C4 to have increasingly shorter times, and negative (-) settings will cause them
to have increasingly longer times. Larger settings will produce greater change.

0–127

★

TVA envelope times (T1–T4)

Higher settings will lengthen the time until the next volume level is reached.

Specify how the volume will change at each point, relative to the Tone Level value.

TVA Envelope

Level

Note on

T1 T2 T3 T4

L2

L1

L3

Note off

Time

Time

Time Keyfollow

C4C3C2C1 C5 C6 C7

-100

-50

0

+50

+100

Key

48

Parameter Group [F5 (CTRL)] Matrix Control Settings/Miscellaneous Settings

[F1 (CTRL1)]–[F4 (CTRL4)]

Creating a Patch

The function which allows you use MIDI messages to make changes in realtime to the tone parameters is called the

Matrix Controls can be used in a single patch.

To use the Matrix Control, specify which MIDI message (CTRL Source parameter) will be used to control which parameter (CTRL Destination

parameter), and how greatly (CTRL Sens parameter), and the tone to which the effect is applied (CTRL Switch parameter).

Parameter

CTRL 1–4 Source

Velocity and Key follow correspond to Note messages.

Although there are no MIDI messages for LFO 1 through TVA Envelope, they can be used as Matrix Control. In this case, you can change the

tone settings in realtime by playing patches.

• If you want to use common controllers for the entire Fantom-Xa, select “SYS CTRL1”–”SYS CTRL4.” MIDI messages used as System Control

1–4 are set with the System Ctrl 1–4 Source parameters (p. 196).

There are parameters that determine whether or not Pitch Bend, Controller Number 11 (Expression) and Controller Number 64 (Hold 1) are

received (p. 51). When these settings are “ON,” and the MIDI messages are received, then when any change is made in the settings of the

desired parameter, the Pitch Bend, Expression, and Hold 1 settings also change simultaneously. If you want to change the targeted

parameters only, then set these to “OFF.”

• There are parameters that let you specify whether specific MIDI messages will be received for each channel in a performance (p. 79). When a

patch with Matrix Control settings is assigned to a part, confirm that any MIDI messages used for the Matrix Control will be received. If the

Fantom-Xa is set up such that reception of MIDI messages is disabled, then the Matrix Control will not function.

Value Explanation

OFF, CC01–31, 33–95,
PITCH BEND,
AFTERTOUCH,
SYS CTRL1–4,
VELOCITY,
KEY FOLLOW,
TEMPO, LFO1,
LFO2, PITCH ENV,
TVF ENV, TVA ENV

MIDI message used to change the tone parameter with the Matrix Control

OFF:

Matrix control will not be used.

CC01–31, 33–95:
PITCH BEND:
SYS CTRL1–4:
VELOCITY:
TEMPO:
LFO1:

LFO 1

PITCH ENV:

Controller numbers 1–31, 33–95

Pitch Bend

MIDI messages used as common matrix controls

Pressure you press a key with

The specified tempo (sequencer tempo) or the tempo of an external MIDI sequencer.

LFO2:

Pitch envelope

AFTERTOUCH:

LFO 2

TVF ENV:

Aftertouch

KEY FOLLOW:

TVF envelope

Matrix Control

Keyboard position with C4 as 0

TVA ENV:

TVA envelope

. Up to four

Parameter

CTRL 1–4
Destination
1–4

Value Explanation

OFF, PITCH, CUTOFF,
RESONANCE, LEVEL,
PAN, OUTPUT LEVEL,
CHORUS SEND,
REVERB SEND,
LFO1/2 PITCH DEPTH,
LFO1/2 TVF DEPTH,
LFO1/2 TVA DEPTH,
LFO1/2 PAN DEPTH,
LFO1/2 RATE,
PCH ENV A-TIME,
PCH ENV D-TIME,
PCH ENV R-TIME,
TVF ENV A-TIME,
TVF ENV D-TIME,
TVF ENV R-TIME,
TVA ENV A-TIME,
TVA ENV D-TIME,
TVA ENV R-TIME,
TMT, FXM DEPTH,
MFX CTRL1–4, TIME

Tone parameter that is to be controlled when using the Matrix Control

Up to four parameters can be specified for each Matrix Control, and controlled simultaneously.

* In this manual, Parameters that can be controlled using the Matrix Control are marked with a “★.”

49

Creating a Patch

Parameter

CTRL 1–4 Sens 1–4

CTRL 1–4 Switch 1–4 OFF, ON,

Value Explanation

-63– +63 Amount of the Matrix Control’s effect that is applied

REVS

If you wish to modify the selected parameter in a positive (+) direction—i.e., a higher value, toward
the right, or faster etc.—from its current setting, select a positive (+) value. If you wish to modify the
selected parameter in a negative (-) direction—i.e., a lower value, toward the left, or slower etc.—from
its current setting, select a negative (-) value. For either positive or negative settings, greater absolute
values will allow greater amounts of change. Set this to “0” if you don’t want to apply the effect.

Tone to which the effect is applied when using the Matrix Control

OFF:

The effect will not be applied.

ON:

The effect will be applied.

REVS:

The effect will be applied in reverse.

50

Creating a Patch

[F5 (MISC)]

Tone Delay

This produces a time delay between the moment a key is pressed (or released), and the moment the tone actually begins to sound. You can also

make settings that shift the timing at which each tone is sounded. This differs from the Delay in the internal effects, in that by changing the sound

qualities of the delayed tones and changing the pitch for each tone, you can also perform arpeggio-like passages just by pressing one key.

You can also synchronize the tone delay time to the tempo of the sequencer.

* If you are not going to use Tone Delay, set the Delay Mode parameter to “NORM” and Delay Time parameter to “0.”

• If the Structure parameters set in the range of “2”–”10,” the output of tones 1 and 2 will be combined into tone 2, and the output of tones 3

and 4 will be combined into tone 4. For this reason, tone 1 will follow the settings of tone 2, and tone 3 will follow the settings of tone 4 (p. 38).

Parameter

Tone Delay Mode

Tone Delay Time

fig.ToneDly1.e

Tone Delay Mode: NORM

Delay time

Value Explanation

NORM,
HOLD,
OFFN,
OFFD

Type of tone delay

NORM:

The tone begins to play after the time specified in the Delay Time parameter has elapsed.

HOLD:

Although the tone begins to play after the time specified in the Delay Time parameter has elapsed,
if the key is released before the time specified in the Delay Time parameter has elapsed, the tone is not
played.

OFFN:

Rather than being played while the key is pressed, the tone begins to play once the period of time
specified in the Delay Time parameter has elapsed after release of the key. This is effective in situations such
as when simulating noises from guitars and other instruments.

OFFD:

Rather than being played while the key is pressed, the tone begins to play once the period of time
specified in the Delay Time parameter has elapsed after release of the key. Here, however, changes in the
TVA Envelope begin while the key is pressed, which in many cases means that only the sound from the re­lease portion of the envelope is heard.

* If you have selected a waveform that is a decay-type sound (i.e., a sound that fades away naturally even if the key is not

released), selecting “OFFN” or “OFFD” may result in no sound being heard.

0-127,
Note

Time from when the key is pressed (or if the Delay Mode parameter is set to “OFFN” or “OFFD,” the time from
when the key is released) until when the tone will sound

Tone Delay Time specifies the beat length for the synchronized tempo when the tempo that specifies the
elapsed time until the tone is sounded (Patch Tempo) is synchronized with the tempo set in a sequencer.

Tone Delay Mode: HOLD

No Tone Delay

Delay time

No sound
played

Tone Delay Mode: OFFN

Delay time

Note on

Note off

Tone Delay Mode: OFFD

Delay time

Note on

Note off

Note on

Parameter

Tone Env Mode

Note off

Note on

Value Explanation

NSUS,
SUST

When a loop waveform (p. 37) is selected, the sound will normally continue as long as the key is pressed. If
you want the sound to decay naturally even if the key remains pressed, set this to “NSUS.”

Note off

* If a one-shot type wave (p. 37) is selected, it will not sustain even if this parameter is set to “SUST.”

Rx Bender

OFF, ON For each tone, specify whether MIDI Pitch Bend messages will be received (ON), or not (OFF).
Rx Expression OFF, ON For each tone, specify whether MIDI Expression messages will be received (ON), or not (OFF).
Rx Hold-1 OFF, ON For each tone, specify whether MIDI Hold-1 messages will be received (ON), or not (OFF).

* If “NSUS” is selected for Env Mode parameter, this setting will have no effect.

Rx Pan Mode

CONT,

K-ON

For each tone, specify how pan messages will be received.

CONT:

Whenever Pan messages are received, the stereo position of the tone will be changed.

K-ON:

The pan of the tone will be changed only when the next note is played. If a pan message is received

while a note is sounding, the panning will not change until the next key is pressed.

* The channels cannot be set so as not to receive Pan messages.

Redamper Sw

OFF, ON You can specify, on an individual tone basis, whether or not the sound will be held when a Hold 1 message

is received after a key is released, but before the sound has decayed to silence.

If you want to sustain the sound, set this “ON.” When using this function, also set the Rx Hold-1 param­eter “ON.” This function is effective for piano sounds.

51

Creating a Patch

Parameter Group [F6 (LFO&OUT)] Modulating Sounds/Output

An LFO (Low Frequency Oscillator) causes change over a cycle in a sound. Each tone has two LFOs (LFO1/LFO2), and these can be used to

cyclically change the pitch, cutoff frequency and volume to create modulation-type effects such as vibrato, wah and tremolo. Both LFOs have the

same parameters so only one explanation is needed.

[F1 (LFO 1)], [F2 (LFO 2)]

Parameter marked with a “★” can be controlled using specified MIDI messages

(Matrix Control, p. 49)

Parameter

Wave Form

Rate

★

Rate Detune 0–127 Makes subtle changes in the LFO cycle rate (Rate parameter) each time a key is pressed.

Offset -100–

Delay Time 0–127 Time elapsed before the LFO effect is applied (the effect continues) after the key is pressed (or released)

Delay Time KF
(Time Keyfol­low)

fig.T-KF.e

Time

Value Explanation

SIN,
TRI,
SAWU,
SAWD,
SQR,
RND,
BD-U,
BD-D,
TRP,
S&H,
CHS,
VSIN,
STEP

0–127,
Note

+100

-100–
+100

Time Keyfollow

Waveform of the LFO

SIN:

Sine wave

TRI:

Triangle wave

SAWU:

Sawtooth wave

SAWD:

Sawtooth wave (negative polarity)

SQR:

Square wave

RND:

Random wave

BD-U:

Once the attack of the waveform output by the LFO is allowed to develop in standard fashion, the

waveform then continues without further change.

BD-D:

Once the decay of the waveform output by the LFO is allowed to develop in standard fashion, the wave-

form then continues without further change.

TRP:

Trapezoidal wave

S&H:

Sample & Hold wave (one time per cycle, LFO value is changed)

CHS:

Chaos wave

VSIN:

Modified sine wave. The amplitude of a sine wave is randomly varied once each cycle.

STEP:

A waveform generated by the data specified by LFO Step 1–16. This produces stepped change with a

fixed pattern similar to a step modulator.

* If you set this to “BD-U” or “BD-D,” you must turn the Key Trigger parameter to “ON.” If this is “OFF,” it will have

no effect.

Modulation speed of the LFO

LFO Rate sets the beat length for the synchronized tempo is synchronized with the tempo set in a sequencer.

* This setting will be ignored if the Waveform parameter is set to “CHAOS.”

Higher settings will cause greater change. This parameter is invalid when Rate is set to “note.”

Raises or lowers the LFO waveform relative to the central value (pitch or cutoff frequency).

Positive (+) settings will move the waveform so that modulation will occur from the central value upward.
Negative (-) settings will move the waveform so that modulation will occur from the central value downward.

When using violin, wind, or certain other instrument sounds in a performance, rather than having vibrato
added immediately after the sounds are played, it can be effective to add the vibrato after the note is drawn
out somewhat.

Adjusts the value for the Delay Time parameter depending on the key position, relative to the C4 key (center C).

To decrease the time with each higher key that is pressed in the upper registers, select a positive value; to in­crease the elapsed time, select a negative value. Larger settings will produce greater change. If you do not want
the elapsed time to change according to the key pressed, set this to “0.”

-100

52

C4C3C2C1 C5 C6 C7

-50

0

+50

+100

Key

Creating a Patch

Note on

high (more)

low (less)

Pitch

Cutoff Frequency

Level

Pan

Delay
Time

Fade Time

Depth

Parameter marked with a “★” can be controlled using specified MIDI messages

(Matrix Control, p. 49)

Parameter

Fade Mode

Value Explanation

ON <, ON >,

How the LFO will be applied

OFF <, OFF >
Fade Time 0–127 Time over which the LFO amplitude will reach the maximum (minimum)
Key Trigger OFF, ON Specifies whether the LFO cycle will be synchronized to begin when the key is pressed (ON) or not (OFF).
Pitch Depth
TVF Depth
TVA Depth
Pan Depth

-63– +63

★

-63– +63

★

-63– +63

★

-63– +63

★

How deeply the LFO will affect pitch
How deeply the LFO will affect the cutoff frequency
How deeply the LFO will affect the volume
How deeply the LFO will affect the pan

Positive (+) and negative (-) settings for the Depth parameter result in differing kinds of change in pitch and volume. For ex-

ample, if you set the Depth parameter to a positive (+) value for one tone, and set another tone to the same numerical value,

but make it negative (-), the modulation phase for the two tones will be the reverse of each other. This allows you to shift back

and forth between two different tones, or combine it with the Pan setting to cyclically change the location of the sound image.

* When the Structure parameter is set to any value from “2” through “10,” the output of tones 1 and 2 will be combined into tone 2, and

the output of tones 3 and 4 will be combined into tone 4. This applies to the Pan Depth parameter settings. For this reason, tone 1 will
follow the settings of tone 2, and tone 3 will follow the settings of tone 4 (p. 38).

How to Apply the LFO

●

Apply the LFO gradually after the key is pressed

Fade Mode:
Delay Time:

ON <

Time from when the keyboard is played until the LFO begins to

be applied

Fade Time:

Time over which the LFO amplitude will reach the maximum after

the Delay Time has elapsed

●

Apply the LFO immediately when the key is pressed, and then gradually begin to decrease the effect

high (more)

Cutoff Frequency

●

Apply the LFO gradually after the key is released

Cutoff Frequency

●

Apply the LFO from when the key is pressed until it is released, and gradually begin to decrease the

Pitch

Level

Pan

low (less)

high (more)

Pitch

Level

Pan

low (less)

Note on

Note

on

Delay Time

Delay
Time

Note

off

Fade Time

Fade Time

Depth

Depth

Fade Mode:
Delay Time:
Fade Time:

ON >

Time that the LFO will continue after the keyboard is played

Time over which the LFO amplitude will reach the minimum after

the Delay Time has elapsed

Fade Mode:
Delay Time:

OFF <
Time from when the keyboard is released until the LFO begins to

be applied

Fade Time:

Time over which the LFO amplitude will reach the maximum after

the Delay Time has elapsed

effect when the key is released

Note off

Delay
Time

Fade Time

Depth

Fade Mode:
Delay Time:
Fade Time:

OFF >

Time that the LFO will continue after the keyboard is released

Time over which the LFO amplitude will reach the minimum after

the Delay Time has elapsed

high (more)

Pitch

Cutoff Frequency

Level

Pan

low (less)

Note on

53

Creating a Patch

[F3 (STEP)]

Parameter

Step Type

Step 1–16 -36– +36 Specifies the data for the Step LFO.

Value Explanation

TYP1, TYP2 When generating an LFO waveform from the data specified in LFO Step 1–16, specify whether the level will

change abruptly at each step or will be connected linearly.

TYP1:

stair-step change

TYP2:

linear change

If the LFO Pitch Depth is +63, each +1 unit of the step data corresponds to a pitch of +50 cents.

