Roland FP-5 User Manual

Owner’s Manual

Thank you, and congratulations on your choice of the Roland Digital Piano FP-5.

Main Features

Stylish, Light, Compact Design

The refined design fits in anywhere; and since it is so lightweight and compact, it’s easy to take the instrument with you wherever you go.

Authentic Piano Performances

Features high-quality concert grand piano sounds and a Progressive Hammer Action keyboard that gives a more realistic piano touch by providing a heavier feel in the low end and a lighter feel in the upper notes. In addition, the FP-5 is equipped with three pedal jacks and comes with a halfdamper pedal capable of adjusting the depth of the resonance, combining to allow you to enjoy truly authentic piano performances.

201a

Before using this unit, carefully read the sections entitled:

SAFELY” and “IMPORTANT NOTES” ( p. 2; p. 4)

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.

“USING THE UNIT

. These sections

Wide Variety of Tones For Use in Many Musical Genres

The FP-5 offers not just piano sounds, but over 50 different onboard sounds that can be used in a wide variety of musical styles. You can also play Drum Sets with the instrument. Additionally, the high-quality effects allow you to add more richness and expression to the sound.

“Tone Wheel Mode” Simulates Creation of Organ Sounds

Now, you can simulate the way organ sounds are created using the harmonic bars. You can turn footages on and off and set their volumes to make fine adjustments in the sound.

“Session Partner” Lets You Enjoy Playing with a Session-Like Feel

Enjoy true session-like feel while performing along with a "rhythm" section built upon realistic-sounding "rhythms." You can specify the "rhythm" chord progression with your left hand, and create original chord progressions as well.

Experience a Variety of Performances with Dual and Split Functions

Layer two of the FP-5’s many internal tones, play with different tones assigned to the left and right sections of the keyboard, and enjoy many other possibilities in working with Performances.

Easy Recording Functions

You can easily record your own performances using simple button operations.

Includes USB Connector

Connect your computer to the FP-5's USB connector and exchange MIDI data.

High-quality Speaker Provided

Enjoy listening to powerful, moving performances thanks to the high-quality speaker.

any form without the written permission of ROLAND CORPORATION.

This product complies with the requirements of European Directive 89/336/EEC.

For EU Countries

For Canada

This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.

Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.

NOTICE

AVIS

For the USA

FEDERAL COMMUNICATIONS COMMISSION

RADIO FREQUENCY INTERFERENCE STATEMENT

This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:

– Reorient or relocate the receiving antenna. – Increase the separation between the equipment and receiver. – Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. – Consult the dealer or an experienced radio/TV technician for help.

This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions: (1) This device may not cause harmful interference, and (2) This device must accept any interference received, including interference that may cause undesired operation.

Unauthorized changes or modification to this system can void the users authority to operate this equipment. This equipment requires shielded interface cables in order to meet FCC class B Limit.

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.

The symbol alerts the user to important instructions or warnings.The specific meaning of the symbol is determined by the design contained within the triangle. In the case of the symbol at left, it is used for general cautions, warnings, or alerts to danger.

The symbol alerts the user to items that must never be carried out (are forbidden). The specific thing that must not be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the unit must never be disassembled.

The ● symbol alerts the user to things that must be carried out. The specific thing that must be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the powercord plug must be unplugged from the outlet.

001

• Before using this unit, make sure to read the instructions below, and the Owner’s Manual.

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002c

• Do not open (or modify in any way) the unit or its AC adaptor.

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.

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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.

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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.

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005

• This unit should be used only with a rack or stand that is recommended by Roland.

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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.

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008e

• Use only the attached power-supply cord. Also, the supplied power cord must not be used with any other device.

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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!

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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.

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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.

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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.

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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.

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014

• Protect the unit from strong impact.

(Do not drop it!)

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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.

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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.

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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.

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101b

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

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101c

• This (FP-5) for use only with Roland stand FPS11A. Use with other stands is capable of resulting in instability causing possible injury.

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102c

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

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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.

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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.

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106

• Never climb on top of, nor place heavy objects on the unit.

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107c

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

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108b

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

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109b

• Before cleaning the unit, turn off the power and unplug the AC adaptor from the outlet ( p. 8).

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110b

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

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118

• Should you remove screws for the stand or the music stand, make sure to put them in a safe place out of children’s reach, so there is no chance of them being swallowed accidentally.

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IMPORTANT NOTES

291a

In addition to the items listed under “USING THE UNIT SAFELY” on page 2 and 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.

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 in another MIDI device (e.g., a sequencer).

552

• Unfortunately, it may be impossible to restore the contents of data that was stored in another MIDI device (e.g., a sequencer) 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.

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.

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.

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

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

Panel Descriptions ...............................................................6

Before You Play ................................... 8

Making Connections............................................................8

Installing the Music Stand ..................................................8

Connecting Pedals................................................................9

Turning the Power On and Off.......................................... 9

Adjusting the Sound’s Volume and Brilliance...............10

Connecting Headphones................................................... 10

Chapter 1 Playing the Keyboard......... 11

Listening to Demo Songs ..................................................11

Listening to Internal Songs............................................... 12

Playing Back All Songs Continuously

(All Song Play)..............................................................12

Listening to Each Part Separately.............................. 13

Performing with a Variety of Sounds .............................14

Simulating the Creation of Organ Tones

(Tone Wheel Mode) ...........................................................15

Selecting the Footage...................................................17

Changing volume of feet ............................................17

Performing With Two Layered Tones (Dual Play) .......18

Performing With Different Tones in the Left and Right

Sides of the Keyboard (Split Play) ................................... 19

Changing Tone Group and Tone variation.............. 20

Changing the Keyboard’s Split Point .......................20

Changing the Volume Balance for Dual Play and Split

Play....................................................................................... 21

Changing the Keyboard’s Touch .....................................22

Adding Reverberation to Sounds

(The Reverb Effect).............................................................23

Changing the Depth of Reverb Effect....................... 23

Adding a Variety Effects to the Sound ...........................24

Changing the Effect type ............................................24

Changing the Depth of Effect..................................... 26

Adding a Spinning Sound to Organ Tones

(Rotary Effect)...............................................................26

Changing the Sound’s Pitch in Real Time

(Pedal Control) ...................................................................27

Transposing the Key of the Keyboard

(Key Transpose)..................................................................28

Using the Metronome........................................................ 29

Changing the Tempo...................................................29

Changing the Beat of Metronome .............................30

Changing the Volume .................................................30

Chapter 2 Playing Along with Rhythms ..31

What is Session Partner? ................................................... 31

Performing Along With Session Partner ........................32

Changing the Volume of a Part .................................33

Selecting a Rhythm ............................................................33

Changing a Rhythm’s Tempo ..........................................34

Selecting a Rhythm’s Chord Progression ....................... 34

Performing With the Chord Progression Specified in the

Left Hand (Chord Progression off).................................. 35

Recording the Chord Progression

(Chord Progression)...........................................................36

Storing Settings (Setup).....................................................37

Selecting Stored Settings.............................................37

Chapter 3 Recording a Performance ... 38

Recording a Performance.................................................. 38

Recording a Performance Using Session Partner.... 39

Recording Selected Track buttons.............................40

Erasing Recorded Performances......................................41

Chapter 4 Other Functions .................. 42

How to make settings........................................................42

Changing How the Pedal Effects Are Applied..............43

Changing How the Pedals Work .....................................43

Changing the Work of the Pedal Control....................... 44

Setting the Part to Which Effects Are Added.................44

Changing the Pitch of the Lower Tone in Octave Steps

(Octave Shift) ......................................................................44

Changing the Velocity When the Key Touch Is Set to

“Fixed”.................................................................................45

Tuning to Other Instruments’ Pitches

(Master Tuning).................................................................. 45

Adjusting the Tuning (Temperament)............................45

Changing the Beat Pattern ................................................ 46

Setting the Intro and Ending on or off ............................47

Fixing a Set Chord Progression........................................47

Setting the Root Note of the Chord Progression ...........47

Setting the Chord Display on or off.................................47

Connecting to Audio Equipment..................................... 48

About the FP-5 Sound Generator.....................................48

Connecting to the USB Connector ................................... 49

Connecting MIDI Devices.................................................49

Connectors ....................................................................49

Making the Connections.............................................49

How to Enjoy MIDI .....................................................50

MIDI Settings................................................................ 50

Making the Settings for the USB Driver .........................53

Restoring the settings to the factory condition

(Factory Reset) ....................................................................53

Disabling Everything Except Piano Play

(Panel Lock).........................................................................53

Appendices ........................................ 54

Troubleshooting .................................................................54

Error Messages/Other Messages..................................... 56

Tone List .............................................................................. 57

Rhythm Set List ..................................................................59

Rhythm List.........................................................................62

Chord Progression Pattern List........................................63

Chord Fingering List .........................................................65

Internal Song List ...............................................................69

Settings Stored in the Setup..............................................71

Easy Operation List............................................................72

MIDI Implementation Chart.............................................74

Main Specifications............................................................75

Index.....................................................................................76

Panel Descriptions

Front Panel

[Volume] Knob

Adjusts the overall volume level (p. 10).

[Brilliance] Knob

Adjusts the tone brightness (p. 10).

[Balance] Knob

Adjusts the volume balance of the Upper and Lower Tones in Dual Play and Split Play (p. 21).

[Pedal Control] Button

Use the damper pedal to change the sound’s pitch (p. 27).

[Setup] Button

Stores the selected functions and states of the buttons (p. 37). Calls up the stored settings (p. 37).

In addition, you can hold down this button while pressing [Split] button to listen demo song (p. 11).

[Split] Button

Allows you to play different tones in the left and right sides of the keyboard (p. 19).

[Transpose] Button

Transposes the pitch of the keyboard (p. 28). By holding down this button and pressing the [Reverb]

button, you can change the keyboard’s touch sensitivity (p. 22).

[Reverb] Button

You can use this to add the characteristic reverberation of a concert hall to what you play (p. 23).

[Effects] Button

Use this to add a variety of different effects to the sound (p. 24).

5 6

Tone Buttons

They are used to choose the kinds of sounds (Tone Groups) played by the keyboard (p. 14). In addition, this switches the footage on and off in Tone Wheel mode (p. 17).

[Tone Wheel] Button

Simulate the creation of organ tones in Tone Wheel mode (p. 15).

Display

Displays information such as the song number, Rhythm number, tempo, beat, and parameter settings values.

[Variation/Effects] Button

Press this to change the Tone Variation or Effect Type (p. 14, p. 24). Each time you press this button, the Tone Variation and the Effect Type will be displayed alternately.

In addition, you can hold down this button while pressing [Tempo/Rhythm] (p. 42 to p. 53).

[Tempo/Rhythm] Button

Press this to change the tempo or Rhythm (p. 29, p. 33). Each time you press this button, the tempo and the Rhythm

will be displayed alternately.

[-]/[+] Buttons

These two buttons are used to modify the values of a variety of settings.

[ (Metronome)] Button

Turns the internal metronome on and off (p. 29).

[Start/Stop] Button

Switches Session Partner start or stop (p. 32).

button to make various different settings

[Drums] Button

Turns the Drums part of Session Partner on and off (p. 32).

Panel Descriptions

[Bass] Button

Turns the Bass part of Session Partner on and off (p. 32).

[Chord] Button

Turns the Chord part of Session Partner on and off (p. 32).

[Chord Progression] Button

This turns the Session Partner chord progression on and off. When turned off, chords are specified in the left side of the keyboard (p. 35).

17 18

[Play/Stop] Button

Starts and stops playback of internal songs and recorded performances (p. 12).

Used for starting recording of performances (p. 38).

[Rec] button

Puts the unit in the state whereby it is ready for recording performances (p. 38).

[Song] Button

For selecting internal songs (p. 12).

Rear Panel

USB(MIDI) Connector

Use this for connecting a computer to the FP-5 using a USB cable (p. 49).

MIDI Connectors

Used for connecting external MIDI devices and for sending and receiving MIDI messages (p. 49).

Pedal Jacks

Accepts connection of the supplied pedal, or other suitable pedals (p. 9).

Line In Jacks

Provide input of the audio signals. Used for connecting audio equipment and other such devices (p. 48).

5 6

Line Out Jacks

Provide output of the audio signals. Also used for connecting audio equipment and other such devices (p. 48).

These allow you to play sounds from the FP-5 through other audio devices.

[Speaker] Switch

This switch turns the internal speaker on/off (p. 48).

[Power] Switch

This switch turns the unit on/off (p. 9).

DC In Jack

Connect the supplied AC adaptor here (p. 8).

Cord Hook

Use this to fix in place the cord from the supplied AC adaptor (p. 8).

8 9

Before You Play

Rear Panel

Making Connections

fig.00-01

fig.00-02

Before you begin making connections, confirm the following.

Is the volume level of the FP-5 turned all the way down? Is the power to the FP-5 turned off?

Connect the supplied AC cable to the supplied AC adaptor.

AC adaptor

AC cable

Power outlet

Connect the supplied AC adaptor to the FP-5, and then plug its other end into a power outlet.

To prevent the inadvertent disruption of power to your unit (should the plug be pulled out accidentally), and to avoid applying undue stress to the AC adaptor jack, anchor the power cord using the cord hook, as shown in the illustration.

Installing the Music Stand

fig.00-03

Using the supplied screws, attach the music stand to the back of the FP-5 as illustrated.

Be sure to use the supplied screws for attaching the music stand. Turn the screws clockwise until they’re held in place–but don’t tighten them yet.

Put the music stand between the screws and the FP-5’s body.

While supporting the music stand with one hand, secure it in place by turning the screws.

* When attaching the music stand, support it firmly with one hand to make sure that

you don’t drop it. Be careful, so you don’t get your fingers pinched.

To remove the music stand, support it with one hand while loosening the screws.

* After removing the music stand, don’t forget to retighten the screws.

NOTE

Do not apply excessive force to the installed music stand.

Before You Play

Connecting Pedals

Connect the pedal included with the FP-5 to one of the Pedal jacks.

When connected to the Damper jack, the pedal can be used as a damper pedal. In addition, it can be set to function as an another works (p. 27, p. 44).

When connected to Sostenuto(FC1) jack, the pedal can be used as a sostenuto pedal. In addition, it can be set to function as an another works (p. 43, p. 52).

When connected to Soft(FC2) jack, the pedal can be used as a soft pedal. In addition, it can be set to function as an another works (p. 43, p. 52).

fig.00-04

* Unplugging a pedal cord from the unit while the power is on

may cause the pedal’s effect to be applied without stopping. The power of the FP-5 must be turned off before inserting or removing a pedal cord.

Damper Pedal

Use this pedal to sustain the sound. While the pedal is depressed, long lingering reverberations continue to be added to the sound after you release from the keys.

The pedal included with the FP-5 functions as a half-damper pedal, which allows you to adjust the amount of resonance.

When you depress the damper pedal on an acoustic piano, the sound from the strings that were struck resonates with other strings, adding rich reverberations and broadness to the sound. You can adjust this resonance (sympathetic resonance) when the damper pedal is depressed.

* With the pedal connected to the Damper jack, it can be

assigned other functions as well. Refer to “Changing the Sound’s Pitch in Real Time (Pedal Control)” (p. 27).