[F4 (OUTPUT)]

Parameter

Patch Out Assign

Tone Out Assign

Tone Out Level 0–127 Level of the signal that is sent to the output destination specified by Tone Output Assign

Send Level (Output = MFX)

Tone Chorus Send 0–127 Level of the signal sent to chorus for each tone if the tone is sent through MFX
Tone Reverb Send 0–127 Level of the signal sent to reverb for each tone if the tone is sent through MFX

Send Level (Output = non MFX)

Tone Chorus Send 0–127 Level of the signal sent to chorus for each tone if the tone is not sent through MFX
Tone Reverb Send 0–127 Level of the signal sent to reverb for each tone if the tone is not sent through MFX

Value Explanation

MFX,
A, B,
1–4,
TONE

MFX,
A, B,
1–4

Specifies how the direct sound of each patch will be output.

MFX:

Output in stereo through multi-effects. You can also apply chorus or reverb to the sound that passes

through multi-effects.

A, B:

Output to the OUTPUT A (MIX) jacks or OUTPUT B jacks in stereo without passing through multi-effects.

1–4:

Output to the INDIVIDUAL 1–4 jacks in mono without passing through multi-effects.

TONE:

Outputs according to the settings for each tone.

* If you’ve made settings so that sounds are separately routed to the INDIVIDUAL 1 jack and INDIVIDUAL 2 jack, but

no plug is actually inserted in the INDIVIDUAL 2 jack, the sounds routed to INDIVIDUAL 1 and INDIVIDUAL 2 will
be mixed and output from the INDIVIDUAL 1 jack.

* If the Mix/Parallel parameter is set to “MIX,” all sounds are output from the OUTPUT A (MIX) jacks in stereo (p. 194).

Specifies how the direct sound of each tone will be output.

MFX:

Output in stereo through multi-effects. You can also apply chorus or reverb to the sound that passes

through multi-effects.

A, B:

Output to the OUTPUT A (MIX) jacks or OUTPUT B jacks in stereo without passing through multi-effects.

1–4:

Output to the INDIVIDUAL 1–4 jacks in mono without passing through multi-effects.

* If the Patch Out Assign is set to anything other than “TONE,” these settings will be ignored.

* When the Structure Type parameter has a setting of Type “2”–”10,” the outputs of tones 1 and 2 will be combined with

tone 2, and the outputs of tones 3 and 4 will be combined with tone 4. For this reason, tone 1 will follow the settings of
tone 2, and tone 3 will follow the settings of tone 4 (p. 38).

* If you’ve made settings so that sounds are separately routed to the INDIVIDUAL 1 jack and INDIVIDUAL 2 jack, but

no plug is actually inserted in the INDIVIDUAL 2 jack, the sounds routed to INDIVIDUAL 1 and INDIVIDUAL 2 will
be mixed and output from the INDIVIDUAL 1 jack.

* If the Mix/Parallel parameter is set to “MIX,” all sounds are output from the OUTPUT A (MIX) jacks in stereo (p. 194).

* If you’ve set Tone Out Assign to “MFX,” set the MFX Output Assign parameter (p. 159) to specify the output destination

of the sound that has passed through the multi-effects.

* Sounds are output to chorus and reverb in mono at all times.

* The output destination of the signal after passing through the chorus is set with the Chorus Output Select and Chorus

Output Assign parameters (p. 159).

* The output destination of the signal after passing through the reverb is set with the Reverb Output Assign parameter (p.

159).

Setting Effects for a Patch (Effects/MFX/MFX Control/Chorus/Reverb)

For details regarding effect settings, refer to the pages shown below.

•

Making Effect Settings

•

Making Multi-Effects Settings (MFX1–3)

•

Making Chorus Settings

•

Making Reverb Settings

54

(p. 157)

(p. 162)

(p. 189)

(p. 190)

Creating a Rhythm Set

With the Fantom-Xa, 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

rhythm sets, and the functions of the rhythm set parameters.

How to Make Rhythm Set Settings

1.

Press [PATCH/RHYTHM] to access the PATCH PLAY
screen.

2.

Select the part (keyboard or pad) and rhythm set whose
settings you want to edit (p. 30).

* You cannot edit the rhythm sets in the GM2 group.

3.

Press [PATCH EDIT] to access the RHYTHM EDIT screen.

fig.RhythmEdit

parameter

. When

You can edit while viewing a graphic display of the most frequently

used important parameters. Zoom Edit lets you edit the following

parameters.

1.

With the screen for editing the above parameters shown,
press [F6 (ZOOM)].

The Zoom Edit screen will appear.

fig.ZoomEdit2

Press [F1]–[F4] to select the parameter group.

2.

Press [F1 (COMMON)]–[F6 (OUTPUT)] to select the

4.

parameter group.

5.

Press [F1]–[F6], and then press to select the
parameter.

Some parameters can be set independently for each wave.

To select the wave you want to edit, press TONE SELECT [1]–

[4] (PART/TRACK [5]–[8]) or .

fig.RhythmTVA

6.

Use the VALUE dial or [INC] [DEC] to change the value.

7.

Repeat steps 4–6 to set each parameter.

8.

Press [WRITE] to save the changes you’ve made (p. 57).
If you do not wish to save changes, press [EXIT] to return to
the PATCH PLAY screen.

If you return to the PATCH PLAY screen without saving, an “*”

will be displayed at the left of the rhythm set group.

If you turn off the power or select a different sound while the

display indicates “*,” your edited rhythm set will be lost.

Press [CURSOR] to select the parameter.

3.

4.

Use the VALUE dial or [INC] [DEC] to change the value.

You can use the REALTIME CONTROL knobs to set the value.

When you have finished editing, press [F6 (EXIT)].

5.

If a number is displayed for the parameter name ( , , ,

), you can use the REALTIME CONTROL knobs (C1–C4) to set

the value.

If you press the button located at the right of the REALTIME

CONTROL knobs to make the indicator light, the knobs will control

their original functions.

fig.KnobValue

You can use the same knobs to edit the values in the Zoom Edit

screen as well.

55

Creating a Rhythm Set

Initializing Rhythm Set Settings

“Initialize” means to return the settings of the currently selected

sound to a standard set of values.

* 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-Xa’s settings to their factory values,

perform a Factory Reset (p. 203).

1.

Press [PATCH/RHYTHM] to access the PATCH PLAY
screen.

2.

Select the part (keyboard or pad) and rhythm set that you
want to initialize (p. 30).

3.

Press [PATCH EDIT] to access the RHYTHM EDIT screen.

Press keys to specify the key that is to be initialized.

4.

Hold down [SHIFT] and press [F5 (INIT)].

The Rhythm Initialize window appears.

fig.RhythmInit

5.

Press to select the initialization type.

All:

All keys of the rhythm set will be initialized.

Key:

One key will be initialized.

6.

Press [F6 (SELECT)].

A message will ask you for confirmation.

7.

Press [F6 (EXEC)].

The initialization will be carried out.

* To cancel, press [F5 (CANCEL)].

Copying Rhythm Tone Settings

This operation copies the settings of any desired rhythm set to the

currently selected rhythm set.

Press [PATCH/RHYTHM] to access the PATCH PLAY

1.

screen.

2.

Select the part (keyboard or pad) and the copy-destination
rhythm set (p. 30).

Press [PATCH EDIT] to access the RHYTHM EDIT screen.

3.

4.

Hold down [SHIFT] and press [F6 (TONE CPY)].

The Rhythm Tone Copy window appears.

fig.RhyToneCopy

5.

Press [CURSOR] to move the cursor, and use the VALUE
dial or [INC] [DEC] to select the “Source (copy-source)”
group and number, and the rhythm tone number.

* By pressing [F4 (COMPR)] to add a check mark (✔), you can check

the copy-source rhythm set (Compare function).

Press [CURSOR] to move the cursor, and select the

6.

“Destination (copy-destination)” rhythm tone number.

7.

Press [F6 (EXEC)].

A message will ask you for confirmation.

8.

Press [F6 (EXEC)] to execute the copy operation.

* To cancel, press [F5 (CANCEL)].

The Compare Function

For the Rhythm Tone Copy operations, you can use the

Compare function.

If you want to play the copy-source rhythm set, press [F4

(COMPR)] to add a check mark (✔). Now you can play the

copy-source rhythm set from the keyboard or pads.

* The rhythm set auditioned using the Compare function may

sound slightly different than when it is played normally.

56

Saving Rhythm Sets You’ve

TVA ENV for looped Organ
waveform (sustain portion)

Note off

Time

Level

Resulting TVA ENV
change

TVA ENV for one-shot Key

-click waveform (attack portion)

Note off

+=

Creating a Rhythm Set

One-shot Waveform and Loop
Waveform

Created (Write)

Changes you make to sound settings are temporary, and will be lost

if you turn off the power or select another sound. If you want to keep

the modified sound, you must save it in the internal USER group

(user memory) or CARD group (memory card).

When you edit the rhythm set settings, an “*” will appear in the

PATCH PLAY screen.

When you perform the save procedure, the data that previously

occupied the save destination will be lost.

1.

Make sure that the rhythm set you wish to save is selected.

2.

Press [WRITE].

The WRITE MENU screen appears.

fig.PatchWrite

3.

Press [F2 (PAT/RHY)].

* Alternatively, you can use or to select “Patch/Rhythm,”

and then press [ENTER].

The RHYTHM SET NAME screen appears.

fig.RhySetName

The internal waveforms of the Fantom-Xa fall into the following two

groups.

One-shot:

These waveforms contain sounds that have short decays. A one-shot

waveform records the initial rise and fall of the sound.

The Fantom-Xa 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.

* 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.

Loop:

These waveforms include sounds with long decays as well as

sustained sounds. Loop waveforms repeatedly play back (loop) the

portion of the waveform after the sound has reached a relatively

steady state.

The Fantom-Xa’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.Waveform1.e

4.

Assign a name to the rhythm set.

For details on assigning names, refer to p. 28.

5.

When you have finished inputting the name, press [F6
(WRITE)].

A screen will appear, allowing you to select the write-

destination rhythm set.

6.

Use the VALUE dial, [INC] [DEC], or and [F1
(USER)] [F2 (CARD)] to select the write destination and
rhythm set number.

7.

Press [F6 (WRITE)].

A message will ask you for confirmation.

Press [F6 (EXEC)] to execute the save operation.

8.

* To cancel, press [F5 (CANCEL)].

Never switch off the Fantom-Xa while data is being saved.

Tips for Using an Acoustic
Instrument’s 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.

fig.waveform2.e

Level

Looped portion

Tone change stored

with the wave

Time

Envelope

for the TVF filter

Resulting

tone change

57

Creating a Rhythm Set

Functions of Rhythm Set Parameters

Parameter Group [F1 (COMMON)] Settings Common to the Entire Rhythm Set

[F1 (GENERAL)]

Parameter

Rhythm Level
Rhythm Tone

Name

Value Description

0–127 Volume of the rhythm set

You can assign a name of up to 12 characters to the rhythm tone.

Press to move the cursor, and use the VALUE dial or [INC] [DEC] to select characters.

[F2 (CTRL)]

Parameter

Assign Type

Mute Group OFF, 1–31 On an actual acoustic drum set, an open hi-hat and a closed hi-hat sound can never occur simultaneously.

Tone Env Mode NO-SUS,

Tone Pitch Bend
Range

One Shot Mode OFF, ON

Aftertouch Time
Ctrl Sens

Value Explanation

MULTI, SIN­GLE

SUSTAIN

0–48 Amount of pitch change in semitones (4 octaves) that will occur when the Pitch Bend Lever is moved

-63– +63 If Wave Group is set to SAMP and Wave Tempo Sync is ON, aftertouch will control the amount of time

Sets the way sounds are played when the same key is pressed a number of times.

MULTI:

Layer the sound of the same keys. Even with continuous sounds where the sound plays for an
extended time, such as with crash cymbals, the sounds are layered, without previously played sounds
being eliminated.

SINGLE:

sounds where the sound plays for an extended time, the previous sound is stopped when the following
sound is played.

To reproduce the reality of this situation, you can set up a Mute Group.

The Mute Group function allows you to designate two or more rhythm tones that are not allowed to
sound simultaneously. Up to 31 Mute Groups can be used. rhythm tones that are not belong to any such
group should be set to “OFF.”

When a loop waveform (p. 57) is selected, the sound will normally continue as long as the key is pressed.
If you want the sound to decay naturally even if the key remains pressed, set this to “NO-SUS.”

* If a one-shot type wave (p. 57) is selected, it will not sustain even if this parameter is set to “SUSTAIN.”

The amount of change when the lever is tilted is set to the same value for both left and right sides.

ON:

first).

If you have set Wave Group (p. 59) to SAMP, the loop setting will be forced to ONE SHOT.

stretching/shrinking caused by Time Stretch.

If Time Stretch is not being applied, nothing will happen. If set to “+” the stretch/shrink time will be­come shorter, and if set to “-” the time will become longer.

Only one sound can be played at a time when the same key is pressed. With continuous

The sound will play back until the end of the waveform (or the end of the envelope, whichever comes

[F3 (RX)]

Parameter

Tone Receive
Expression

Tone Receive
Hold-1

Tone Receive
Pan Mode

58

Value Explanation

OFF, ON For each rhythm tone, specify whether MIDI Expression messages will be received (ON), or not (OFF).

OFF, ON For each rhythm tone, specify whether MIDI Hold-1 messages will be received (ON), or not (OFF).

* If “NO-SUS” is selected for Env Mode parameter, this setting will have no effect.

CONTINUOUS,
KEY-ON

For each rhythm tone, specify how pan messages will be received.

CONTINUOUS:
KEY-ON:

received while a note is sounding, the panning will not change until the next key is pressed.

* The channels cannot be set so as not to receive Pan messages.

Whenever Pan messages are received, the stereo position of the tone will be changed.

The pan of the tone will be changed only when the next note is played. If a pan message is

Parameter Group [F2 (WG)] Modifying Waveforms/Pitch/Pitch Envelope

[F1 (WG PRM)]

Creating a Rhythm Set

Parameter

Wave Group

Wave Bank PRST, USER,

Wave No. L (Mono)
Wave No. R

Wave Gain

Wave Tempo Sync OFF, ON When you wish to synchronize a Phrase Loop to the clock (tempo), set this to “ON.”

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.”

Value Explanation

INT, EXP,
SAMP,
MSAM

CARD

----, 1–1228 Waves comprising the rhythm tone (The upper limit will depend on the wave group.)

-6, 0, +6, +12 Gain (amplification) of the waveform

Group containing the waveforms comprising the rhythm tone

INT:

Waveforms stored in internal

EXP:

Waveform stored in a Wave Expansion Board (SRX series) installed in EXP slots

SAMP:

Sample waveforms

MSAM:

Multisample waveforms

When the Wave Group is SAMP: PRST, USER, CARD
When the Wave Group is MSAM: USER, CARD

When in monaural mode, only the left side (L) is specified. When in stereo, the right side (R) is also
specified.

If you want to select a left/right pair of Waves, select the left (L) Wave number, and then hold down
[SHIFT] and press [F4 (STEREO)] to add a check mark (✔); the right (R) (Wave) will be recalled.

* When using a multisample in stereo, you must specify the same number for L and R.

The value changes in 6 dB (decibel) steps—an increase of 6 dB doubles the waveform’s gain.

* This is valid only when a separately sold wave expansion board is installed, and a waveform that indicates a

tempo (BPM) is selected as the sample for a tone.

If a waveform from a wave expansion board is selected for the tone, turning the Wave Tempo Sync pa­rameter “ON” will cause pitch-related settings (p. 60) and FXM-related settings (p. 59) to be ignored.

• 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.

Realtime Time Stretch

If the wave group is “SAMP” or “MSAM,” and the Wave

Tempo Sync parameter is turned “ON,” you can vary the

playback speed of the waveform without affecting the pitch.

Parameter

FXM Switch
FXM Color 1–4 How FXM will perform frequency modulation

FXM Depth 0–16 Depth of the modulation produced by FXM

Value Explanation

OFF, ON This sets whether FXM will be used (ON) or not (OFF).

Higher settings result in a grainier sound, while lower settings result in a more metallic sound.

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.

59

Creating a Rhythm Set

[F2 (PITCH)]

Parameter

Tone Coarse Tune

Tone Fine Tune -50– +50 Pitch of the rhythm tone’s sound (in 1-cent steps; one cent is 1/100th of a semitone)

Tone Random
Pitch Depth

Value Explanation

0 (C -)–
127 (G9)

0–1200 Width of random pitch deviation that will occur each time a key is pressed (in 1-cent steps)

Pitch at which a rhythm tone sounds

Set the coarse tuning for Waves comprising the rhythm tones with the Wave Coarse Tune parameter (p. 61).

Set the fine tuning for Waves comprising the rhythm tones with the Wave Fine Tune parameter (p. 61).

If you do not want the pitch to change randomly, set this to “0.”

[F3 (PCH ENV)]

Parameter

P-Env Depth

P-Env V-Sens -63– +63 Keyboard playing dynamics can be used to control the depth of the pitch envelope.

P-Env T1 V-Sens -63– +63 This allows keyboard dynamics to affect the T1 of the Pitch envelope.

P-Env T4 V-Sens -63– +63 Use this parameter when you want key release speed to affect the T4 value of the Pitch envelope.

P-Env Time 1–4 0–127 Pitch envelope times (T1–T4)

P-Env Level 0–4 -63– +63 Pitch envelope levels (L0–L4)

Value Explanation

-12– +12 Depth of the Pitch Envelope
Higher settings will cause the pitch envelope to produce greater change. Negative (-) settings will invert

the shape of the 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 T1 to be speeded up for strongly played notes, set this parameter to a positive (+) value.

If you want T4 to be speeded up for quickly released notes, set this parameter to a positive (+) value.

Higher settings will result in a longer time until the next pitch is reached.

Specify how the pitch will change at each point, relative to the pitch set with Coarse Tune or Fine Tune.

Pitch Envelope

T1 T2 T3 T4

Pitch

L0

Note on

L1

L3

Note off

L2

Time

L4

60

Parameter Group [F3 (WAVE MIX)]

[F1 (LV/PAN)]

Creating a Rhythm Set

Parameter

Wave Level
Wave Pan L64–0–63R Left/right position of the waveform
Wave Rnd Pan Sw OFF, ON Use this setting to cause the waveform’s panning to change randomly each time a key is pressed (ON)

Wave Alter Pan Sw

Value Description

0–127 Volume of the waveform

or not (OFF).

* The range of the panning change is set by the Random Pan Depth parameter (p. 64).

OFF, ON,
REVS

This setting causes panning of the waveform to be alternated between left and right each time a key
is pressed.

Set this to “ON” to pan the wave according to the Alternate Pan Depth parameter (p. 64) settings,
or to “REVS” when you want the panning reversed.

[F2 (TUNE)]

Parameter

Wave Coarse Tune
Wave Fine Tune -50– +50 Pitch of the waveform’s sound (in 1-cent steps; one cent is 1/100th of a semitone)

Value Explanation

-48– +48 Pitch of the waveform’s sound (in semitones, +/-4 octaves)

[F3 (VEL RNG)]

You can use the force with which keys are played to control the way each waveform is played.

fig.TMT-V.e

Level

The waveform sounded
when you play softly

The waveform sounded
when you play strongly

Velocity

Velo Fade Lower

Velo Range Lower

Parameter

Velocity Control

Velo Fade Lower 0–127 Determines what will happen to the waveform’s level when the rhythm tone is played at a velocity

Velo Range Lower 1–UPPER Specifies the lowest velocity at which the waveform will sound.
Velo Range Upper LOWER–127 Specifies the highest velocity at which the waveform will sound.
Velo Fade Upper 0–127 Determines what will happen to the waveform’s level when the rhythm tone is played at a velocity

Value Explanation

OFF, ON,
RAN

Velo Fade Upper

Velo Range Upper

Determines whether a different waveform is played (ON) or not (OFF) depending on the force with
which the key is played (velocity).

RAN:

The rhythm tone’s constituent waveforms will sound randomly, regardless of any Velocity

messages.

lower than Velo Range Lower.

If you don’t want the waveform to sound at all, set this parameter to “0.”

greater than Velo Range Upper.

If you don’t want the waveform to sound at all, set this parameter to “0.”

61

Creating a Rhythm Set

Parameter Group [F4 (TVF)] Modifying the Brightness of a Sound with a Filter (TVF/TVF Envelope)

A filter cuts or boosts a specific frequency region to change a sound’s brightness, thickness, or other qualities.

[F1 (TVF PRM)]

Parameter

Filter Type

Cutoff Frequency
Resonance 0–127 Emphasizes the portion of the sound in the region of the cutoff frequency, adding character to the sound.

Level

High

Cutoff frequency

Value Explanation

OFF,
LPF,
BPF,
HPF,
PKG,
LPF2,
LPF3

0–127 Frequency at which the filter begins to have an effect on the waveform’s frequency components

LPF BPF

Frequency

Type of filter

OFF:

No filter is used.

LPF:

Low Pass Filter. This reduces the volume of all frequencies above the cutoff frequency in order to

round off, or un-brighten the sound.

BPF:

Band Pass Filter. This leaves only the frequencies in the region of the cutoff frequency, and cuts the

rest. This can be useful when creating distinctive sounds.

HPF:

High Pass Filter. This cuts the frequencies in the region below the cutoff frequency. This is suitable

for creating percussive sounds emphasizing their higher tones.

PKG:

Peaking Filter. This emphasizes the frequencies in the region of the cutoff frequency. You can use

this to create wah-wah effects by employing an LFO to change the cutoff frequency cyclically.

LPF2:

Low Pass Filter 2. Although frequency components above the Cutoff frequency are cut, the sensi­tivity of this filter is half that of the LPF. This filter is good for use with simulated instrument sounds
such as the acoustic piano.

LPF3:

Low Pass Filter 3. Although frequency components above the Cutoff frequency are cut, the sensi­tivity of this filter changes according to the Cutoff frequency. While this filter is also good for use with
simulated acoustic instrument sounds, the nuance it exhibits differs from that of the LPF2, even with the
same TVF Envelope settings.

* If you set “LPF2” or “LPF3,” the setting for the Resonance parameter will be ignored.

* Excessively high settings can produce oscillation, causing the sound to distort.

Resonance

HPF PKG

parameter value

Low

Parameter Value Explanation

Cutoff V-Curve FIX, 1–7 Curve that determines how keyboard playing dynamics (velocity) will affect the cutoff frequency

Set this to “FIX” if you don’t want the Cutoff frequency to be affected by the keyboard velocity.

1234567

Cutoff V-Sens -63– +63 Use this parameter when changing the cutoff frequency to be applied as a result of changes in playing ve-

locity. If you want strongly played notes to raise the cutoff frequency, set this parameter to positive (+) set­tings.

Resonance V-Sens -63– +63 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.

62

[F2 (TVF ENV)]

T1 T2 T3 T4

L3

L1

L0

L2 L4

Note off

Cutoff

Frequency

TVF Envelope

Time

Note on

Creating a Rhythm Set

Parameter

F-Env Depth

F-Env V-Curve FIX, 1–7 Curve that determines how keyboard playing dynamics (velocity) will affect the TVF envelope

Value Explanation

-63– +63 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.

Set this to “FIX” if you don’t want the TVF Envelope to be affected by the keyboard velocity.

1234567

F-Env V-Sens -63– +63 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.

F-Env T1 V-Sens -63– +63 This allows keyboard dynamics to affect the T1 of the TVF envelope.

If you want T1 to be speeded up for strongly played notes, set this parameter to a positive (+) value.

F-Env T4 V-Sens -63– +63 Use this parameter when you want key release speed to affect the T4 value of the TVF envelope.

If you want T4 to be speeded up for quickly released notes, set this parameter to a positive (+) value.

F-Env Time 1–4 0–127 TVF envelope times (T1–T4)

Higher settings will lengthen the time until the next cutoff frequency level is reached.

F-Env Level 0–4 0–127 TVF envelope levels (L0–L4)

Specify how the cutoff frequency will change at each point, relative to the Cutoff Frequency value.

63

Creating a Rhythm Set

Parameter Group [F5 (TVA)] Adjusting the Volume (TVA/TVA Envelope)

[F1 (TVA PRM)]

Parameter

Tone Level

Level V-Curve FIX, 1–7 Curve that determines how keyboard playing dynamics (velocity) will affect the volume

Value Explanation

0–127 Volume of the tone

This setting is useful primarily for adjusting the volume balance between tones.

Set this to “FIX” if you don’t want the volume of the tone to be affected by the keyboard velocity.

1234567

Level V-Sens -63– +63 Set this when you want the volume of the tone to change depending on keyboard playing dynamics.

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.
Tone Pan L64–0–63R Left/right position of the tone
Random Pan Depth 0–63 Use this parameter when you want the stereo location to change randomly each time you press a key.

Higher settings will produce a greater amount of change.
Alternate Pan

Depth

L63–0–63R This setting causes panning to be alternated between left and right each time a key is pressed.

Higher settings will produce a greater amount of change. “L” or “R” settings will reverse the order in

which the pan will alternate between left and right. For example if two rhythm tones are set to “L” and

“R” respectively, the panning of the two rhythm tones will alternate each time they are played.

[F2 (TVA ENV)]

Parameter Value Explanation

A-Env T1 V-Sens -63– +63 This allows keyboard dynamics to affect the T1 of the TVA envelope.

If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive
(+) value. If you want it to be slowed down, set this to a negative (-) value.

A-Env T4 V-Sens -63– +63 Use this parameter when you want key release speed to affect the T4 value of the TVA envelope.

If you want T4 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.

A-Env Time 1–4 0–127 TVA envelope times (T1–T4)

Higher settings will lengthen the time until the next volume level is reached.

A-Env Level 1–3 0–127 TVA envelope levels (L1–L3)

Specify how the volume will change at each point, relative to the Tone Level value.

64

TVA Envelope

Level

Note on

T1 T2 T3 T4

L2

L1

L3

Note off

Time

Parameter Group [F6 (OUTPUT)] Output Settings

Creating a Rhythm Set

Parameter

Rhythm Out Assign

Tone Out Assign

Tone Out Level 0–127 Level of the signal that is sent to the output destination specified by Tone Output Assign

Send Level (Output = MFX)

Tone Chorus Send 0–127 Level of the signal sent to chorus for each rhythm tone if the tone is sent through MFX
Tone Reverb Send 0–127 Level of the signal sent to reverb for each rhythm tone if the tone is sent through MFX

Send Level (Output = non MFX)

Tone Chorus Send 0–127 Level of the signal sent to chorus for each rhythm tone if the tone is not sent through MFX
Tone Reverb Send 0–127 Level of the signal sent to reverb for each rhythm tone if the tone is not sent through MFX

Value Explanation

MFX,
A, B,
1–4,
TONE

MFX,
A, B,
1–4

Specifies for each rhythm set how the direct sound will be output.

MFX:

Output in stereo through multi-effects. You can also apply chorus or reverb to the sound that passes

through multi-effects.

A, B:

Output to the OUTPUT A (MIX) jacks or OUTPUT B jacks in stereo without passing through multi-

effects.

1–4:

Output to the INDIVIDUAL 1–4 jacks in mono without passing through multi-effects.

TONE:

Outputs according to the settings for each rhythm tone.

* If you’ve made settings so that sounds are separately routed to the INDIVIDUAL 1 jack and INDIVIDUAL 2 jack, but

no plug is actually inserted in the INDIVIDUAL 2 jack, the sounds routed to INDIVIDUAL 1 and INDIVIDUAL 2
will be mixed and output from the INDIVIDUAL 1 jack.

* If the Mix/Parallel parameter is set to “MIX,” all sounds are output from the OUTPUT A (MIX) jacks in stereo (p. 194).

Specifies how the direct sound of each rhythm tone will be output.

MFX:

Output in stereo through multi-effects. You can also apply chorus or reverb to the sound that passes

through multi-effects.

A, B:

Output to the OUTPUT A (MIX) jacks or OUTPUT B jacks in stereo without passing through multi-

effects.

1–4:

Output to the INDIVIDUAL 1–4 jacks in mono without passing through multi-effects.

* If the Rhythm Out Assign is set to anything other than “TONE,” these settings will be ignored.

* If you’ve made settings so that sounds are separately routed to the INDIVIDUAL 1 jack and INDIVIDUAL 2 jack, but

no plug is actually inserted in the INDIVIDUAL 2 jack, the sounds routed to INDIVIDUAL 1 and INDIVIDUAL 2
will be mixed and output from the INDIVIDUAL 1 jack.

* If the Mix/Parallel parameter is set to “MIX,” all sounds are output from the OUTPUT A (MIX) jacks in stereo (p. 194).

* If you’ve set Tone Out Assign to “MFX,” set the MFX Output Assign parameter (p. 159) to specify the output desti-

nation of the sound that has passed through the multi-effects.

* Sounds are output to chorus and reverb in mono at all times.

* The output destination of the signal after passing through the chorus is set with the Chorus Output Select and Chorus

Output Assign parameters (p. 159).

* The output destination of the signal after passing through the reverb is set with the Reverb Output Assign parameter

(p. 159).

Setting Effects for a Patch (Effects/MFX/MFX Control/Chorus/Reverb)

For details regarding effect settings, refer to the pages shown below.

•

Making Effect Settings

•

Making Multi-Effects Settings (MFX1–3)

•

Making Chorus Settings

•

Making Reverb Settings

(p. 157)

(p. 162)

(p. 189)

(p. 190)

65

Playing in Performance Mode

1

4

7

1

5

4

6

6

1

8

2

3

4

6

5

7

3

3

2

2

5

8

Indicates the current sound generating mode.

Jumps to the setting screen of the displayed parameter.

Indicates multi-effects (MFX1, 2, 3), chorus (CHO),
reverb (REV), and masterring (MASTER) on and off.

Indicates the name of the currently selected song,
the measure location.

Indicates the time signature, and the tempo.

1

2

3

4

Indicates the current sound generating mode.

Indicates multi-effects (MFX1, 2, 3), chorus (CHO),
reverb (REV), and masterring (MASTER) on and off.

Indicates the name of the currently selected song,
the measure location.

Indicates the time signature, and the tempo.

Indicates the key range in which you can play the
keyboard or play rhythm sets.

Indicates/selects the group, number,
and name of the selected performance.

Indicates the current part.

8

6

5

7

Jumps to the setting screen of the displayed parameter.

Indicates/selects the patch assigned to the current part.

Indicates/selects the current part.

Set the volume (LEVEL), pan (PAN), chorus (CHORUS),
reverb (REVERB), Part Course Tune (KEY SFT),
Keyboard Sw (KBD), Pad Part (PAD),
Arpeggio Part (ARP), Output Assign (OUT) of the part.

7

LAYER screen

MIXER screen

8

A performance contains settings that apply to each individual part,

such as the patch (rhythm set) assigned to each part, and its volume

and pan.

Broadly speaking, Performance mode consists of two screens:

LAYER screen and MIXER screen.

Use the LAYER screen when you want to combine multiple sounds

(patches or rhythm sets) to create complex sounds. This lets you play

patches together (“layer”) or play different patches in separate areas

of the keyboard (“split”).

Use the MIXER screen when you want to mix the sounds by

adjusting the level and pan for each of 16 parts.

When you play the keyboard, you will hear the current part and the

parts whose keyboard switch is set to “ON.”

In addition to the settings of each part, the following settings can

also be stored for each performance.

• Controller settings such as the D Beam, realtime control knobs,

assignable switches, and pads

• Arpeggio and chord memory settings

• Rhythm group number

Displaying PERFORM LAYER Screen

1.

Press PERFORMANCE [LAYER/SPLIT].

You will enter Performance mode, and the PERFORM LAYER

screen appears.

fig.PfmLayer

Displaying PERFORM MIXER Screen

Press PERFORMANCE [MIXER].

1.

You will enter Performance mode, and the PERFORM MIXER

screen appears.

fig.PfmMixer

Functions in the PERFORMANCE LAYER/ MIXER Screen

fig.PfmFunc.e

66

Selecting a Performance

Performance number

Performance group

The Fantom-Xa has two performance groups, including the User

group and Preset groups, with each group storing 64 performances,

for a total of 128 performances.

Playing in Performance Mode

3.

To switch the performance group, press or .

4.

Use the VALUE dial, [INC] [DEC], or to select the
performance.

Press [ENTER] to close the PERFORMANCE LIST screen.

5.