* Set the switch on the included pedal to “Continuous” when

the pedal is connected.

Sostenuto Pedal

This pedal sustains only the sounds of the keys that were already played when you pressed the pedal.

* With the pedal connected to the Sostenuto(FC1) jack, it can be

assigned other functions as well. Refer to “Changing How the Pedals Work” (p. 43), “Using the Pedal to Switch Setup (Pedal shift)” (p. 52).

Soft Pedal

This pedal is used to make the sound softer. Playing with the soft pedal depressed produces a sound that

is not as strong as when otherwise played with the equivalent strength. This is the same function as the left pedal of an acoustic piano.

* With the pedal connected to the Soft(FC2) jack, it can be

assigned other functions as well. Refer to “Changing How the Pedals Work” (p. 43), “Using the Pedal to Switch Setup (Pedal shift)” (p. 52).

* By obtaining a second and third pedal, you can then use three

pedals simultaneously. If you wish to purchase the optional pedal (DP series), please contact the dealer where you purchased the FP-5.

Turning the Power On and Off

* Once the connections have been completed, 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.

■

Turning On the Power

Before you switch on the power, turn the volume

down all the way by rotating the [Volume] knob.

fig.00-05

Press the [Power] switch on the back of the unit.

The power will turn on, and “FP5” appears in the display.

After a few seconds, the unit becomes operable and playing the keyboard produces sound.

fig.00-06

Rear Panel

Lower Position

* 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.

Adjust the volume to obtain the proper volume

level.

Before You Play

■

Turning Off the Power

Before switching the power off, turn the volume

all the way down by rotating the [Volume] knob.

fig.00-05

Press the [Power] switch on the back of the unit.

The power is switched off.

fig.00-07

Rear Panel

Upper Position

OFF

Connecting Headphones

Connecting headphones allows you to enjoy playing anytime, even at night, without concern.

* Headphones are not included. Consult your Roland dealer if

you want to purchase.

fig.00-09

Plug the headphones into the Phones jack at the front, on the left side of the piano.

Use the [Volume] knob on the FP-5 to adjust the volume of the headphones.

Adjusting the Sound’s Volume and Brilliance

fig.00-08

Use the [Volume] knob to adjust the overall volume level.

Rotating the knob clockwise increases the volume; counterclockwise rotation decreases it.

Use the [Brilliance] knob to adjust the overall sound quality.

Rotating the knob clockwise makes the tone brighter; rotating it counterclockwise makes the sound more subdued.

If the FP-5 is positioned against a wall, you will probably want to rotate the knob more to the left.

* Make sure to use stereo headphones.

Some Notes on Using Headphones

• To prevent damage to the cord, handle the headphones only by the headset or the plug.

• The headphones may be damaged if the volume is too high when they are plugged in. Lower the volume on the FP-5 before plugging in the headphones.

• To prevent possible auditory damage, loss of hearing, or damage to the headphones, the headphones should not be used at an excessively high volume. Use the headphones at a moderate volume level.

Chapter 1 Playing the Keyboard

2,31,4 2,3 2,3

Listening to Demo Songs

Now, try listening to demo songs. The FP-5 comes with fifty four demo songs. The seven Tone buttons, the [Start/Stop] button, and the [Play/Stop] button are each assigned one demo song.

Button

Piano Pno

E.Piano E.Pn

Organ OrG

Guitar/Bass Gtr

Strings/Pad Str

Voice/GM2 Sct

Tone Wheel t.Or

Start/Stop SP

Play/Stop SnG

fig.01-01

Indi-

cation

Composer/Copyright

NOTE

Hold down the [Setup] button and press the [Split] button.

The indicators for the Tone and [Start/Stop] and [Play/Stop] buttons flash in red.

fig.01-03

flash in red

Press one of the flashing Tone buttons other than the [Setup] or the [Split] button to select the song.

Songs play back continuously. The button for the song currently being played back flashes on and off. When playback of the last song is reached, playback continues by returning to the first song and playing that again.

To stop playback, press the flashing button.

Press the [Setup] button or the [Split] button to exit Demo mode.

The indicators return to their previous state.

The demo song cannot be played back while recorded performance data remains in the FP-5’s memory. Press [Rec] button to delete the performance data (p. 13).

Press a button not assigned to a demo song to exit Demo mode.

NOTE

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

Chapter 1 Playing the Keyboard

About the Display of the Internal Songs

USr (User)—Stores recorded Performances (for more on recording →p. 38). When “

P.” is added— Indicates one of the piano songs

Listening to Internal Songs

Now, try listening to Internal songs. The FP-5 comes with sixty five internal songs.

fig.01-01

■

Press the [Song] button, getting its indicator to light.

The following appears in the display.

fig.01-02

Press the [-] or [+] button to select the song.

Press the [Play/Stop] button.

The song will begin playing back. The selected song is played to the end, and then playback stops.

To stop playback, press the [Play/Stop] button once more.

The next time you press the [Play/Stop] button, the song that was stopped is played from the beginning.

Playing Back All Songs Continuously (All Song Play)

Listening to all of internal songs repeatedly played back in succession is known as “All Song Play.”

fig.01-06

3,4 1

For more on internal song names, refer to “Internal Song List” (p. 69).

Hold down the [Song] button and press the [Play/Stop] button.

Songs play back continuously. When playback of the last song is reached, playback continues by returning to the first song and playing that again.

To stop playback, press the [Play/Stop] button.

All Song Play is exited when the performance is stopped. The next time you press the [Play/Stop] button, the song that was stopped is played.

2 1

When the following appears in the display

If there is any performance data stored in the FP-5’s memory, the following appears in the display.

fig.01-03

Until you erase the performance data, you cannot play back an internal song.

To erase the performance data and play back the internal song, press the [Rec] button.

If you don’t want to erase the song, press the [Play/Stop] or [Song] button.

■

Listening to Each Part Separately

With the internal songs, you can select the performance part that is to be played back.

Chapter 1 Playing the Keyboard

flash in red

You can also practice each hand separately while playing along with the song.

Select the song to be played back.

Hold down the [Play/Stop] button and press either [Bass (1)]

button or [Chord(2)] button to select the part for which you want the sound to not be played.

The indicator on the selected button goes out. The performance data is assigned to the Track buttons as shown below.

fig.01-05

Left-hand

When you release the [Play/Stop] button, the song is played back. The sound for the performance part selected in Step 2 is not played. Temporarily preventing the sounds of a specified part from playing is called

“muting.”

Par t

Right-hand

Par t

Changing the song cancels the mute setting.

Hold down the [Play/Stop] button and press the button

selected in Step 2.

The sound of the muted part is then played.

Press the [Play/Stop] button to stop playback.

Chapter 1 Playing the Keyboard

Performing with a Variety of Sounds

The FP-5 features over 300 different internal sounds, allowing you to enjoy performing with sounds suitable for many different types of music.

These onboard sounds are called “Tones.” The Tones are divided into seven different groups, each of which is assigned to a different Tone button.

The Tone “Grand Piano 1” is selected when the instrument’s power is turned on.

fig.01-07

For more on Tones, refer to “Tone List” (p. 57)

2 3

Press one of the Tone buttons to choose a Tone Group.

You’ll hear the Tone assigned to Tone number 1 in the selected Tone Group. Try fingering the keyboard.

The Tone number appears in the display.

fig.01-08

Press the [Variation/Effects] button, getting its indicator to

light in red.

Press the [-] or [+] button to select a Tone from the Tone

Group.

The Tone you’ve selected is heard when you finger the keyboard. The next time you choose this Tone button, the tone you’ve selected here is

played.

Chapter 1 Playing the Keyboard

What Are “Feet?”