USER

This is the group inside the Fantom-Xa which can be rewritten.
Performances you yourself create can be stored in this group. The
Fantom-Xa contains 64 preset performances.

PRST (Preset)

This is the group inside the Fantom-Xa which cannot be rewritten.
However you may modify the settings of the currently selected
performance, and then store the modified performance in User
memory. The Fantom-Xa contains 64 preset performances.

CARD (Memory Card)

This group lets you use patches stored on a memory card inserted in
the rear panel PC card slot. Since the data in this group can be
rewritten, you can use this group to store patches that you create.

1.

Press [LAYER/SPLIT].

2.

Press [CURSOR] to move the cursor to the performance
group.

fig.PfmSelect.e

Selecting Favorite Performances

You can bring together your favorite and most frequently used

performances in one place by registering them in the Favorite

Performance. By using this function you can quickly select your

favorite performances.

1.

Press [LAYER/SPLIT].

2.

Press [ENTER] and then press [F1 (FAVORIT)].

The FAVORITE PERFORMANCE screen appears.

fig.FavoritePfm

3.

Use the VALUE dial, [INC] [DEC], or to select a
performance number.

To switch banks, press .

Press [ENTER] to select the performance.

4.

Registering a Favorite Performance

You can register a total of 64 Performances (8 sounds x 8 banks) as

favorite Performance.

Use the VALUE dial, or [INC] [DEC] to select a performance

3.

group.

Press [CURSOR] to move the cursor to the performance

4.

number.

Use the VALUE dial or [INC] [DEC] to select the

5.

performance number.

Selecting Performances from the List

You can display a list of performances and select a performance from

that list.

Press [LAYER/SPLIT].

1.

2.

Press [ENTER].

The PERFORMANCE LIST screen appears.

fig.PfmList

1.

Select the Performance that you wish to register.

Press [ENTER] and then press [F1 (FAVORIT)].

2.

The FAVORITE PERFORMANCE screen appears.

Press to select the bank in which you wish to

3.

register the Performance.

Use the VALUE dial, [INC] [DEC], or to select the

4.

number to which you wish to register.

Press [F3 (REGIST)] to execute the registration.

5.

* To cancel, press [EXIT].

By pressing [F2 (REMOVE)] you can cancel the Performance

registration that is selected in the FAVORITE PERFORM screen.

67

Playing in Performance Mode

Using the LAYER Screen

Selecting a Part

The currently selected part is called the “current part.”

1.

From the PERFORM LAYER screen, use or to
select the part.

fig.PartSelect

You can also select the part by pressing [SELECT] to make it

light and pressing PART/TRACK [1]–[8].

* To select parts 9–16, press [9-16] to make it light, and then press

PART/TRACK [1]–[8].

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

Here’s how to select the parts whose patch or rhythm set will sound.

From the PERFORM LAYER screen, Press [F1 (KBD SW)].

1.

The Keyboard Switch window appears.

fig.KbdSw

Selecting the Sound for a Part

It’s easy to switch the patch assigned to a part.

1.

Select the part whose sound you want to switch.

Press [F5 (PAT LIST)].

2.

The PATCH LIST screen appears.

fig.PatchListPfm

• If you press [F1 (FAVORIT)], the FAVORITE PATCH screen (p.

31) appears.

• If you press [F2 (CATEG)], you can select patches by category

(p. 32).

Press to select the performance group.

3.

Use the VALUE dial, [INC] [DEC], or to select a

4.

patch.

5.

Press [ENTER] to select the patch.

Using the PATCH SELECT screen

Select the part whose sound you want to switch.

1.

2.

Press [PATCH SELECT].

The PATCH SELECT screen appears.

fig.PatchSelectPfm

Press or to select the part you want to sound.

2.

Use the VALUE dial, [INC] [DEC], or to select “ON”

3.

or “OFF.”

When you play the keyboard, you will hear the current part and

the parts whose keyboard switch is set to “ON.”

4.

Press [F6 (CLOSE)] to return to the previous screen.

About the keyboard switch

Use the keyboard switch when you want to play multiple

sounds layered together (Layer) or assign different sounds to

different regions of the keyboard (Split). Conversely, you can

turn off all keyboard switches when you are creating data, etc.

68

To select a rhythm set, press [F5 (RHYTHM)] to add a check

3.

mark (✔).

If you add a mark, the RHYTHM SELECT screen appears.

4.

Press [F1] or [F2] to select a group.

Use [F3], [F4], PART/TRACK [1]–[8], [INC] [DEC], ,

5.

or the VALUE dial to select a patch/rhythm set.

6.

Press [ENTER] to return to the PERFORM LAYER screen.

Playing in Performance Mode

Combining and Playing Sounds Together (Layer)

In Performance mode you can play the sounds of all parts whose

Keyboard Switch is on, and all connected parts. Combining the parts

will produce, thicker, fatter sounds.

fig.Layer.e

Part 1

(Rx ch.1)

Rx ch.: Receive Channel
Tx ch.: Transmit Channel

Press [LAYER/SPLIT] to access the PERFORM LAYER

1.

screen.

Press [F1 (KBD SW)].

2.

The Keyboard Switch window appears.

fig.KbdSw

Part 2

(Rx ch.2)

Keyboard Switch:
On

1 (Tx ch.1)

2 (Tx ch.2)

15 (Tx ch.15)

16(Tx ch.16)

Part 15

(Rx ch.15)

Part 16

(Rx ch.16)

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

In Performance mode you can divide the keyboard and play a

different patch in each area (this is called “split”). As the note range

that plays each part can be specified individually, you can split the

keyboard into a maximum of 16 sections.

For instance, you can play strings in the lower range, piano in the

upper range, and both sounds in the middle range.

fig.Split.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 [LAYER/SPLIT] to access the PERFORM LAYER
screen.

2.

Press [F4 (KEYRANG)].

The Key Range window appears.

fig.KeyRange

Part 1 + Part 2:

(Strings + Piano)

Part 2: Piano

Press or to select the part you want to sound.

3.

4.

Use the VALUE dial, [INC] [DEC], or to select
“ON.”

When you play the keyboard, you will hear the current part and

the parts whose keyboard switch is set to “ON.”

Repeat steps 3–4 to turn the Keyboard Switch on for all

5.

parts that are connected to the parts you want to play.

Press [F6 (CLOSE)] to return to the PERFORM LAYER

6.

screen.

3.

Press or to select the part you want to play.

4.

Press [F3 (KBDSW)]–[F5 (UPPER)] or to select the
parameter.

5.

Use the VALUE dial or [INC] [DEC] to change the setting.

Parameter

KbdSW

Lower C - –Upper Lower limit of the range
Upper Lower–G9 Upper limit of the range

The bar shown above the keyboard indicates the range of keys

that will sound.

6.

When you are finished, press [F6 (CLOSE)] to return to the
PERFORM LAYER screen, and begin playing.

By specifying sections for different parts so that they overlap

each other, you can combine two or more parts only in a specific

section.

Value Explanation

OFF, ON Specifies whether or not the part

will sound.

69

Playing in Performance Mode

Using the MIXER Screen

Selecting a Part

The currently selected part is called the “current part.”

1.

In the PERFORM MIXER screen, press [CURSOR] to move
the cursor to the Part number.

fig.PartSelect2

Use the VALUE dial or [INC] [DEC] to select the part.

2.

You can also select the part by pressing [SELECT] to make it

light and pressing PART/TRACK [1]–[8].

* To select parts 9–16, press [9-16] to make it light, and then press

PART/TRACK [1]–[8].

Selecting the Sound for a Part

Using the PATCH SELECT screen

1.

Select the part whose sound you want to switch.

Press [PATCH SELECT].

2.

The PATCH SELECT screen appears.

fig.PatchSelectPfm

3.

To select a rhythm set, press [F5 (RHYTHM)] to add a check
mark (✔).

If you add a mark, the RHYTHM SELECT screen appears.

Press [F1] or [F2] to select a group.

4.

5.

Use [F3], [F4], PART/TRACK [1]–[8], [INC] [DEC], ,
or the VALUE dial to select a patch/rhythm set.

6.

Press [ENTER] to return to the PERFORM LAYER screen.

Editing the Part Settings

In the PERFORM MIXER screen you can set the following

parameters for each part.

You can switch the patch that is assigned to a part.

Select the part whose sound you want to switch.

1.

Press [CURSOR] to move the cursor to the patch number or

2.

patch group.

fig.PatchNumSelect

3.

Use the VALUE dial or [INC] [DEC] to select a patch.

Selecting the Rhythm Set

1.

Select a part.

Press [CURSOR] to move the cursor to the following

2.

location.

fig.PatchType

Use the VALUE dial or [INC] [DEC] to select “RHY.”

3.

The rhythm set will be selected.

fig.PatchType2

1.

Press [MIXER].

The PERFORM MIXER screen appears.

Press [F1 (LEVEL)]–[F6 (PART-OUT)] to select the

2.

parameter.

3.

Press [CURSOR] to select the part.

fig.PartEdit

4.

Use the VALUE dial or [INC] [DEC] to change the setting.

Parameter
(Function Button)

[F1 (LEVEL)]
[F2 (PAN)] Left/right position of each part

[F3 (CHORUS)] Level of the signal sent to chorus

[F4 (REVERB)] Level of the signal sent to reverb for

[F5 (KEY SFT)] Pitch of the part’s sound (in semi-

[F6 (PART-OUT)] KBD Keyboard Switch (p. 68)

PAD Pad Part (p. 117)
ARP Arpeggio Part (p. 88)
OUT Output Assign (Asgn, p. 74)

Explanation

Volume of each part (Level, p. 73)

(Pan, p. 73)

for each part (Chorus, p. 74)

each part (Reverb, p. 74)

tones, +/-4 octaves) (Coarse, p. 74)

70

Silencing the Playback of a Specific Part (Mute)

When playing along with a song, you can turn off (i.e., mute) parts

you don’t want to hear. This allows you to turn off the melody part

for karaoke applications or for practicing the muted part.

1.

In Performance mode, press [MUTE].

[MUTE] lights.

2.

Press PART/TRACK [1]–[8] to turn the corresponding part
off so that its indicator lights.
If you want to turn off part 9–16, press [9-16] to make its
indicator light, and press PART/TRACK [1]–[8].

3.

To turn on the part, press PART/TRACK [1]–[8] you pressed

in step 2 once again so the indicator goes dark.

This setting is linked with the Mute parameter (PART VIEW

screen), and can be saved as a performance setting.

* Part Mute does not turn off the MIDI receive switch; rather, it sets the

volume to the minimum setting to silence the sound. Therefore, MIDI

messages are still received.

Playing in Performance Mode

71

Creating a Performance

With the Fantom-Xa, 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

Performances, and the functions of the Performance parameters.

parameter

. When

Adjusting the Parameters of Each Part

In Performance mode you can view the part settings as a list. This is

called the “PART VIEW” screen. In this screen you can view a list

that shows settings for five parts at once, such as the patch assigned

to each part, and its volume and pan settings. You can also edit these

settings here, and make detailed settings that cannot be made in the

PERFORM LAYER screen, or PERFORM MIXER screen.

1.

Access the PERFORM LAYER screen.

2.

Press [F2 (PARTVIEW)].

The PART VIEW screen will appear.

fig.PartView

Press [LAYER/SPLIT] to access the PERFORM LAYER

1.

screen.

2.

Select the Performance that you want to initialize (p. 67).

3.

Hold down [SHIFT] and press [F6 (INIT)].

The Performance Initialize window appears.

4.

Press to select the initialization type.

Default:

Sound Control:

5.

Press [F6 (SELECT)].

A message will ask you for confirmation.

6.

Press [F6 (EXEC)].

The initialization will be carried out.

* To cancel, press [F5 (CANCEL)].

Resets the currently selected performance in
the Temporary memory to the standard
values. Use this setting when you wish to
create a sound from scratch.

Initializes the values of the following part
parameters. Cutoff Offset, Resonance Offset,
Attack Time Offset, Release Time Offset,
Decay Time Offset, Vibrato Rate, Vibrato,
Depth, Vibrato Delay

Changing the Settings of the

Press to select the part.

3.

4.

Press [PAGE], [F1]–[F6], and/or
parameter.

The name of the parameter at the cursor location is displayed in

the top line of the PART VIEW screen.

fig.PartView2

5.

Use the VALUE dial or [INC] [DEC] to change the value.

6.

When you have finished editing, press [EXIT] to return to
the PERFORM LAYER screen.

If you return to the PERFORM LAYER screen without saving,

an “*” will be displayed at the left of the performance group.

If you turn off the power or select a different sound while the

display indicates “*,” your edited rhythm set will be lost.

to select the

Initializing Performance Settings

“Initialize” means to return the settings of the currently selected

sound to a standard set of values.

* 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-Xa’s settings to their factory values,

perform a Factory Reset (p. 203).

Patch Assigned to a Part

When using patches in Performance mode, some settings such as

effects settings will be affected by Performance settings. If you wish

to edit a patch while hearing how it will sound in the Performance,

use this procedure:

* Here we explain how to change the setting of a patch assigned to a

part. The procedure for changing the settings of rhythm sets is the
same. Substitute “rhythm set” wherever “patch” appears in a
sentence.

1.

Make sure the Performance mode is selected.

Press [PATCH EDIT].

2.

The patch assigned to the part is displayed in the PATCH EDIT

screen.

The rest of the procedure is the same as when making

3.

changes in Patch mode (p. 35).

Saving a Performance You’ve Created (Write)

Changes you make to sound settings are temporary, and will be lost

if you turn off the power or select another sound. If you want to keep

the modified sound, you must save it in the internal USER group

(user memory) or CARD group (memory card).

When you edit the settings of a Performance, an “*” will appear in

the PERFORM LAYER screen.

When you perform the save procedure, the data that previously

occupied the save destination will be lost.

72

Make sure that the performance you wish to save is

1.

selected.

2.

Press [WRITE].

The WRITE MENU screen appears.

fig.PfmWrite

Creating a Performance

Functions of Parameters of Each Part (Performance Parameters)

[F1 (PATCH)]

3.

Press [F1 (PERF)].

* Alternatively, you can use or to select “Performance,” and

then press [ENTER].

The PERFORMANCE NAME screen appears.

fig.PfmName

Assign a name to the performance.

4.

For details on assigning names, refer to

28).

When you have finished inputting the name, press [F6

5.

(WRITE)].

A screen will appear, allowing you to select the write-

destination performance.

6.

Use the VALUE dial, [INC] [DEC], or and [F1
(USER)] [F2 (CARD)] to select the write destination and
rhythm set number.

Press [F6 (WRITE)].

7.

A message will ask you for confirmation.

8.

Press [F6 (EXEC)] to execute the save operation.

* To cancel, press [F5 (CANCEL)].

Never switch off the Fantom-Xa while data is being saved.

Assigning a Name

(p.

When Changing the Settings for the
Patch or Rhythm Set Assigned to a
Part in a Performance

If you’ve edited a patch or rhythm set assigned to a part in a

performance and then try to save the performance without first

saving the edited patch or rhythm set, the following message

appears.

fig.PfmWrite2

Parameter

Type

Group USER, PR-A–F,

Number 001–**** Selects the desired patch or

* When the cursor is at a Type, Group, or Number, you can press

[ENTER] to open the PATCH LIST screen and choose a patch from

the list (p. 30).

Value Explanation

Patch, Rhythm Sets the assignment of a patch

(Patch) or rhythm set (Rhythm)
to each of the parts.

Selects the group to which the
GM, CARD,
EXP

desired patch or rhythm set be-

longs.

USER:

User

PR-A–F:
GM:
CARD:
EXP:

rhythm set by its number.

Preset A–F

GM (GM2)

Card

Wave Expansion Board

[F2 (LVL PAN)]

Parameter Value Explanation

Level

Pan L64–0–63R Left/right position of each part
Kbd OFF, ON

Solo OFF, ON

Mute OFF, ON

0–127 Volume of each part

This setting’s main purpose is to
adjust the volume balance be­tween parts.

Specifies, for each part, whether or

(✔)

(✔)

(✔)

not the keyboard controller section
will be connected to the internal
sound generator.

Check “✔” this setting if you want to
hear the part by itself; this is called
“soloing” the part.