Feet basically refers to the lengths of pipe used in pipe organs. The length of pipe used to produce the reference pitch (the fundamental) for the keyboard is eight feet. Reducing the pipe to half its length produces a pitch one octave higher; conversely, doubling the pipe length creates a pitch one octave lower. Therefore, a pipe producing a pitch one octave below that of the reference of 8’ (eight feet) would be 16’; for one octave above the reference, the pipe would be 4’, and to take the pitch up yet another octave it would be shortened to 2’.

Simulating the Creation of Organ Tones (Tone Wheel Mode)

When any of the “Tone Wheel” Tones is selected, you can perform in “Tone Wheel mode,” in which the creation of organ sounds is simulated.

An organ features nine “harmonic bars” that can be drawn in and out, and by using the bars in different combinations of positions, a variety of different tones can be created. Different “Feet” are assigned to each bar, with the pitches of the sounds being determined by these “Feet.”

You can simulate the creation of tones using the harmonic bars by assigning footages to the Tone buttons.

In Tone Wheel mode, the footages are switched by pressing the [Tone Wheel] button, and a total of nine footages and percussion instruments are assigned to the Tone buttons other than [Piano] button.

On tone wheel organs, in the high range of the keyboard, high-pitched feet are “wrapped around” one octave down. Folding back the high-frequency portion prevents the high-frequency sounds from being unpleasantly shrill, and folding back the low-frequency portion prevents the sound from becoming “muddy.”

NOTE

When the Tone Wheel is selected, you cannot enable the dual mode (p. 18).

On the FP-5 faithfully simulates this characteristic.

Chapter 1 Playing the Keyboard

lit in green or orange

When you press the [Piano] button, the FP-5 exits Tone Wheel Mode, regardless of the [Tone Wheel] button’s illumination status.

Lit in red

Lit in orange

fig.05-10

1,3,4

Press the [Tone Wheel] button, getting its indicator to light

in red.

Press the [-] or [+] button to select a Tone.

Press the [Tone Wheel] button, getting its indicator to light

in green or orange.

The FP-5 switches to “Tone Wheel mode,” the function is turned on, and the footage buttons flash.

To exit Tone Wheel mode, press the [Tone Wheel] button

until the button’s light is red.

About the lighting of the [Tone Wheel] button indicators

The indicators of the [Tone Wheel] buttons indicate the status of the Tone and Feet Group, as shown below.

Indicator Performance

Lit in green

Lit in orange

“Tone Wheel” tone is selected in the Upper Tone or the Lower Tone.

The feet of upper footage group in Tone Wheel Mode can be turned on and off.

The feet of lower footage group in Tone Wheel Mode can be turned on and off.

■

NOTE

The Percussion is applied only to the UPPER Tone.

Selecting the Footage

Chapter 1 Playing the Keyboard

Press the [Tone Wheel] button to select the upper (button’s

indicator lights in green) or lower (button’s indicator lights in orange) footage group.

Press the Tone buttons to turn on and off the different

footages.

■

Changing volume of feet

The volume on feet can be adjusted, with eight volume levels available.

Press the [Tone Wheel] button to select the upper (button’s

indicator lights in green) or lower (button’s indicator lights in orange) footage group.

Hold down the Tone button for the footage for which you

want to change the volume, and press the [-] or [+] button to adjust the volume.

The volume level of the footage assigned to the button being pressed is displayed.

The settings changed here are stored to each Tone. Even when you exit from Tone Wheel mode, you can press [Tone Wheel] button to select the Tone with the changed settings.

About Perc (Percussion)

Perc (Percussion) adds an attack-type sound to the beginning of the note to give the sound more crispness. The attack sound changes according to the value.

Settings Description

2nd

3rd

The percussion on tone wheel organs did not apply to all notes that were played. When notes were played legato (smoothly and connectedly), percussion was applied only to the first-played note. When notes were played staccato (articulating each note separately), percussion was applied to all notes. This method is referred to as single trigger algorithm, and is a very important element in organ performance.

On the FP-5 faithfully simulates this characteristic.

Percussion sounds at a pitch one octave above that of the key pressed.

Percussion sounds at a pitch an octave and a fifth above that of the key pressed.

When percussion is on, the 1’ pitch will not be produced (p. 15).

Chapter 1 Playing the Keyboard

Performing With Two Layered Tones (Dual Play)

You can play two different sounds from a single key at the same time. This method of performance is called “Dual Play.”

Example: Try Layering Piano and String Tones

fig.01-09

Hold down the [Piano] button and press the [Strings/Pad]

button.

The indicators for both buttons light. Try fingering the keyboard. Both the piano and string sounds play. Pressing two Tone buttons at the same time in this manner activates Dual Play. Of these two selected tones, the one for the Tone button you pressed first is

called the “Upper Tone,” and the one for the Tone button you pressed after that is called the “Lower Tone.”

The Tone button’s indicator lights in red for the Upper Tone, and in orange for the Lower Tone.

fig.01-10

red

Upper Tone

Here, the piano tone is the Upper Tone and the strings tone is the Lower Tone.

orange

Lower Tone

To exit Dual Play, press either Tone button.

Now, only the tone of the button you just pressed is sounded.

You can change the pitch of the Lower Tone an octave at a time. Refer to “Changing the Pitch of the Lower Tone in Octave Steps (Octave Shift)” (p. 44).

You can vary the volumelevel balance of the two tones. Take a look at “Changing the Volume Balance for Dual Play and Split Play” (p. 21).

NOTE

When the Tone Wheel is selected, you cannot enable the dual mode (p. 15).

Changing the Tone variations

Press the [-] or [+] button to change the Upper Tone.

Hold down the Tone button for the Lower Tone, and press

the [-] or [+] button to change the Lower Tone.

Although when you press the pedal while in Dual Play, the effect is applied to both tones, you can set the FP-5 so that the effect is not applied to the Lower Tone. Refer to “Changing How the Pedal Effects Are Applied” (p. 43).

Chapter 1 Playing the Keyboard

You can vary the volumelevel balance of the two tones. Take a look at “Changing the Volume Balance for Dual Play and Split Play” (p. 21).

Performing With Different Tones in the Left and Right Sides of the Keyboard (Split Play)

Performing with the keyboard divided at a certain key into a left side and a right side is called “Split Play,” and the point at which the keyboard is divided is called the “split point.”

In Split Play, you can have a different tone sound in the left and right sides.

When the instrument is turned on, the split point is set to “F 3.” The split point key is included in the left side.

While in Split Play, a sound played in the right side is called an “Upper Tone,” and the sound played in the left side is called a “Lower Tone.”

Example: Let’s try split play with the piano tones.

fig.01-11

You can specify which part is to have priority when the effects assigned to the Upper Tone and Lower Tone differ. Refer to “Setting the Part to Which Effects Are Added” (p. 44).

12,3

Press the [Piano] button.

Now, the piano tone is selected.

Press the [Split] button, getting its indicator to light.

The keyboard is divided into upper and lower sections.

fig.01-12

F 3 (Split Point)

Lower Tone Upper Tone

The right-hand section of the keyboard plays piano tone, and the left-hand section plays A. Bass+Ride tone. You can play a tone for the right side (the Upper Tone) before splitting the keyboard. The Tone button’s indicator lights in red for the Upper Tone, and in green for the Lower Tone.

When the “Tone Wheel” tone is selected to the Lower Tone, the [Tone Wheel] button’s indicator light in red (p. 16).

To exit Split Play, press the [Split] button once more.

The [Split] button’s indicator light goes out and the upper tone becomes the tone for the entire keyboard.

When you switch from Dual Play (p. 18) to Split Play, the Upper Tone used in Dual Play is selected as the Upper Tone for Split Play.

Chapter 1 Playing the Keyboard

You can change the pitch of the Lower Tone an octave at a time. Refer to “Changing the Pitch of the Lower Tone in Octave Steps (Octave Shift)” (p. 44).

■

Changing Tone Group and Tone variation.

fig.01-13

2,4 3,4

1,2

Changing the Upper Tone

Press the Tone button to choose a Tone Group.

Press the [-] and [+] buttons to select the Tones.

Changing the Lower Tone

Hold down the [Split] button and press the Tone button to

choose a Tone Group.

Hold down the [Split] button and press the [-] and [+]

buttons to select a Tones.

For more on selecting tones, refer to “Performing with a Variety of Sounds” (p. 14).

■

Changing the Keyboard’s Split Point

When the tone of the same Tone button is selected for

oth the Upper and Lower Tones, the indicator for Tone button flash in green while the [Split] button is held down.

You can change the location where the keyboard is divided (the split point) within the range of B1 through B6.

This is set to “F 3” when the instrument is turned on. This setting remains in effect until you turn off the power.

fig.01-14

Hold down the [Split] button and press a key set as the split

point.

The key you pressed becomes the split point, and appears in the display. The key being used as the split point belongs to the left-hand section of the

keyboard. When you release the [Split] button, you return to the previous screen.

F 3

B1 B6

The name of the key acting as the split point is indicated in the display, as shown below.

Display

C d_ d E_

Letter

C D D E

name

Display

E F F G

Letter

E F F G

name

Display

A_ A b_ b

Letter

A A B B

name

Chapter 1 Playing the Keyboard

You cannot change the volume balance even if you turn the [balance] knob, when Tone Wheel Organs are selected to both the Upper Tone and the Lower Tone.

Changing the Volume Balance for Dual Play and Split Play

You can change the volume balance of the Upper and Lower Tones in Dual Play (p. 18) and Split Play (p. 19).

fig.01-15

Use the [Balance] knob to adjust the volume balance.

Chapter 1 Playing the Keyboard

Changing the Keyboard’s Touch

You can change the touch sensitivity, or response of the keys. When the instrument is turned on, this is set to “N (Normal).”

fig.01-17

1 2

Hold down the [Transpose] button and press the [Reverb]

button.

The indicators for the [Transpose] and [Reverb] buttons flash in red.

fig.01-18

Press the [-] or [+] buttons to select the touch.

Indicate Description

OFF

(Fixed)

-L-

(Light)

-N-(Normal)

The sound plays at one set volume, regardless of the force used to play the keys.

A light keyboard touch is selected. You can achieve fortissimo (ff) play with a less forceful touch than usual, so the keyboard feels lighter. This setting makes it easy to play, even for children.

This sets the standard keyboard touch. You can play with the most natural touch. This is the closest to the touch of an acoustic piano.

NOTE

With certain sounds, the touch may not change.

Here, a heavy keyboard touch is selected. You have to ﬁn-

-H-

(Heavy)

ger the keyboard more forcefully than usual in order to play fortissimo (ff), so the keyboard touch feels heavier. Dynamic ﬁngering adds even more feeling to what you play.

Press the [Transpose] button or the [Reverb] button.

The indicators return to their previous state.

You can set the velocity the sound will have when the keyboard touch is set to “Fixed” (p. 45).

Chapter 1 Playing the Keyboard

You cannot make separate reverb effect depth settings for each individual tone.

Adding Reverberation to Sounds (The Reverb Effect)

You can apply a reverb effect to the notes you play on the keyboard. With the reverb effect, you obtain a pleasant reverberation, making it sound as if you were performing in a concert hall or similar space.

fig.01-21

1,2

Press the [Reverb] button, getting its indicator to light.

Try fingering the keyboard. The reverb effect is applied to the entire tone.

The eliminate the Reverb effect, press the [Reverb] button

once more, extinguishing the indicator.

■

Changing the Depth of Reverb Effect

You can select from ten levels of depth for the reverb effect.

Hold down the [Reverb] button and press the [-] or [+]

button.

The selected depth for the reverb effect appears in the display.

fig.01-22

NOTE

You cannot change reverb effect depth of Session Partner, Demo songs, and Internal song.

Chapter 1 Playing the Keyboard

Adding a Variety Effects to the Sound

In addition to reverb, you can apply a variety of changes to the FP-5’s sounds.

NOTE

These are referred to as “effects.” With the FP-5, you can select from ten different effect types.

With the factory default settings, effects have been preselected for each tone.

fig.01-19

Press the [Effects] button, getting its indicator to light.

Try fingering the keyboard. The effect is applied to the currently selected tone.

The remove the effect, press the [Effects] button once more, extinguishing the indicator.

■

Changing the Effect type

Effects may not be applied with some of sounds.

1,2

Some tones initially have effect applied. Selecting such a tone makes the [Effects] button’s indicator light up automatically.

Press the [Effects] button, getting its indicator to light.

The effect is applied to the currently selected tone.

Press the [Variation/Effects] button, getting its indicator to

light in orange.

The effect number appears in the display.

fig.01-22

You can specify which part is to have priority when the effects assigned to the Upper Tone and Lower Tone differ. Refer to “Setting the Part to Which Effects Are Added” (p. 44).

Chapter 1 Playing the Keyboard

Press the [-] or [+] button to select the effect.

You can select from the following.

Indication Effects Description

When you depress the damper pedal on an acoustic piano, the sound from the strings that were struck resonates with other strings, adding rich reverberations and broadness to the sound.

This controls the overtone structure of the high frequencies, adding sparkle and tightness to the sound.

This effect adds a delay sound like an echo.

You can give the sound greater dimension, with more fatness and breath.

This effect is Chorus effect with added cyclic modulation of volume.

This effect adds spinning sounds similar to the sound of an organ using a rotating speaker of the past.

S.rE

Enh

dLy

Cho

t.ch

rot

SYMPATHETIC

RESONANCE

ENHANCER

DELAY

CHORUS

TREMOLO

CHORUS

ROTARY

This effect adds a phase-shifted sound to

Pha

FLn

Odr

dSt

The next time you choose the same tone, the effect type you’ve selected here is applied.

PHASER

FLANGER

OVER DRIVE

DISTORTION

the direct sound, producing a twisting modulation that creates spaciousness and depth.

This effect produces a metallic resonance that rises and falls like a jet airplane taking off or landing.

This effect creates a soft distortion similar to that produced by vacuum tube ampliﬁers.

This effect produces a more intense distortion than Overdrive.

Chapter 1 Playing the Keyboard

■

Changing the Depth of Effect

You can select from ten levels of depth for the effect.

■

Hold down the [Effects] button and press the [-] or [+] button.

The depth for the effect being applied to the currently selected tone appears in the display.

fig.01-20

The next time you choose the same tone, the effect with the depth you’ve selected here is applied.

Adding a Spinning Sound to Organ Tones (Rotary Effect)

The Rotary effect is applied to some Organ tones you can select with the [Organ] button, and to the tone of the [Tone Wheel] button. When one of these tones is selected, you can use the [Effects] button to change the speed of the rotary effect.

What the rotary effect does is to add a “spinning” effect similar to the sound of an organ using a rotating speaker.

Press the [Organ] button and select the organ tone.

When a tone that has the Rotary effect added is selected, the [Effects] button’s indicator flashes or blinks in green.

NOTE

You cannot change the levels of depth for the rotary effect.

To prevent the Rotary effect from being applied, select an effect type other than the Rotary effect and then remove the effect.

Each time pressing the [Effects] button, switch the speed of

the rotary effect between rapid and slow rotation.

When the [Effects] button’s indicator flashes in green, a more rapid rotary effect is applied.

When the [Effects] button’s indicator blinks in green, a slower rotary effect is applied.