Mutes (✔) or un-mutes (OFF) each
part.

Use this setting when, for exam­ple, you want to use the instru­ment for karaoke by muting the
part playing the melody, or when
you want to play something using
a separate sound module.

* The Mute Switch parameter does not

turn the part off, but sets the volume
to minimum so that no sound is
heard. Therefore, MIDI messages are
still received.

In such cases, first save the patches and rhythm sets, and then save

the performance.

73

Creating a Performance

[F3 (PITCH)]

Parameter

Octave

Coarse -48– +48 Pitch of the part’s sound (in semitones, +/-4 octaves)
Fine -50– +50 Pitch of the part’s sound (in 1-cent steps; one cent is 1/100th of a semitone)
Bend 0–24, PAT Amount of pitch change in semitones (2 octaves) that will occur when the Pitch Bend Lever is moved.

Value Explanation

-3– +3 Pitch of the part’s sound (in 1-octave units)
Note that when a rhythm set is assigned to a part, you cannot modify this parameter.

The amount of change when the lever is tilted is set to the same value for both left and right sides.
If you want to use the Pitch Bend Range setting of the patch assigned to the part (p. 41), set this to “PAT.”

Coarse Tune and Octave Shift

The Coarse Tune and Fine Tune parameters, along with the

Octave Shift parameter, can all be seen as doing the same thing to

the sound, i.e., changing the pitch of the sound. For example, if C4

(Middle C) is played with the Coarse Tune parameter set to “+12,”

the note produced is C5 (one octave above C4). For example, if C4

(Middle C) is played with the Octave Shift parameter set to “+1,”

the note produced is C5 (one octave above C4).

However, internally these function very differently. When the

Coarse Tune parameter is set to “+12,” the pitch itself is raised one

octave. On the other hand, when the Octave Shift parameter is set

to “+1,” it is the same as pressing the keys one octave up. In other

words, use the Coarse Tune parameter when changing the pitch,

and the Octave Shift parameter when you want to shift the entire

keyboard, for example, when the number of keys is insufficient.

[F4 (OUTPUT)]

Parameter

Asgn

Output 0–127 Level of the signal that is sent to the output destination specified by Part Output Assign
Chorus 0–127 Level of the signal sent to chorus for each part
Reverb 0–127 Level of the signal sent to reverb for each part

Value Explanation

MFX 1–3,
A, B, 1–4,
PAT 1–3

Specifies for each part how the direct sound will be output.

MFX 1–3:

through multi-effects. Specify which multi-effects (1–3) will be used.

A, B:

Output to the OUTPUT A (MIX) jack or OUTPUT B jack in stereo without passing through multi-effects.

1–4:

Output to the INDIVIDUAL 1-4 jacks in mono without passing through multi-effects.

PAT 1–3:

part. Specify which multi-effects (1–3) will be used.

* If you’ve made settings so that sounds are separately routed to the INDIVIDUAL 1 jack and INDIVIDUAL 2 jack, but

no plug is actually inserted in the INDIVIDUAL 2 jack, the sounds routed to INDIVIDUAL 1 and INDIVIDUAL 2 will
be mixed and output from the INDIVIDUAL 1 jack.

* If the Mix/Parallel parameter is set to “MIX,” all sounds are output from the OUTPUT A (MIX) jacks in stereo (p. 194).

* If you’ve set Tone Out Assign to “MFX,” set the MFX Output Assign parameter to specify the output destination of the

sound that has passed through the multi-effects.

• Chorus and reverb are output in mono at all times.

• The output destination of the signal after passing through the chorus is set with the Chorus Output Select and
Chorus Output Assign parameters (p. 161).

• The output destination of the signal after passing through the reverb is set with the Reverb Output Assign pa­rameter (p. 161).

Output in stereo through multi-effects. You can also apply chorus or reverb to the sound that passes

The part’s output destination is determined by the settings of the patch or rhythm set assigned to the

[F5 (FX SRC)]

Parameter

MFX1–3
Chorus
Reverb

Value Explanation

OFF, ON (✔) The settings of a specific patch can be used as the settings for MFX1–MFX3, chorus, and reverb. This setting

specifies the part to which this patch has been assigned.

If no part is selected, the settings of the Performance will be used.

[F6 (OFFSET)]

Parameter

Cutoff
Reso -64– +63 Adjusts the Resonance for the patch or rhythm set assigned to a part.

74

Value Explanation

-64– +63 Adjusts the cutoff frequency for the patch or rhythm set assigned to a part.

Creating a Performance

Key range specified for Performance

Key range specified for Patch

The range in which notes will play

Parameter

Attack
Releas -64– +63 Adjusts the TVA/TVF Envelope Release Time for the patch or rhythm set assigned to a part.
Decay -64– +63 Adjusts the TVA/TVF Envelope Decay Time for the patch or rhythm set assigned to a part.

Value Explanation

-64– +63 Adjusts the TVA/TVF Envelope Attack Time for the patch or rhythm set assigned to a part.

[PAGE] - [F1 (VIBRATO)]

Parameter

Vib Rate
Depth -64– +63 For each part, this adjusts the depth of the vibrato effect.
Delay -64– +63 For each part, this adjusts the time delay until the vibrato.
Phase OFF, ON Set to “ON” when you want to suppress discrepancies in timing of parts played on the same MIDI channel.

Value Explanation

-64– +63 For each part, adjust the vibrato speed.

* When this parameter is set to “ON,” parts on the same MIDI channel are put in a condition in which their timing is

matched, enabling them to be played at the same time. Accordingly, a certain amount of time may elapse between recep­tion of the Note messages and playing of the sounds. Turn this setting to “ON” only as needed.

[PAGE] - [F2 (KEYBORD)]

Parameter

Kbd

K.L C - –(Upper) Lowest note that the tone will sound for each part.
K.U (Lower)–G9 Highest note that the tone will sound for each part

Value Explanation

OFF, ON (✔) Specifies, for each part, whether or not the keyboard controller section will be connected to the internal sound

generator.

When the Key Range (p. 42) is set for each individual tone in a patch, sounds are produced in the range where
the Key Range of each tone and the Key Range for the part overlap.

Velo -63– +63 Changes the volume and cutoff frequency for each part according to the velocity with which the keys are

pressed.

If you want strongly played notes to raise the volume/cutoff frequency, set this parameter to positive (+) set­tings. If you want strongly played notes to lower the volume/cutoff frequency, use negative (-) settings. Set
Velocity Sensitivity to “0” when you want sounds played at a fixed volume and cutoff frequency, regardless
of the force with which the keys are played.

Curve OFF, 1–4 Selects for each MIDI channel one of the four following Velocity Curve types that best matches the touch of the

connected MIDI keyboard.

Set this to “OFF” if you are using the MIDI keyboard’s own velocity curve.

2134

Voice 0–63, FUL This setting specifies the number of voices that will be reserved for each part when more than 128 voices are

played simultaneously.

* It is not possible for the settings of all parts to total an amount greater than 64. The remaining number of available voices

will be displayed at (rest=). Pay attention to this readout as you make Voice Reserve settings.

Calculating the Number of Voices Being Used

The Fantom-Xa is able to play up to 128 notes simultaneously. The

polyphony, or the number of voices (sounds) does not refer only

to the number of sounds actually being played, but changes

according to the number of tones used in the patches, and the

number of Waves used in the tones. The following method is used

to calculate the number of sounds used for one patch being

played.

(Number of Sounds Being Played) x (Number of Tones Used by

Patches Being Played) x (Number of Waves Used in the Tones)

Realtime Stretch requires twice the normal polyphony.

75

Creating a Performance

Equal Temperament

This tuning divides the octave into 12 equal parts, and is the most

widely used method of temperament used in Western music. The

Fantom-Xa employs equal temperament when the Scale Tune

Switch is set to “OFF.”

Just Temperament (Tonic of C)

[PAGE] - [F3 (KEY MOD)]

Parameter

Mono/Poly

Legato

Portament

Time 0–127, PAT When portamento is used, this specifies the time over which the pitch will change. Higher settings will cause

Value Explanation

MONO,
POLY, PAT

OFF, ON,
PAT

OFF, ON,
PAT

Set this parameter to “MONO” when the patch assigned to the part is to be played monophonically, or to
“POLY” when the patch is to be played polyphonically. If you want to use the Mono/Poly setting of the patch
assigned to the part (p. 41), set this to “PAT.”

* This setting is ignored for parts to which a rhythm set is assigned.

You can add legato when performing monophonically. The term “legato” refers to a playing style in which
notes are smoothly connected to create a flowing feel. This creates a smooth transition between notes, which is
effective when you wish to simulate the hammering-on and pulling-off techniques used by a guitarist.

Turn this parameter “ON” when you want to use the Legato feature and “OFF” when you don’t. If you want
to use the Legato Switch setting of the patch assigned to the part (p. 41), set this to “PAT.”

* This setting is ignored for parts to which a rhythm set is assigned.

Specify whether portamento will be applied.

Turn this parameter “ON” when you want to apply Portamento and “OFF” when you don’t. If you want to
use the Portamento Switch setting of the patch assigned to the part (p. 41), set this to “PAT.”

the pitch change to the next note to take more time. If you want to use the Portamento Time setting of the patch
assigned to the part (p. 41), set this to “PAT.”

* This setting is ignored for parts to which a rhythm set is assigned.

[PAGE] - [F4 (S.TUNE1)] [F5 (S.TUNE2)]

Parameter

Part Scale Tune for C–B

Value Explanation

-64– +63 Make scale tune settings for each part.
Scale Tune is switched on/off by means of the Scale Tune Switch parameter (p. 194).

Compared with equal temperament, the principle triads sound

pure in this tuning. However, this effect is achieved only in one

key, and the triads will become ambiguous if you transpose.

Note name Equal temperament Just Temperament (tonic C) Arabian Scale

C 0 0 -6

C# 0 -8 +45

D 0 +4 -2

Eb 0 +16 -12

E 0 -14 -51

F 0 -2 -8

F# 0 -10 +43

G 0 +2 -4

G# 0 +14 +47

A 0 -16 0

Bb 0 +14 -10

B 0 -12 -49

Arabian Scale

In this scale, E and B are a quarter note lower and C#, F# and G#

are a quarter-note higher compared to equal temperament. The

intervals between G and B, C and E, F and G#, Bb and C#, and Eb

and F# have a natural third-the interval between a major third and

a minor third. On the Fantom-Xa, you can use Arabian

temperament in the three keys of G, C and F.

<Example>

76

[PAGE] - [F6 (EXT)]

Creating a Performance

Parameter

Bank Sel
(MSB)

Bank Sel
(LSB)

Prog 1–128, OFF If you want a Program Change number to also be transmitted when you switch Performances, specify the value

Level

Pan

Value Explanation

0–127, OFF If you want a Bank Select number MSB (controller number 0) to also be transmitted when you switch Perfor-

mances, specify the value that you want to transmit (0–127) for each part.

If you do not want this message to be transmitted, set this to “OFF.”

* The data of the part for which the Keyboard Switch is turned off will not be transmitted.

0–127 If you want a Bank Select number LSB (controller number 32) to also be transmitted when you switch Perfor-

mances, specify the value that you want to transmit (0–127) for each part.

The data of the part for which the Keyboard Switch is turned off will not be transmitted.

that you want to transmit (0–128) for each part.

If you do not want this message to be transmitted, set this to “OFF.”

* The data of the part for which the Keyboard Switch is turned off will not be transmitted.

0–127, OFF If you want Volume messages to also be transmitted when you select a Performance, specify the desired value

L64–0–63R,
OFF

(0–127) for the part.

If you do not want this message to be transmitted, set this to “OFF.”

* The data of the part for which the Keyboard Switch is turned off will not be transmitted.

If you want Pan messages to also be transmitted when you select a Performance, specify the desired value (L64–
0–63R) for the part. If you do not want this message to be transmitted, set this to “OFF.”

* These messages will not be transmitted by parts whose Keyboard Switch is turned off.

77

Creating a Performance

Settings for the Realtime Controllers and D Beam Controller

The Fantom-Xa lets you assign the parameters that will be affected
when you operate the realtime control knobs, assignable switches, D
Beam, pitch bend, or modulation lever. This lets you modify the
sound in a variety of ways by operating the controllers.

1.

Access the PERFORM LAYER screen, and select the
Performance whose settings you wish to modify (p. 67).

2.

Press [F3 (CONTROL)].

The CTRL SETTING screen appears.

fig.CtrlSettingPfm

[F4 (DBEAM)]

For details, refer to

Pad Trigger

(p. 82) and

Assignable

(p. 82).

[F5 (DB SYN)]

For details, refer to

Solo Synth

(p. 81).

Control Switch Settings [F6 (CTRL SW)]

You can change controller switch on/off settings for each patch in

the performance.

1.

In the CONTROL SETTING screen, press [F6 (CTRL SW)].

The CONTROL SWITCH screen appears.

fig.CtrlSwPfm

3.

Press [F1]–[F5] and/or to select the parameter.

4.

Use the VALUE dial or [INC] [DEC] to change the value.

5.

Repeat steps 3–5 to set each parameter you want to edit.

Press [WRITE] to save the changes you’ve made.

6.

If you do not wish to save changes, press [EXIT] to return to
the PERFORM LAYER screen.

* Settings for the Solo Synth are saved for system settings. Press [F6

(WRITE)] to execute the write operation.

If you return to the PERFORM LAYER screen without saving,
an “*” will be displayed at the left of the Performance group.

If you turn off the power or select a different sound while the
display indicates “*,” your edited Performance will be lost.

[F1 (KNOB)]

For details, refer to

REALTIME CONTROL Knob Settings

(p. 83)

[F2 (SWITCH)]

For details, refer to

ASSIGNABLE Switch Settings

(p. 84).

[F3 (TEMPO)]

Recommended Tempo

If you want the sequencer tempo to change when you switch
Performances, specify the tempo that will follow this change. This
setting is valid when the Seq Tempo Override parameter is “ON.” In
order to enable this setting, turn on the Tempo Override parameter
(p. 200).

VALUE:

20–250

* This value is specified independently for each performance. This means

that when you switch performances, the tempo setting of the Fantom­Xa will change.

* The sequencer tempo will be overwritten to the new tempo when you

switch performances.

2.

Use [CURSOR] to select the parameter.

Use the VALUE dial or [INC] [DEC] to change the setting.

3.

Repeat steps 2–3 to set each parameter you want to edit.

4.

5.

Press [F6 (EXIT)] to return to the previous screen.

Parameter

PB

Mod For each part, specify whether MIDI

Hold For each part, you can specify whether

Ctrl For each part, you can specify whether

D Beam Specifies whether each part will be con-

Knob 1–4 Specifies whether each part will be con-

Value Explanation

OFF,
ON (✔)

For each part, specify whether MIDI
Pitch Bend messages will be transmit­ted.

Modulation messages will be transmit­ted.

control messages from a pedal connect­ed to the HOLD PEDAL jacks will be
transmitted.

control messages from a pedal connect­ed to the CONTROL PEDAL jacks will
be transmitted.

trolled by the D Beam.

trolled by the REALTIME CONTROL
knob 1–4.

78

Creating a Performance

MIDI Settings

Access the PERFORM LAYER screen, and select the Performance whose settings you wish to modify (p. 67).

1.

Press [F6 (MIDI)].

2.

The MIDI FILTER screen appears.

fig.MidiFilter

Parameter

Rx

Ch 1–16 MIDI receive channel for each part
PC (Program Change) OFF, ON (✔) For each MIDI channel, specify whether MIDI messages will be received (ON), or not (OFF).
BS (Bank Select)
PB (Pitch Bend)
PA (Polyphonic Key Pressure)
CA (Channel Pressure)
Md (Modulation)
Vo (Volume)
Pn (Pan)
Ex (Expression)
Hd (Hold-1)

Value Explanation

OFF, ON (✔) For each part, specify whether MIDI messages will be received (ON), or not (OFF).

If this is “OFF,” the part will not respond. Normally, you should leave this “ON,” but you
can turn it “OFF” when you do not want a specific part to be playing during song playback.

79

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.DBeamRange

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 Patch mode. The operations are the same in

Performance mode.