Chapter 1 Playing the Keyboard

The function does not work properly when a pedal (other than expression or half-damper pedal) is used. Additionally, when connecting the included pedal, be sure set the switch on the included pedal to “Continuous.”

Changing the Sound’s Pitch in Real Time (Pedal Control)

Connecting the included pedal to the Damper jack allows you to use the pedal to alter the sounds’ pitches.

fig.01-23

1,2

What “

Hold down the [Pedal Control] button, getting its indicator

to light.

Try fingering the keyboard. When you press the Damper pedal, the pitch gradually rises. With the pedal

fully pressed, the pitch is raised two semitones(fixed). The sound returns to its original pitch when you release the pedal. You can adjust how much the pitch is raised by changing the pedal depth.

To undo the pitch bend effect, press the [Pedal Control]

button once more so the button’s light goes out.

You can set the Damper pedal to lower the pitch when pressed. You can also assign the modulation effect to the pedal.

Refer to “Changing the Work of the Pedal Control” (p. 44).

Pitch Bend” and “Modulation” Do

The effect that gradually raises or lowers the pitch is known as pitch bend. The regular, cyclical wavering of the pitch is referred to as modulation or

vibrato.

NOTE

The damper pedal effect cannot be applied while the [Pedal Control] button is lit.

NOTE

With some sounds, the modulation effect may not

e applied, or the amount of effect you get may be less or more than what you get with other sounds.

Chapter 1 Playing the Keyboard

By holding down the [Transpose] button and pressing both the [-] and [+] buttons simultaneously, the setting returns to its original value.

Transposing the Key of the Keyboard (Key Transpose)

You can transpose the key of a performance without having to shift the position of your fingers on the keyboard. This feature is called “Key Transpose.”

This lets you take a song in a difficult key with lots of sharps ( ) and flats ( ) and play it in a key with fingering that’s easier for you. This is handy

when playing accompaniment to a song, to match what you play to the pitch of the singer’s voice.

fig.01-23

Press the corresponding key

Hold down the [Transpose] button and press the key

corresponding to the tonic of the desired key.

The Key Transpose settings value continues to appear in the display while the [Transpose] button is held down.

With the [Transpose] button held down, you can change the value, even by pressing the [-] or [+] button.

The available range is -6–0–5. When you release the [Transpose] button, you return to the previous screen.

Example: Playing a Song in the Key of E Major After Transposition to C Major

Hold down the [Transpose] button and press the E key (since E is the tonic). Counting from C as a reference point, one moves up four keys, including the

black keys, to reach E, thus “4” appears in the display.

fig.01-25

Using the Metronome

Here’s how you can make use of the metronome.

fig.02-01

Chapter 1 Playing the Keyboard

1,2

■

Press the [ (Metronome)] button to have the metronome

sound.

The [Tempo/Rhythm] button’s indicator flashes in red and green in time with the beat selected at that time. The indicator lights in red on the downbeats, and in green on weak beats.

To stop the metronome, press the [ (Metronome)] button

again.

Changing the Tempo

Press the [Tempo/Rhythm] button, getting its indicator to

light in red.

The tempo is displayed. Pressing the [Tempo/Rhythm] button alternately displays the tempo and

the currently selected Rhythm number (indicated by an initial “r”).

fig.02-02

Press the [-] or [+] button to adjust the tempo.

Chapter 1 Playing the Keyboard

■

Changing the Beat of Metronome

While holding down the [Tempo/Rhythm] button, press the

[-] or [+] button to select the beat.

The currently selected beat is displayed.

fig.02-03

You can select from the following beats.

Display Beat Display Beat

2.2

0.4

2.4

3.4

4.4

5.4

2/2

Weak beats only

2/4

3/4

4/4

5/4

6.4

7.4

3.8

6.8

9.8

12.8

6/4

7/4

3/8

6/8

9/8

12/8

When you change the rhythm or the Internal song, the beat of metronome is changed.

NOTE

You cannot change the metronome beat while a song or Rhythm is being played.

■

Changing the Volume

The volume of the metronome can be adjusted, with ten volume levels available.

This is set to “5” when the instrument is turned on.

While holding down the [ (Metronome)] button, press the

[-] or [+] button to adjust the volume.

The currently selected metronome volume is displayed.

fig.02-04

You can change the beat pattern of the Metronome Refer to p. 46.

Chapter 2 Playing Along with Rhythms

What is Session Partner?

“Session Partner” Lets You Enjoy Playing with a Session-Like Feel

“Session Partner” is an easy-to-use function that plays accompaniment in a variety of musical styles.

Playing along with this accompaniment, with its realistic sounds, gives you the feel that you are playing live with a band backing you.

For example, playing with “Session Partner” instead of using the metronome always lets you practice the piano with something different.

You can also change the accompaniment as you like to suit whatever you are playing.

By changing the chords and Rhythms, even while playing the same melody, you can easily create all kinds of new arrangements.

We encourage you to enjoy the variety of performance options open to you by using the “Session Partner” feature.

What You Can Do With “Session Partner”

“Session Partner” lets you mainly do the following things.

• Play piano with a session-like feel along with Rhythms while the chord progression continues automatically (p. 32).

• Play the piano to provide your own accompaniment as you specify chords with the left hand (the left part of the keyboard) (p. 35).

• Enjoy freer piano performances using your own original chord progressions (p. 36).

With “Session Partner,” you select three “rhythms” and add accompaniment, selecting the rhythms by turning the three part buttons on and off.

You can play intros, endings, and fill-ins (short phrases inserted at transition points in the song) by pressing buttons as you play the keyboard.

What are the FP-5’s “

The FP-5 features internal “Rhythms” complementing Pops, Jazz, and other various musical genres.

“Rhythms,” or combinations of elements from a musical genre that recreate the mood or signature sound of a particular style, form the foundation of the accompaniment used in “Session Partner.”

Rhythms?”

A “Rhythm” is composed from the following three items.

• Drum Part

• Bass Part

• Chord Part

You can play each of these Parts by pressing the [Drums], [Bass], and [Chord] buttons.

Chapter 2 Playing Along with Rhythms

You can also specify the chords to be played in a Rhythm. For details, refer to “Performing With the Chord Progression Specified in the Left Hand (Chord Progression off)” (p. 35).

Performing Along With Session Partner

fig.02-05

Now, let’s try performing along with Session Partner. Since a wide variety of musical genres is provided, be sure to use a Rhythm

that best suits the song you are performing. Please refer to “Selecting a Rhythm” (p. 33).

1,2

For more information on the different Rhythm types, refer to the “Rhythm List” (p. 62).

Press the [Start/Stop] button.

The [Start/Stop] button’s indicator lights in red, and the intro begins to play. After the intro is played, the light’s color changes to green.

The chord progression advances automatically, freeing you up to play the melody.

When you press the [Start/Stop] button once more, the

ending is played, and the Rhythm stops.

While the ending is being played, the [Start/Stop] button’s indicator lights in red. When the Rhythm stops, the [Start/Stop] button’s indicator goes out.

Additionally, when the [Start/Stop] button indicator is lit in red, if you then press the [Start/Stop] button once more, you can immediately stop the intro or ending, even when while these are being played.

Selecting Parts

You can switch corresponding Parts on or off using the [Drums], [Bass], and [Chord] buttons.

When you press a button and extinguish its light, its Part is not played.

* Some guitar sounds are included in the [Drums] parts.

You can set the Chord display on or off (p. 47).

You can change the chord progression patterns. Refer to the “Selecting a Rhythm’s Chord Progression” (p. 34).

You can press the [Start/ Stop] button to finish without playing an Intro or Ending. See “Setting the Intro and Ending on or off” (p. 47).

■

Changing the Volume of a Part

You can adjust the volume level of individual Parts.

fig.02-05

Chapter 2 Playing Along with Rhythms

While holding down the button for the Part whose volume level you want to change (the [Drums], [Bass], or [Chord]

button), press the [-] or [+] button.

The volume level of the Part whose button you pressed is displayed.

If you want to change the volume level for all Parts, hold down the [Start/Stop] button and press the [-] or [+] button.

Selecting a Rhythm

Now, try changing the Rhythm being performed.

fig.02-09

1,2

2 1

Changing Rhythms As You Perform

Press the [Tempo/Rhythm] button, getting its indicator to light in orange.

The Rhythm number is displayed. Rhythm numbers are indicated by an “r” before the number.

fig.02-10

Press the [-] or [+] button to select the Rhythm.

If you change Rhythms while a Rhythm is being played, the selected Rhythm begins after the fill-in is played.

What’s a “Fill In”?

A short improvisational phrase inserted at the bar line is called a “Fill In.” The phrase best suited to the selected Rhythm is played.

Chapter 2 Playing Along with Rhythms

If you change the Rhythm during Session Partner play, the tempo won’t change. At such times, you can set it to the optimal tempo by getting the tempo to appear in the display, then pressing the [-] and [+] buttons at the same time.

Changing a Rhythm’s Tempo

The FP-5 has an optimal tempo for each Rhythm. You can change the tempo of the selected Rhythm. Furthermore, you can change the tempo as the Rhythm is being played.

fig.02-08

Press the [Tempo/Rhythm] button, getting its indicator to

light in red.

The tempo is displayed. Pressing the [Tempo/Rhythm] button alternately displays the tempo and the currently selected Rhythm number (indicated by an initial “r”).

Press the [+] and [-] buttons to adjust the tempo.

The tempo can be changed within the range from 20 ~ 250. When the [Start/Stop] button is pressed, the Rhythm is played at the

selected tempo. When the tempo is displayed, you can set it to the optimal tempo to appear

in the display, then pressing the [-] and [+] buttons at the same time.

Selecting a Rhythm’s Chord Progression

The FP-5 has an optimal chord progression pattern for each Rhythm. When playing the Chord Part while performing, the chord progression is

automatic. You can change the chord progression pattern if you want.

Hold down the [Chord Progression] button and press the [-]

or [+] button to change the chord progression pattern.

The currently selected chord progression pattern number is displayed.

fig.02-11

For more information on chord progression patterns, refer to the “Chord Progression Pattern List” (p. 63).

Recorded chord progression patterns are saved to

“ ” You can select

“ ” patterns by pressing the [-] button when

pattern number 1 is displayed.

You can change the root note of the first chord. refer to “Setting the Root Note of the Chord Progression” (p. 47).

Chapter 2 Playing Along with Rhythms

You can specify chords simply with your finger, even without playing the keys for all the chords’ constituent notes. For more information about chord fingering, refer to the “Chord Fingering List” (p. 65).

Performing With the Chord Progression Specified in the Left Hand (Chord Progression off)

Performing with the keyboard divided at a certain key into a left side and a right side is called “Split Play.”

While in Split Play, you can use the left side to specify chords instead of using it to play the Lower Tone.

fig.02-13

Press the [Chord Progression] button, getting its indicator to

go out.

The [Split] button’s indicator lights up. The indicator for the [Start/Stop] button flashes, and the FP-5 is put into standby mode.

NOTE

When specifying the chords in the left part of the keyboard, Dual Play (p. 18) is disabled in the right part.

1,4

The chord is specified with a key in the left part of the

keyboard, and the Rhythm begins.

fig.02-14

The range specified a chord

Specify the chord in the left part of the keyboard, and perform the melody in the right side. It is not necessary to continue holding down the keys for chords in the left side. Even after you release the key, the same chord continues until the next chord is played. When specifying chords, sounds from the left side of the keyboard are not played.

To stop the Rhythm, press the [Start/Stop] button.

After the ending is done, the performance stops. The indicator for the [Start/Stop] buttons then start flashing, and the FP-5 is put into standby mode.

To exit, press the [Chord Progression] button.

F 3 (Split point)

The button’s indicator does not go out when you press the [Split] button here. At this point, you can perform with the Lower Tone while specifying chords in the left part of the keyboard.When you press the [Split] button once more, the button’s indicator does go out, and you can perform while specifying chords over the entire keyboard.

The point at which the keyboard is divided is called the “split point”; you can also change this split point. For more information, take a look at “Changing the Keyboard’s Split Point” (p. 20).

Chapter 2 Playing Along with Rhythms

Recorded chord progression patterns are saved to

“ ” You can select “ ” patterns by

pressing the [-] button when pattern number 1 is displayed.

Recording the Chord Progression (Chord Progression)

You can save a chord progression you’ve specified using the left-hand section of the keyboard.

fig.02-15

Hold down the [Chord Progression] button and press the

[Rec] button.

The [Chord Progression] button and the [Rec] buttons’ indicator flashes in red, the [Start/Stop] buttons’ indicator flashes in orange., and the FP-5 is put into recording standby.

The “UCP (User Chord Progression)” appears in the display.

fig.02-16

You can listen to a wide variety of styles with a favorite chord progression. Refer to “Fixing a Set Chord Progression” (p. 47).

Press the [Chord Progression] button or the [Rec] button to exit from recording standby.

The chord is specified with a key in the left part of the

keyboard, and the Rhythm begins.

The chord being played is indicated in the display. You can store up to sixteen chords.

Recording stops when the performance exceeds eight

measures or when you press the [Start/Stop] button.

Changing the Stored Measure Count

You can change the number of measures recorded for the chord progression. This is set to eight measures when the FP-5 is turned on.

Measure counts of “4/8/12/16” can be selected.

Hold down the [Chord Progression] button and press the

[Rec] button.

The “UCP (User Chord Progression)” appears in the display.

Press the [-] and [+] button to select measure counts.

The chord is specified with a key in the left part of the

keyboard, and the Rhythm begins.

Press the [Start/Stop] button to stop recording.

NOTE

The song may not play back correctly if the performance is played with a different beat than the one used in recording the original chord progression.

NOTE

You can store up to sixteen chords. Regardless of the number of measures set, recording stops when the seventeenth chord is specified.

The recorded chord progression will be discarded as soon as the power is turned off. If you want to keep it, you’ll need to save the Setup (p. 37).

Storing Settings (Setup)

You can save favorite combinations of Tone settings, settings for dual and split play, Session Partner settings, and the like as a “Setup.”

Once saved in this way, you can instantaneously switch the instrument to the desired group of settings simply by calling up the Setup.

You can store up to 7 different Programs. The recommended settings were stored in the instrument when it shipped

from the factory.

fig.02-15

Chapter 2 Playing Along with Rhythms

The Setup contains stored and unstored settings. Refer to “Settings Stored in the Setup” (p. 71).

Hold down the [Setup] button and press the ether Tone

button.

The pressed Tone button and the display flash, and the current settings are stored.

■

Selecting Stored Settings

Press the [Setup] buttons.

The Tone button’s indicator flashes in green.

Press the Tone button to which the settings you want to call

up have been stored.

Only the indicator on the selected button flashes in green.

Chapter 3 Recording a Performance

156,823 4

You can easily record your performances. You can play back a performance you have recorded to check what and how you played, and play melodies on the keyboard along with prerecorded accompaniment using the Rhythm.

Notes Regarding Recording

• Only one song can be recorded. With second or later recordings, the previously recorded song is erased as the new material is recorded. When recording a new performance, it is probably a good idea to erase the previously recorded performance first (p. 41).

• Recorded performances are erased when the power is turned off.