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-Xa, 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.

1.

Access the Patch Play screen (p. 29).

The following area of the screen is the D Beam controller

display area.

fig.DBeamArea

can be used simply by waving your hand

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.DBeamSens

Press either the D BEAM [PAD TRIGGER], [SOLO SYNTH],

2.

or [ASSIGNABLE] button to turn on the D Beam controller.

[PAD TRIGGER]:

[SOLO SYNTH]:

[ASSIGNABLE]:

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.

To turn off the D Beam controller, once again press the

4.

button you pressed in step 2 so the indicator goes out.

If Performance mode is selected, the D Beam controller on/off

setting is saved for each performance as part of the performance

settings.

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 D Beam Sens parameter as

appropriate for the brightness of your location. Increase this

value will raise the sensitivity (p. 201).

80

Solo Synth

Modifying the Sound in Real Time

On the Fantom-Xa you can play a monophonic synthesizer whose

pitch is controlled by the D Beam.

1.

Hold down [SHIFT] and press D BEAM [SOLO SYNTH].

A screen like the following appears.

fig.DBeamSyn

Parameter
Level & Range

Level
Chorus Send Level 0–127 Level of the signal sent to chorus
Reverb Send Level 0–127 Level of the signal sent to reverb
Range 2OCT,

Osc1

Osc 1 Waveform

Osc 1 Pulse Width 0–127 Pulse width of the waveform

Osc 1 Coarse Tune
Osc 1 Fine Tune -50– +50 Pitch of the tone’s sound (in 1-cent steps)

Osc2 & Sync

Osc 2 Waveform
Osc 2 Pulse Width
Osc 2 Coarse Tune
Osc 2 Fine Tune
Osc 2 Level 0–127 Adjust the level.
Osc Sync Switch OFF,

Filter

Filter Type

Cutoff 0–127 Frequency at which the filter begins to have an effect on the waveform’s frequency components
Resonance 0–127 Emphasizes the portion of the sound in the region of the cutoff frequency, adding character to the sound.

LFO

LFO Rate
LFO Osc 1 Pitch Depth -63– +63 Depth to which the LFO will modulate the Osc 1 pitch
LFO Osc 2 Pitch Depth -63– +63 Depth to which the LFO will modulate the Osc 2 pitch
LFO Osc 1 Pulse Width

Depth

LFO Osc 2 Pulse Width
Depth

Value Explanation

0–127 Sets the volume.

Range in which the pitch of the solo synth will vary
4OCT,
8OCT

SAW,
SQR

-48– +48 Pitch of the tone’s sound (in semitones, +/-4 octaves)

(same as Osc 1)

ON

OFF,
LPF,
BPF,
HPF,
PKG

0–127 Modulation speed of the LFO

-63– +63 Depth to which the LFO will modulate the pulse width of the Osc 1 waveform

-63– +63 Depth to which the LFO will modulate the pulse width of the Osc 2 waveform

Waveform

SAW:

Sawtooth wave

SQR:

Square wave

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.

Turning this switch on produces a complex sound with many harmonics.

This is effective when the OSC1 pitch is higher than the OSC2 pitch.

Type of filter

OFF:

No filter is used.

LPF:

Low Pass Filter. This reduces the volume of all frequencies above the cutoff frequency (Cutoff) in

order to round off, or un-brighten the sound.

BPF:

Band Pass Filter. This leaves only the frequencies in the region of the cutoff frequency, and cuts

the rest.

HPF:

High Pass Filter. This cuts the frequencies in the region below the cutoff frequency.

PKG:

Peaking Filter. This emphasizes the frequencies in the region of the cutoff frequency.

Excessively high settings can produce oscillation, causing the sound to distort.

* The Pulse Width is activated when “SQR” is selected with Osc 1 waveform.

* The Pulse Width is activated when “SQR” is selected with Osc 2 waveform.

Press to select the parameter.

2.

3.

Use the VALUE dial or [INC] [DEC] to make the setting.

4.

If you want to save the settings, press [F6 (WRITE)].

5.

Press [EXIT] to return to the previous screen.

Setting for the Solo Synth are saved for system settings.

81

Modifying the Sound in Real Time

Pad Trigger

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].

A screen like the following appears.

fig.DBeamTrig

Press to select the parameter.

2.

Parameter

Pad Number
Pad Velocity 1–127 Strength of the pad sound played by the D Beam controller
Pad Control Mode MOMENTARY,

Value Explanation

1–9 Pad number affected by the D Beam

Specifies how the D Beam will behave when it is obstructed.

LATCH

MOMENTARY:

when you stop obstructing it.

LATCH:

The parameter will be on only while the D Beam is obstructed, and will turn off

The parameter will alternately be switched on/off each time you obstruct the D Beam.

Use the VALUE dial or [INC] [DEC] to make the setting.

3.

4.

Press [EXIT] to return to the previous screen.

PAD trigger settings are saved independently for each

performance as part of the performance settings. This lets you

create performances that make effective use of controller

settings.

If Patch mode is selected, this is saved as part of the system

settings. If you want to save the settings, press [F6 (WRITE)].

Assignable

You can assign various functions to the D Beam controller and apply

a wide range of effects to the sound in real time.

Hold down [SHIFT] and press D BEAM [ASSIGNABLE].

1.

A screen like the following appears.

fig.DBeamAsgn

Use the VALUE dial or [INC] [DEC] to make the setting.

3.

4.

Press [EXIT] to return to the previous screen.

The settings for the ASSIGNABLE are saved independently for

each performance as part of the performance settings. This lets

you create performances that make effective use of controller

settings.

Press to select the parameter.

2.

Parameter

Type CC01–31, 33–95,

Range Min 0–127 Lower limit of the range of the D Beam controller
Range Max 0–127 Upper limit of the range of the D Beam controller.

Value Explanation

Function controlled by the D Beam controller
BEND UP,
BEND DOWN,
START/STOP,
TAP TEMPO,
ARP GRID,
ARP DURATION,
ARP MOTIF,
ARP OCTAVE UP,
ARP OCTAVE DOWN

CC01–31, 33–95:
BEND UP:
BEND DOWN:
START/STOP:
TAP TEMPO:

D Beam controller).

ARP GRID:
ARP DURATION:
ARP MOTIF:
ARP OCTAVE UP:

imum 3 octaves).

ARP OCTAVE DOWN:

(maximum 3 octaves).

By setting Range Max below Range Min you can invert the range of change.

Controller numbers 1–31, 33–95

Controls the pitch as specified by the “Pitch Bend Range Up” setting (p. 41).

Controls the pitch as specified by the “Pitch Bend Range Down” setting (p. 41).

Starts/Stops the sequencer.

Tap tempo (a tempo specified by the interval at which you move your hand over the

Arpeggio Grid

Duration of each arpeggiated note

Arpeggio Motif

The range in which the arpeggio is sounded will rise in steps of an octave (max-

The range in which the arpeggio is sounded will lower in steps of an octave

If Patch mode is selected, this is saved as part of the system

settings. If you want to save the settings, press [F6 (WRITE)].

82

Realtime Controller

Modifying the Sound in Real Time

You can use the REALTIME CONTROL knobs and ASSIGNABLE

SW buttons to modify the sound in real time.

1.

Access the Patch Play screen (p. 29).

2.

You can select the function of the knobs by pressing the
button located at the right of the REALTIME CONTROL
knobs.

•

When the FILTER/ENV indicator is lit

Turning the knobs will control Cutoff, Resonance, Attack, and

Release.

•

When the ARP/RHY indicator is lit

Turning the knobs will control the arpeggio parameters Range

and Accent, and the rhythm parameters Accent Rate and

Tempo.

•

When the ASSIGNABLE indicator is lit

Turning the knobs will control the assigned parameters. You

can freely assign parameters.

REALTIME CONTROL Knob Settings

1.

Hold down [SHIFT] and turn one of the REALTIME
CONTROL knobs.

A screen like the following appears.

fig.RealtimeKnob

* If the indicators are unlit, turning the knobs will not control any

parameters.

3.

While playing the keyboard or pressing the pads to produce
sound, operate the REALTIME CONTROL knobs and
ASSIGNABLE SW buttons.

The sound will change according to the function assigned to

each knob or button.

3.

Use the VALUE dial or [INC] [DEC] to make the setting.

If you want to save the settings, press [F6 (WRITE)].

4.

5.

Press [EXIT] to return to the previous screen.

2.

Press to select the parameter.

Parameter

Knob C1–4 Assign

Value Explanation

CC01–31, 33–95,
PITCH BEND,
AFTERTOUCH,
ARP STYLE,
ARP GRID,
ARP DURATION,
ARP MOTIF,
CHORD FORM,
MASTER LEVEL

Realtime controller settings are saved independently for each

performance as part of the performance settings. This lets you

create performances that make effective use of controller

settings.

Functions that will be controlled by the REALTIME CONTROL knobs

CC01–31, 33–95:
PITCH BEND:
AFTERTOUCH:
ARP STYLE:
ARP GRID:
ARP DURATION:
ARP MOTIF:
CHORD FORM:
MASTER LEVEL:

Controller numbers 1–31, 33–95

Pitch Bend

Aftertouch

Arpeggio Style

Arpeggio Grid

Duration of each arpeggiated note

Arpeggio Motif

Chord form of the Chord Memory function

The volume of the entire Fantom-Xa

83

Modifying the Sound in Real Time

ASSIGNABLE Switch Settings

1.

Hold down [SHIFT] and press one of the ASSIGNABLE SW
button.

A screen like the following appears.

fig.RealtimeSw

Press to select the parameter.

2.

3.

Use the VALUE dial or [INC] [DEC] to make the setting.

Parameter

Switch 1/2 Assign

Value Explanation

TRANSPOSE DOWN,
TRANSPOSE UP,
TAP TEMPO,
MONO/POLY,
PORTAMENTO,
HOLD,
MFX1–3,
CHORUS SW,
REVERB SW,
MASTERING SW,
LOOP,
RHY START/STOP

Functions that will be controlled by the [ ]/[ ] buttons

TRANSPOSE DOWN:
TRANSPOSE UP:
TAP TEMPO:
MONO/POLY:

play of a patch.

PORTAMENTO:
HOLD:
MFX1–3 SW:
CHORUS SW:
REVERB SW:
MASTERING SW:
LOOP:
RHY START/STOP:

4.

If you want to save the settings, press [F6 (WRITE)].

5.

Press [EXIT] to return to the previous screen.

Realtime controller settings are saved independently for each

performance as part of the performance settings. This lets you

create performances that make effective use of controller

settings.

If Patch mode is selected, assignable switches are available

when the keyboard part is selected.

Lowers the key range in semitones (up to 5 semitones lower).

Raises the key range in semitones (up to 6 semitones higher).

Tap tempo (a tempo specified by the interval at which you press the button)

Pressed to toggle between polyphonic (POLY) and monophonic (MONO)

Portamento On/Off

Hold play On/Off

Multi-effect 1–3 switch

Chorus switch

Reverb switch

Mastering switch

Loop play On/Off

Rhythm pattern playback On/Off

84

Control Pedal

Modifying the Sound in Real Time

You can modify the sound by pressing a pedal that is connected to

the rear panel PEDAL HOLD jack or PEDAL CONTROL jack.

Pedal such as expression pedals (EV-5; available separately), pedal

switches (DP series; available separately), or foot switches (BOSS FS-

U; available separately) can be connected to the Fantom-Xa.

Control Pedal Settings

1.

Press [MENU].

Press to select “1. System,” and then press

2.

[ENTER].

The System Menu window appears.

fig.SystemMenu

Parameter

Control Pedal
Assign

Control Pedal
Polarity

Hold Pedal
Polarity

Continuous
Hold Pedal

Value Explanation

CC01–31, 33–95,
BEND UP,
BEND DOWN,
AFTERTOUCH,
OCT UP,
OCT DOWN,
START/STOP,
PUNCH IN/OUT,
TAP TEMPO,
PROG UP,
PROG DOWN,
FAVORITE UP,
FAVORITE DOWN,
ARP SW,
RHY START/STOP,
CHORD SW,
LOOP

STANDARD,
REVERSE

OFF, ON Determines whether the HOLD PEDAL jack will provide support for half-pedaling (ON), or not (OFF).

Function of the pedal connected to the PEDAL CONTROL jack

CC01–31, 33–95:
BEND UP:
BEND DOWN:
AFTERTOUCH:
OCT UP:
OCT DOWN:
START/STOP:
PUNCH IN/OUT:
TAP TEMPO:
PROG UP:
PROG DOWN:
FAVORITE UP:
FAVORITE DOWN:
ARP SW:
RHY START/STOP:
CHORD SW:
LOOP:

Loop play On/Off

Polarity of the pedal

On some pedals, the electrical signal output by the pedal when it is pressed or released is the opposite
of other pedals. If your pedal has an effect opposite of what you expect, set this parameter to “RE­VERSE.” If you are using a Roland pedal (that has no polarity switch), set this parameter to “STAN­DARD.”

When this is set to “ON,” you can then connect an optional damper pedal (DP-8, etc.), and employ
pedal work to achieve even finer control in performances in which piano tones are used.

Controller numbers 1–31, 33–95

Controls the pitch as specified by the “Pitch Bend Range Up” setting (p. 41).

Controls the pitch as specified by the “Pitch Bend Range Down” setting (p. 41).

Aftertouch

Pedal press raises the key range in octave steps (up to 3 octaves higher).

Pedal press lowers the key range in octave steps (up to 3 octaves lower).

The sequencer will start/stop.

Manual punch-in/out recording will start/stop.

Tap tempo (a tempo specified by the interval at which you press the pedal).

The next sound number will be selected.

The previous sound number will be selected.

The favorite patch/performance of the next number or bank will be selected.

The favorite patch/performance of the previous number or bank will be selected.

Arpeggio/Rhythm function on/off

Switches the Chord function on/off.

1.

Access the Patch Play screen (p. 29).

While playing the keyboard to produce sound, operate a

2.

pedal.

The sound will change according to the function that is assigned

to the control pedal.

3.

Press [F2 (KBD/CTRL)], and then press [F2 (PDL BND)].

A screen like the following appears.

fig.SystemPedal

Press to select the parameter.

4.

5.

Use the VALUE dial or [INC] [DEC] to make the setting.

6.

If you want to save the settings, press [F6 (WRITE)].

Press [EXIT] to return to the previous screen.

7.

Rhythm pattern playback on/off

85

Playing Arpeggios

The Fantom-Xa’s Arpeggio function lets you produce arpeggios

automatically; simply hold down some keys, and a corresponding

arpeggio will be played automatically.

Not only can you use the factory-set

86

Playing Arpeggios

About Arpeggio Styles

An Arpeggio Style is a series of data for basic arpeggio patterns

and chord styles recorded in the form of a grid consisting of a

maximum of 32 steps x 16 pitches.

fig.ArpStyle

Holding an Arpeggio

By using the following procedure, you can produce arpeggios even

without continuing to press the keyboard.

Press [ARPEGGIO] to turn on the arpeggio.

1.

2.

Press [HOLD].

The indicator will light.

Play a chord on the keyboard.

3.

4.

If you play a different chord or notes while the arpeggio is
being held, the arpeggio will change accordingly.

5.

To cancel Arpeggio Hold, press [HOLD] once again.

When Using a Hold Pedal

If you play an arpeggio while pressing the hold pedal, the arpeggio

will continue to be played even if you release the chord.

1.

Connect an optional pedal switch (DP series etc.) to the
HOLD PEDAL jack.

2.

Press [ARPEGGIO] to turn on the arpeggio.

Play a chord while pressing the hold pedal.

3.

Arpeggio Settings

Hold down [SHIFT] and press [ARPEGGIO].

1.

The ARPEGGIO screen appears.

fig.Arpeggio

Press to select the parameter.

2.

3.

Use the VALUE dial or [INC] [DEC] to make the setting.

4.

When you have made the setting, press [EXIT].

Note 16

HIGH

4.

If you play a different chord or notes while the arpeggio is
being held, the arpeggio will change accordingly.

Playing Arpeggios Along with the Sequencer

When using arpeggios while the sequencer is playing, or when you

want to record arpeggios into the sequencer in real time, you can

synchronize the arpeggio with the start/stop timing of the

sequencer.

For details, refer to

Arp/Rhythm Sync Switch

(p. 200).

Note 06
Note 05

Note 04
Note 03
Note 02
Note 01

1

4 5

23

Each grid contains one of the following kinds of data.

• ON: Note On (with Velocity data)

• TIE: Tie (hold of the previous note)

• REST: Rest (no sound played)

The keys that are pressed along with the sequence in which they

are pressed is referenced to the “lowest-pitched key during

input.” Thus, you can use a single Arpeggio Style in different

Patches and Performances at the same time.

A Arpeggio Style is not part of any patch or Performance, but

rather independent data; you can store up to 64 Arpeggio

Styles.

8

6

9

7

STEP

10

....

11

32

87

Playing Arpeggios

Parameter

(Arpeggio Style)

Grid 1/4, 1/8, 1/8L,

Duration

Motif
Velocity REAL, 1–127 Specifies the loudness of the notes that you play.

OctRange -3– +3 This adds an effect that shifts arpeggios one cycle at a time in octave units (octave range).

Accent 0–100 When you play arpeggios, the velocity of each arpeggiated note is determined by the velocity of the

Part
(Displayed in
Performance
mode)

Value Explanation

U001–128 (User),
P001–128 (Preset)

1/8H, 1/12,
1/16, 1/16L,
1/16H, 1/24

30–120%, Full This determines whether the sounds are played staccato (short and clipped), or tenuto (fully drawn out).

(See p. 89.) Refer to

Part1–16 Here’s how to specify the part that will use the arpeggio in Performance mode. You can specify only one

This selects the arpeggio’s basic performance Style.

The arpeggio styles are kept in preset memory and user memory.

This sets the particular note division and resolution in a “single grid” used in creating the arpeggio in
an Arpeggio Style, and how much of a “shuffle” syncopation is to be to applied (none/weak/strong) to
it (grid type).

1/4:

Quarter note (one grid section = one beat)

1/8:

Eighth note (two grid sections = one beat)

1/8L:

Eighth note shuffle Light (two grid sections = one beat, with a light shuffle)

1/8H:

Eighth note shuffle Heavy (two grid sections = one beat, with a heavy shuffle)

1/12:

Eighth note triplet (three grid sections = one beat)

1/16:

Sixteenth note (four grid sections = one beat)

1/16L:

Sixteenth note shuffle Light (four grid sections = one beat, with a light shuffle)

1/16H:

Sixteenth note shuffle Heavy (four grid sections = one beat, with a heavy shuffle)

1/24:

Sixteenth note triplet (six grid sections = one beat)

* Grid settings are shared with the rhythm pattern.

30–120:

For example, when set to “30,” the length of the note in a grid (or when a series of grids is

connected with ties, the final grid) is 30% of the full length of the note set in the grid type.

Full:

Even if the linked grid is not connected with a tie, the same note continues to sound until the

point at which the next new sound is specified.

* Duration settings are shared with the rhythm pattern.

Selecting Ascending/Descending Variations (Arp Motif)

REAL:

If you want the velocity value of each note to depend on how strongly you play the keyboard,

set this parameter to REAL.

1–127:

If you want each note to have a fixed velocity regardless of how strongly you play the key-

board, set this parameter to the desired value.

You can set the shift range upwards or downwards (up to three octaves up or down).

* You can also use a REALTIME CONTROL knob to control this.

notes programmed within the arpeggio style. You can adjust the amount (“spread”) of this dynamic
variation.

With a setting of “100,” the arpeggiated notes will have the velocities that are programmed by the ar­peggio style. With a setting of “0,” all arpeggiated notes will be sounded at a fixed velocity.

* You can also use a REALTIME CONTROL knob to control this.

part for playing arpeggios.

If a rhythm set is assigned to a part in Performance mode, you can play a rhythm pattern along with
the arpeggios.

* The part you select here functions for both the arpeggio and the chord memory functions.

(p. 89).

88

Playing Arpeggios

Selecting Ascending/Descending Variations (Arp Motif)

This selects the method used to play sounds (motif) when you have a

greater number of notes than programmed for the Arpeggio Style.

* When the number of keys played is less than the number of notes in the

Style, the highest-pitched of the pressed keys is played by default.

Value:

Up (L):

Up (L&H):

Up (_):

Down (L):

Down (L&H):

Down (_):

U/D (L):

U/D (L&H):

U/D (_):

Rand (L):

Rand (_):

Phrase:

Only the lowest of the keys pressed is sounded each

time, and the notes play in order from the lowest of

the pressed keys.

Notes from both the lowest and highest pressed keys

are sounded each time, and the notes play in order

from the lowest of the pressed keys.

The notes play in order from the lowest of the

pressed keys. No one note is played every time.

Only the lowest of the keys pressed is sounded each

time, and the notes play in order from the highest of

the pressed keys.

Notes from both the lowest and highest pressed keys

are sounded each time, and the notes play in order

from the highest of the pressed keys.

The notes play in order from the highest of the

pressed keys. No note is played every time.

Notes will be sounded from the lowest to the highest

key you press and then back down to the lowest key,

with only the lowest key sounded each time.

Notes from both the lowest and highest pressed keys

are sounded each time, and the notes play in order

from the lowest of the pressed keys and then back

again in the reverse order.

The notes play in order from the lowest of the

pressed keys, and then back again in the reverse

order. No note is played every time.

Notes will be sounded randomly for the keys you

press, with only the lowest key sounded each time.

Only the lowest of the keys pressed is sounded each

time, the notes you press will be sounded randomly.

No note will sound each time.

Pressing just one key will play a phrase based on the

pitch of that key. If you press more than one key, the

key you press last will be used.

Using the Realtime Control Knobs to Edit the Arpeggio Settings

You can use the realtime control knobs to change the arpeggio

settings by editing the parameters in real time.

Play arpeggios.

1.

Press the REALTIME CONTROL button so the ARP/RHY

2.

indicator lights.

fig.ArpKnob2

Octave Range

Accent Rate

3.

Turn the REALTIME CONTROL knobs.

While arpeggios are playing, you can use the knobs to control

the following parameters.

•

OctRange

•

Accent

•

Tempo

(p. 88)

(p. 88)

(p. 86)

Tempo

<Example>

Action of a Style starting from the lowest note, “1-2-3-2” when the

keys “C-D-E-F-G” are played

• When “UP (L)” is selected as the motif:

C

-D-E-D -> C-E-F-E -> C-F-G-F (-> repeated)

• When “UP (_)” is selected as the motif:

C-D-E-D -> D-E-F-E -> E-F-G-F (-> repeated)

• When “UP&DOWN (L&H)” is selected as the motif:

C

-D-G-D -> C-E-G-E -> C-F-G-F -> C-E-G-E (-> repeated)

89

Playing Arpeggios

Creating an Arpeggio Style (Arpeggio Style Edit)

In addition to using the built-in arpeggio styles, you are free to create

your own. After creating an original arpeggio style, you can store it

in the internal user memory.

Broadly speaking, there are two ways to create an arpeggio style.

Step-recording

In this method, you use the keyboard and pads to step-record your

arpeggio. Each time you input a note, you will advance to the next

step. This method is convenient when you want to create an

arpeggio from scratch using a Style that contains no data.

If you want to create “from scratch,” you’ll need to initialize the

Style. In the ARPEGGIO STYLE EDIT screen, hold down

[SHIFT] and press [F4 (INIT)]. A message will ask whether you

want to initialize; press [F6 (EXEC)] to execute initialization.

1.

Hold down [SHIFT] and press [ARPEGGIO].

2.

Press [F5 (EDIT)].

The ARPEGGIO STYLE EDIT screen appears.

fig.ArpStyleEdit

9.

Press [F6 (STP REC)] to add a check mark (✔).

Now you’re ready to step-record. Play the keyboard or pads to

input notes.

• To move to the desired input location, press [CURSOR].

• To input notes, play the keyboard or pads.

• To input a tie, press [F2 (TIE)].

• To input a rest, press [F3 (REST)].

• To erase the note, hold down [SHIFT] and press [F6 (CLR

NOTE)].

• To erase all notes at the current step, hold down [SHIFT] and

press [F5 (CLR STEP)].

• You can press [F4 (PREVU)] to audition the style you’ve input.

A maximum of sixteen note numbers (pitches) can be used in a

single style.

10.

When you have finished, press [F5 (EXIT)].

3.

Press [F1 (SETUP)].

The Arpeggio Setup window appears.

fig.ArpSetup

4.

Press to move the cursor to “End Step.”

5.

Use the VALUE dial or [INC] [DEC] to specify the number of
steps for the arpeggio style.

Press to move the cursor to “Input Velocity.”

6.

7.

Use the VALUE dial or [INC] [DEC] to specify the velocity
setting for the data you will input.

The data will always be input with the specified velocity.

8.

Press [F6 (CLOSE)] to close the Arpeggio Setup window.

90

Playing Arpeggios

Using the VALUE Dial or [INC] [DEC] to Input Values

In this method, you’ll use the cursor to specify the step or pitch that

you want to input, and use the dial or [INC] [DEC] to input values.

This method is convenient when you want to edit or modify

previously input data.

1.

Hold down [SHIFT] and press [ARPEGGIO].

2.

Press [F5 (EDIT)].

The ARPEGGIO STYLE EDIT screen appears.

fig.ArpStyleEdit

Press [F1 (SETUP)].

3.

The Arpeggio Setup window appears.

fig.ArpSetup

Saving the Styles You Have Created (Write)

The Styles you create are temporary; they are deleted as soon as you

turn off the power or select some other Style. You can store 128

arpeggio styles in the User memory.

Arpeggio style settings are saved as independent data, not

as part of the data for each patch. The settings in Patch mode,

it is not possible to save arpeggio parameters (e.g., Arpeggio

Style, Grid, Motif, Duration).

It can be saved to individual in Performance mode. If you

want to save your settings, press [WRITE] and save the

performance.

1.

In the ARPEGGIO screen, confirm that the current Style is
the one you want to save.

Press [F6 (WRITE)].

2.

The ARPEGGIO STYLE NAME screen appears.

fig.ArpStyleName

4.

Press to move the cursor to “End Step.”

Use the VALUE dial or [INC] [DEC] to specify the number of

5.

steps for the arpeggio style.

Press [F6 (CLOSE)] to close the Arpeggio Setup window.

6.

7.

Press [CURSOR] to specify the step or pitch you want to
input.

* When using this method of input, you can use the keyboard to specify

the pitch of the note. (Unlike when step-recording, pressing the

keyboard will not actually input the note.)

Input the velocity value, using either the VALUE dial or

8.

[INC] [DEC].
You can input a tie by turning VALUE all the way to the right
(or using [INC] to raise the value all the way).

• You can also input a tie by pressing [F2 (TIE)].

• To input a rest, press [F3 (REST)].

• You can press [F4 (PREVU)] to audition the style you’ve input.

* When using this method of input, you can use the pads to specify the

velocity and finalize your input; after you’ve specified the step and

pitch to be input, strike a pad to input it. (Higher-numbered pads

produce higher velocity values; for example, striking pad 1 specifies a

velocity value of 15, while striking pad 9 specifies a velocity value of

127.)

3.

Assign a name to the Style.

For details on assigning names, refer to p. 28.

When you have finished inputting the name, press [F6

4.

(WRITE)].

A screen will appear, allowing you to select the write-

destination Style.

fig.ArpWrite

5.

Use the VALUE dial, [INC] [DEC], or to select the
write destination.

6.

Press [F6 (WRITE)].

A message will ask you for confirmation.

7.

To save the Style, press [F6 (EXEC)].

* To cancel, press [F5 (CANCEL)].

A maximum of sixteen note numbers (pitches) can be used in a

single style.

9.

When you have finished, press [F5 (EXIT)].

Never switch off the Fantom-Xa while data is being saved.

91

Using the Chord Memory Function

Using in Combination with the Arpeggio
Function

When performing with the Chord Form function, you can also

use it along with the Arpeggio function (p. 128). After first

storing complex Chord Forms in memory, you can then call

them up when Arpeggio is on, and you can easily create

complex arpeggio sounds just by pressing a single key.

About the Chord Memory Function

Chord Memory is a function that allows you to play chords based on

pre-programmed

keyboard. The Fantom-Xa can store 64 preset chord forms and 64

user chord forms. If you wish, you can overwrite any of the 64 user

(factory set) chord forms.

The chord memory function operates on the arpeggio part in

Performance mode. If a rhythm set is selected for that part, you can

also use this to play rhythms.

* You cannot use the chord memory function with the pads.

When you use the Chord Memory function with a tone for

which the Mono/Poly Parameters (p. 41) is Mono, only one

sound in the chord is played. When using the Chord Memory

function to turn Poly the Mono/Poly Parameters.

Chord Forms

, just by pressing a single key on the

Selecting Chord Forms

Changing the chord form will change the notes in the chord.

1.

Hold down [SHIFT] and press [CHORD MEMORY].

The CHORD MEMORY screen appears.

fig.ChordMemory

Use the VALUE dial or [INC] [DEC] to select a Chord Form

2.

number.

U01–64:

P01–64:

The notes of the chord will be displayed.

3.

When you have finished selecting a Chord Form, press
[EXIT].

User

Preset

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.

Performing with the Chord Memory Function

Turning Chord Memory Function On and Off

1.

Press [CHORD MEMORY] to turn it on.

The button will light.

Play the keyboard.

2.

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.

3.

To finish playing chords, press [CHORD MEMORY] again to
turn it off.

92

1.

Hold down [SHIFT] and press [CHORD MEMORY].

The CHORD MEMORY screen appears.

Press [F1 (ROLL)] to add a check mark (✔).

2.

With this setting, the notes of the chord will be sounded

consecutively when you play the keyboard.

Changing the order in which notes
are sounded

You can change the order in which the notes of a chord are sounded.

Hold down [SHIFT] and press [CHORD MEMORY].

1.

The CHORD MEMORY screen appears.

2.

Press to move the cursor to “Rolled Chord Type.”

3.

Use the VALUE dial or [INC] [DEC] to change a value.

UP:

Notes will be sounded in order from bottom

to top.

DOWN:

Notes will be sounded in order from top to

bottom.

ALTERNATE:

The order in which the notes are sounded will

change each time you play the keyboard.

Using the Chord Memory Function

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.

Hold down [SHIFT] and press [CHORD MEMORY].

1.

The CHORD MEMORY screen appears.

2.

Use the VALUE dial or [INC] [DEC] to select a chord form.

Press [F5 (EDIT)].

3.

A screen like the following appears.

fig.ChordEdit

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 [F3 (DELETE)]. You can

also erase a note you input by pressing the same key.

• If you want to erase all notes, press [F2 (ALL DEL)].

• You can press [F4 (PREVIEW)] to hear the chord that you are

inputting.

Saving the Chord Forms You Have Created

The Chord Forms you create are temporary; they are deleted as soon

as you turn off the power or select some other Chord Form. If you

want to keep a Chord Form you have made, save it to the Fantom-

Xa’s user memory.

A chord form is not part of any patch or performance, but

rather independent data. Therefore you can use a single chord

form in different Patches and Performances.

In Performance mode you can save these settings

individually for each performance. These settings cannot be

saved in a patch. If you want to save your settings, press

[WRITE] and save the performance.

1.

In the CHORD MEMORY screen, confirm that the current
Chord Form is the one you want to save.

Press [F6 (WRITE)].

2.

The CHORD NAME screen appears.

fig.ChordName

When you have finished, press [F5 (EXIT)].

5.

Assign a name to the Chord Form.

3.

For details on assigning names, refer to p. 28.

When you have finished inputting the name, press [F6

4.

(WRITE)].

A screen will appear, allowing you to select the write-

destination Chord Form.

fig.ChordWrite

5.

Use the VALUE dial, [INC] [DEC], or to select the
write destination.

6.

Press [F6 (WRITE)].

A message will ask you for confirmation.

7.

To save the Chord Form, press [F6 (EXEC].

* To cancel, press [F5 (CANCEL)].

Never switch off the Fantom-Xa while data is being saved.

93

Playing Rhythms

About Rhythm Patterns

The Fantom-Xa contains 256 preset rhythm patterns. You can play a

variety of rhythm patterns simply by pressing the pads. In addition

to using these built-in rhythm patterns, you can also create your

own.

The 256 rhythm patterns are maintained as independent data; they

are not part of a performance’s data. This means that any one

rhythm pattern can be shared by various rhythm sets or

performances. In Performance mode, a number by which a rhythm

pattern is recalled can be stored as one of the performance

parameters. This number cannot be stored in Patch mode.

Rhythm Patterns and Rhythm Groups

On the Fantom-Xa, a set of rhythm pattern numbers, percussion

instrument sounds and a rhythm set assigned to the nine pads

is stored as a Rhythm Group.

Using Rhythm Groups

A “group” consists of settings for each of the nine pads, specifying

the pattern that each pad will play. The rhythm set used by that

group is also stored as part of the settings.

* You are free to change how rhythm pattern numbers and rhythm

sounds are assigned.

Playing Rhythm

Turning Rhythm On and Off

1.

Press [RHYTHM] to turn it on.

The button will light.

Play a pad (1–9).

2.

According to the pad you pressed, the assigned rhythm pattern

will begin playing.

•A pattern will begin playing when you press any pad from 1–9

that is unlit.

•A rhythm tone will sound when you press a pad that is lit.

The pattern or rhythm tone that is sounded by each pad can be

specified in Rhythm Group Edit (p. 99).

* You can stop playback by pressing a blinking pad.

To stop rhythm pattern playback, press [RHYTHM] once

3.

again so the indicator goes out.

Rhythm group data is not part of a rhythm set or performance;

the 32 rhythm groups are stored as independent data. This

means that any one rhythm group can be shared by various

patches or performances. In addition to using the built-in

rhythm groups, you can also create your own.

Rhythm Group settings can be saved independently for each

performance. However, they cannot be saved as part of a patch.

94

Playing Rhythms

Using a controller to adjust the playback
tempo

Since tempo control is assigned to one of the Fantom-Xa’s

realtime control knobs, it’s easy to adjust the tempo at which the

rhythm pattern will play back.

fig.ArpKnob1

Determining the Tempo for Rhythm Pattern Performances

This sets the Rhythm Pattern tempo.

1.

Press [TEMPO].

The current tempo value appears in the display.

fig.Tempo

2.

Use the VALUE dial or [INC] [DEC] to set the tempo value
(5–300), or set the value by tapping [F4 (TAP)] a number of
times with the same rhythm (Tap Tempo).

* If you press [F5 (CLICK)] to add a check mark (✔), the click will

sound.

3.

When you have made the setting, press [F6 (CLOSE)].

Select the Rhythm Group

1.

Hold down [SHIFT] and press [RHYTHM].

Press [F1 (RHY GRP)].

2.

The RHYTHM GROUP screen appears.

fig.RhyGrp

* When you select the Rhythm group, the most suitable rhythm set is

assigned to the Pad part. (In the screen, this is indicated by

“RECOMMENDED RHY (Recommended Rhythm set).”

3.

Use the VALUE dial or [INC] [DEC] to select a Rhythm group
number.

This selects the Rhythm group’s basic performance Style.

U01–32:

P01–32:

4.

When you have finished selecting a Rhythm group, press
[EXIT].

User

Preset

Tempo

1. Press the REALTIME CONTROL button so the ARP/

RHY indicator lights.

2. Play an Rhythm Pattern, and turn the realtime control

knob.

95

Playing Rhythms

Hold down [SHIFT] and press [RHYTHM].

1.

Press [F2 (RHYTHM)].

2.

The RHYTHM PATTERN screen appears.

fig.RhyPtn

3.

Press to select the parameter.

4.

Use the VALUE dial or [INC] [DEC] to make the setting.

* You can audition the rhythm pattern by pressing [F4 (PREVU)] to add a check mark (✔).

5.

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96

Using the Realtime Control Knobs to Control the Rhythm

You can use the realtime control knobs to control the rhythm in real

time by adjusting the rhythm parameters.

Play rhythm.

1.

Press the REALTIME CONTROL button so the ARP/RHY

2.

indicator lights.

fig.RhyKnob

Rhythm Accent

3.

Turn the REALTIME CONTROL knobs.

While Rhythm Patterns are playing, you can use the knobs to

control the following parameters.

•

Accent

(p. 96)

•

Tempo

(p. 95)

Tempo

Creating a Rhythm Pattern (Rhythm Pattern Edit)

In addition to using the built-in Rhythm Patterns, you are free to

create your own. After creating an original Rhythm Pattern, you can

store it in the internal user memory.

Broadly speaking, there are two ways to create a Rhythm Pattern.

Step-recording

In this method, you use the keyboard and pads to step-record your
Rhythm Pattern. Each time you input a note, you will advance to the
next step. This method is convenient when you want to create a
Rhythm Pattern from scratch using a Pattern that contains no data.

Playing Rhythms

Press [F1 (SETUP)].

4.

The Rhythm Setup window appears.

fig.RhySetup

Press to move the cursor to “End Step.”

5.

6.

Use the VALUE dial or [INC] [DEC] to specify the number of
steps for the Rhythm Pattern.

Press to move the cursor to “Input Velocity.”

7.

Use the VALUE dial or [INC] [DEC] to specify the velocity

8.

setting for the data you will input.

The data will be input with the specified velocity.

Press [F6 (CLOSE)] to close the Rhythm Setup window.

9.

Press [F6 (STP REC)] to add a check mark (✔).

10.

Now you’re ready to step-record.

• To move to the desired input location, press [CURSOR].

• To input notes, play the keyboard or pads.

• To input a tie, press [F2 (TIE)].

• To input a rest, press [F3 (REST)].

• To erase the note, hold down [SHIFT] and press [F6 (CLR

NOTE)].

• To erase all notes at the current step, hold down [SHIFT] and

press [F5 (CLR STEP)].

• You can press [F4 (PREVU)] to audition the pattern you’ve
input.

A maximum of sixteen note numbers (pitches) can be used in a
single pattern.

When you have finished, press [F5 (EXIT)].

11.

If you want to create “from scratch,” you’ll need to initialize the

Pattern. In the RHYTHM PATTERN EDIT screen, hold down

[SHIFT] and press [F4 (INIT)]. A message will ask whether you

want to initialize; press [F6 (EXEC)] to execute initialization.

1.

Hold down [SHIFT] and press [RHYTHM].

2.

Press [F2 (RHYTHM)].

3.

Press [F5 (EDIT)].

The RHYTHM PATTERN EDIT screen appears.

fig.RhyPtnEdit

97

Playing Rhythms

Using the VALUE Dial or [INC] [DEC] to Input Values

In this method, you’ll use the cursor to specify the step or pitch that

you want to input, and use the dial or [INC] [DEC] to input values.

This method is convenient when you want to edit or modify

previously input data.

1.

Hold down [SHIFT] and press [RHYTHM].

2.

Press [F2 (RHYTHM)].

Press [F5 (EDIT)].

3.

The RHYTHM PATTERN EDIT screen appears.

fig.RhyPtnEdit

Press [F1 (SETUP)].

4.

The Rhythm Setup window appears.

fig.RhySetup

Saving the Rhythm Pattern You Have Created (Write)

The Rhythm Patterns you create are temporary; they are deleted as

soon as you turn off the power or select some other Pattern. You can

store 32 Rhythm Groups in the User memory.

Rhythm pattern settings are saved as independent data,

not as part of the data for each patch. The settings in Patch

mode, it is not possible to save rhythm pattern parameters (e.g.,

Rhythm Pattern, Grid, Duration).

It can be saved to individual in Performance mode. If you

want to save your settings, press [WRITE] and save the

performance.

1.

In the RHYTHM PATTERN screen, confirm that the current
Rhythm Pattern is the one you want to save.

Press [F6 (WRITE)].

2.

The RHYTHM PATTERN NAME screen appears.

fig.RhyPtnName

5.

Press to move the cursor to “End Step.”

Use the VALUE dial or [INC] [DEC] to specify the number of

6.

steps for the Rhythm Pattern.

7.

Press [F6 (CLOSE)] to close the Rhythm Setup window.

8.

Press [CURSOR] to specify the step or pitch you want to
input.

* When using this method of input, you can use the keyboard to specify

the pitch of the note. (Unlike when step-recording, pressing the

keyboard will not actually input the note.)

9.

Input the velocity value, using either the VALUE dial or
[INC] [DEC].
You can input a tie by turning VALUE all the way to the right
(or using [INC] to raise the value all the way).

• You can also input a tie by pressing [F2 (TIE)].

• To input a rest, press [F3 (REST)].

• You can press [F4 (PREVU)] to audition the pattern you’ve

input.

* When using this method of input, you can use the pads to specify the

velocity and finalize your input; after you’ve specified the step and
pitch to be input, strike a pad to input it. (Higher-numbered pads
produce higher velocity values; for example, striking pad 1 specifies a
velocity value of 15, while striking pad 9 specifies a velocity value of

127.)

3.

Assign a name to the Rhythm Pattern.

For details on assigning names, refer to p. 28.

When you have finished inputting the name, press [F6

4.

(WRITE)].

A screen will appear, allowing you to select the write-

destination pattern.

fig.RhyPtnWrite

5.

Use the VALUE dial, [INC] [DEC], or to select the
write destination.

6.

Press [F6 (WRITE)].

A message will ask you for confirmation.

7.

To save the Rhythm Pattern, press [F6 (EXEC)].

* To cancel, press [F5 (CANCEL)].

Never switch off the Fantom-Xa while data is being saved.

A maximum of sixteen note numbers (pitches) can be used in a
single pattern.

When you have finished, press [F5 (EXIT)].

10.

98

Playing Rhythms

Creating a Rhythm Group (Rhythm Group Edit)

Not only can you use the prepared internal Rhythm Groups that

determine how rhythm are played, but you can also create them as

well. This way, you can enjoy performing your own original rhythm

group.

Hold down [SHIFT] and press [RHYTHM].

1.

2.

Press [F1 (RHY GRP)].

3.

Use the VALUE dial or [INC] [DEC] to select a rhythm group
you want to edit.

Press [F5 (EDIT)].

4.

The RHY GRP EDIT screen appears.

fig.RhyGrpEdit

5.

Press to select the parameter.

6.

Use the VALUE dial or [INC] [DEC] to set the value.

Saving the Rhythm Group You Have Created (Write)

The Rhythm Groups you create are temporary; they are deleted as

soon as you turn off the power or select some other Group. You can

store 32 Rhythm Groups in the User memory.

Rhythm group settings are saved as independent data, not

as part of the data for each patch. The settings in Patch mode,

it is not possible to save rhythm group settings.

It can be saved to individual in Performance mode. If you

want to save your settings, press [WRITE] and save the

performance.

1.

In the RHYTHM GROUP screen, confirm that the current
Rhythm Group is the one you want to save.

Press [F6 (WRITE)].

2.

The RHYTHM GROUP NAME screen appears.

fig.RhyGrpName

Parameter

(PAD)

Mode Off, Note,

When Mode is set to “Note”

Note

Velocity FIX (127),

When Mode is set to “Pattern”

Ptn

Velocity FIX (127),

Rhy USER:

Value Explanation

1–9 Select the pad for which you want

to make settings.

Specifies whether a rhythm tone or

Pattern

C - –G9 Specifies the note number that will

1–127

U001–256,
P001–256

1–127

001–032
PRST:
001–036
GM:
001–009
CARD:
001–032
EXP:
001–

a rhythm pattern number will be as­signed to the pad.

sound when you press the pad.
Specifies the strength of the sound

heard when you press the pad.

Specifies the pattern number that
will sound when you press the pad.

Specifies the velocity of the rhythm
pattern.

Specifies which rhythm set will be
used.

You can also choose the pad that
you want to set by pressing that
pad.

3.

Assign a name to the Rhythm Group.

For details on assigning names, refer to p. 28.

When you have finished inputting the name, press [F6

4.

(WRITE)].

A screen will appear, allowing you to select the write-

destination group.

fig.RhyGrpWrite

Use the VALUE dial, [INC] [DEC], or to select the

5.

write destination.

6.

Press [F6 (WRITE)].

A message will ask you for confirmation.

To save the Rhythm Group, press [F6 (EXEC)].

7.

* To cancel, press [F5 (CANCEL)].

Never switch off the Fantom-Xa while data is being saved.

7.

When you have finished, press [F5 (EXIT)].

99

Sampling

The Fantom-Xa lets you sample audio sources, such as an audio

device, mic, or CD.

This section explains the sampling procedure and what the

parameters do.

Sampling Procedure

1.

Press [SAMPLING] to access the SAMPLING MENU screen.

fig.SmplMenu

The upper part of the screen will show the amount of free

memory. If the free memory reaches 0%, no further sampling is

possible.

2.

Press [F1 (SAMPLING)]–[F5 (SOLO)] to select the sampling
mode. The sampling-standby screen will appear.

To cancel, press [F5 (CANCEL)].

* You cannot sample the sound that is output from the OUTPUT B

jacks. You’ll need to set things up so that the sound you want to

sample is output from the OUTPUT A (MIX) jacks.

Sampling mode

[F1 (SAMPLING)]
Sampling

[F2 (RE-SAMPL)]
Re-Sampling

[F3 (MIX)]
Mix Sampling

[F4 (AUTO DIVIDE)]
Auto divide Sampling

[F5 (SOLO)]
Solo Sampling

3.

Make the settings for things such as the input source of the
sound to be sampled, and triggering.

fig.SmplStandby

Explanation

Sample a sound from an external input
source.

* Operating the keyboards, pads, D Beam

controller, or sequencer will not play the
internal sound generator.

Resample the sound of the internal
sound generator. The sound of the ex­ternal input will not be heard.

Sample the combined sounds of the in­ternal sound generator and an external
input source.

Sample an extended source, and auto­matically divide it into several samples
at silent regions.

If the sample contains silence, it will
be divided at that point, and the sub­sequent portion will be assigned to
the next sample number.

* Operating the keyboards, pads, D Beam

controller, or sequencer will not play the
internal sound generator.

While playing the internal sound gener­ator as usual, sample only the sound
from the external input.

* Effects cannot be applied to the external

input sound.

Parameter

Input Select

Stereo Switch

Pre Sample Time

Stop Trigger

Sampling Length

Auto Trigger Level The volume at which sampling will begin if

Gap Time The length of the silences at which the sam-

[F1 (INPUT)]

[F2 (AUTO TRIG)] If a check mark (✔) is added, sampling will

[F3 (TRIM SW)] If a check mark (✔) is added, the Start point

Use the LEVEL knob on the rear panel to adjust the input

4.

level of the external source.

* Using a connection cable that contains a resistor can cause the sound

level to be low. Use a connection cable that does not contain a resistor.

Explanation

Input source of the sound that is to be sam­pled

LINE IN L/R:
LINE IN L:
MICROPHONE:

* This cannot be set when resampling.

MONO:

wave. If the sound is stereo, the left and
right signals will be mixed.

STEREO:

two waves, L and R.

* Mono sampling uses half as much memory

space.

The length of sound preceding the moment
at which sampling was manually or auto­matically initiated that will be captured in
the sample.

This lets you prevent the attack portion
of the sound from being omitted from the
sample.

0–1000 ms

Specifies how sampling will end.

MANUAL:

press [STOP].

BEAT:

number of beats at the current tempo
(BPM).

TIME:

time.

When Stop Trigger is “BEAT”

Number of beats to continue sampling

1–20000

When Stop Trigger is “TIME”

Length of time to continue sampling

00’00”010–90’00”000

you have pressed [F2 (AUTO TRIG)] to
turn Auto Trig ON.

0–7

(A setting of 0 is the minimum.)

ple will be divided if the Sampling Mode is
set to Auto Divide.

500, 1000, 1500, 2000 ms

Makes settings for the external input (p.

101).

begin automatically when the input sound
is detected.

and End point settings (p. 106) will be auto­matically adjusted after sampling is per­formed, so any silent portions at the
beginning or end of the sampled sound are
excluded.

L/R (stereo)

L (mono)

L (mono, mic level)

The sound will be sampled as one

The sound will be sampled as

Continue sampling until you

Stop sampling after the specified

Sample the specified length of

100