Recording a Performance

This records only what you play on the keyboard, without using the Session Partner.

fig.03-01

To Record Without Erasing the Previously Recorded Performance...

2nd Pass

1st Pass

The first Perform-

ance is preserved

Press the [Song] button, getting its indicator to light.

The song number appears in the display.

Press the [-] button to display the “USr.”

Select the Tone to be played (p. 14).

If necessary, sound the metronome.

While listening the metronome, select the tempo and beat of the song (p. 29).

Press the [Rec] button.

The [Rec] button’s indicator lights, the [Play/Stop] button’s indicator begins flashing, and the FP-5 is put into recording standby.

Press the [Play/Stop] button or play a key on the keyboard to begin recording.

Press the [Play/Stop] button, and after two measures of count sound, recording begins.

Recording starts when you start playing the keyboard (without pressing any button). In this case, a count is not sounded.

Press the [Rec] button or the [Play/Stop] button to stop recording.

The indicators for the [Rec] and [Play/Stop] buttons are extinguished, and recording stops.

You can save recorded songs to an external sequencer. Refer to p. 49.

During the count-in, the count measure is indicated in the display as “-2” then “-1.”

About “USr” in the Display

When recording is stopped,

the “ ” indication

changes to “ ” in the display. The “.” in the display indicates that there is Performance material already recorded.

Listening to the Recorded Performance

For more information on the different Rhythm and Chord progression pattern, refer to the “Rhythm List” (p. 62) and “Chord Progression Pattern List” (p. 63).

Chapter 3 Recording a Performance

Press the [Play/Stop] button. Press the [Play/Stop] button again, and playback stops.

■

Recording a Performance Using Session Partner

You can also easily record session performances to the session partner.

fig.03-02

Select the Tone or Rhythm to be played (p. 32-p. 36).

Press the [Rec] button.

The [Rec] button’s indicator lights up, the [Play/Stop] button’s indicator flashes, and the FP-5 is put into recording standby.

The demo song cannot be played back while recorded performance data remains in the FP-5’s memory. Press [Rec] button to delete the performance data (p. 13).

4,5

For more on selecting tone and Rhythm, refer to p. 14 and p. 33.

Recording starts when you begin the performance with

Session Partner (p. 32, p. 35).

The Rhythm starts to play, while simultaneously recording begins.

Press the [Play/Stop] button to stop recording.

Listening to the Recorded Performance

Press the [Play/Stop] button.

Press the [Play/Stop] button again to stop playback.

NOTE

If you want to record with the chord progression specified (p. 35), the chord is specified with a key in the left part of the keyboard, and recording

egins.

Chapter 3 Recording a Performance

About the Lighting of Track Button Indicators

when the [Rec] button is pressed, track button indicate the status of recording, as shown below.

■

Recording Selected Track buttons

FP-5’s Recorder has three Track buttons. When you press the [Rec] button, all Track buttons are set to be recorded, but by selecting Track buttons that are not to be recorded, you can then record only on the specific Track buttons you want. For example, you can record each hand’s performance to different Track buttons, or record over only certain Track buttons in a previously recorded

performance.

fig.03-03

Only sounds from Drum set tones and Session Partner sounds can be recorded to the [Drums (R)] button.

While holding down the [Rec] button, and turn off the

indicator light for the Track button, whether the [Drums (R)], [Bass (1)], or [Chord (2)] button, for any track not to be recorded.

The [Rec] button’s indicator lights up, the [Play/Stop] button’s indicator flashes, and the FP-5 is put into recording standby. With the FP-5 in standby, go on to record the performance according to the procedures as described in “Recording a Performance” (p. 38), “Recording a Performance Using Session Partner” (p. 39), starting from Step 3.

The performance is not recorded only to the Track buttons whose indicator was turned off.

Recording along with

You can also record your own performance as you play along with the internal piano songs. When recording to specific Track buttons, the sounds on the selected Track buttons are not played. For example, you can record what you are playing with your right hand as you listen to the left-hand part.

internal songs

Dark

Flash in red

Not Recording

Recording

With the [Song], [-] and [+] buttons select the song.

Hold down the [Rec] button and turn off the indicator light for the track button of the track you intend not to play

yourself.

The [Rec] button’s indicator lights up, the [Play/Stop] button’s indicator flashes, and the FP-5 is put into recording standby.

Press the [Play/Stop] button to start recording.

Press the [Rec] or [Play/Stop] button to stop recording.

Correspondence Between Internal Piano Song Track Buttons and Performance

[1] button: left-hand Part [2] button: right-hand Part No performance data is assigned to the [R] button.

Erasing Recorded Performances

You can erase recorded performances.

fig.03-04

Chapter 3 Recording a Performance

Hold down the [Song] button and press the [Rec] button.

A confirmation message appears in the display.

fig.03-05

flash in red

Press the [Rec] button.

The recorded performance is erased. If you do not want to erase the performance, press the [Play/Stop] or [Song]

button.

Correspondence Between Recorded Performance and Track Buttons

A recorded performance will be assigned to the Track buttons as follows.

Track button Performance recorded

[R]

[1] • Lower Tone in Dual play or Split play (p. 18, p. 19)

[2]

* You can also record to the [1] button regular keyboard performances in which

only the [1] button is specified.

• Session Partner (p. 31)

• A performance of drum set tones

• The performance of the entire keyboard (except drum set tones)

• Upper Tone in Dual play or Split play (p. 18, p. 19)

Chapter 4 Other Functions

You can make a variety of performance- and recordingrelated settings in “Function Mode.”

Button

Function Page

How to make settings

Hold down the [Variation/Effects] button, and press the [Tempo/rhythm] button.

“Fnc” appears in the display, and the FP-5 switches to Function Mode.

The [Variation/Effects] and [Tempo/Rhythm] buttons flash in green, and the indicators for the button to which the function is assigned flash in red.

fig.04-01

Press one of the flashing buttons.

The flashing button’s indicator other than the pressed button go out.

[Pedal Control]

[Setup]

[Split]

[Transpose]

[Reverb]

[Effects]

[Piano]

[E. Piano]

[Organ]

[Guitar/Bass]

[Strings/Pad]

[Voice/GM2]

[Tone Wheel]

Works of the pedal control

Bulk Dump, Pedal Shift, Transferring the program change

Octave shift

Temperament

Velocity

Setting the part to which effects are added

Master Tuning

How the soft pedal(FC2) effects are applied

How the sostenuto pedal(FC1) effects are applied

How the damper pedal effects are applied

Soft pedal(FC2)s work p. 43

Sostenuto pedal(FC1)s work

Set USB driver

p. 44

p. 52

p. 44

p. 45

p. 44

p. 45

p. 43

p. 53

Each value is displayed.

While pressing the button, function name is displayed.

Press the [-] or [+] button or play a key on the

keyboard to set.

Press the [Variation/Effects] or [Tempo/Rhythm] button to exit Function Mode.

The button’s indicator will return to the previous state.

[ Metronome]

[Start/Stop]

[Bass]

[Chord]

[Chord Progression]

[Play/Stop]

[Rec]

[Song]

Metronome beat pattern

Setting the Intro and Ending on or off

Root note of the chord progression

Chord display

Fixing a set chord progression

MIDI Out mode

MIDI send channel settings

Local Control

p. 46

p. 47

p. 51

p. 50

Chapter 4 Other Functions

Changing How the Pedal Effects Are Applied

When the pedal is pressed in Dual Play (p. 18) or Split Play (p. 19), the pedal’s effect is applied to both the Upper Tone and the Lower Tone, but you can change the settings for the tone to which the effect is applied.

Indication Description

U-L

-U-

-L-

■

How the Soft Pedal(FC2) effects are applied

Switch to Function mode, and press the [E.Piano]

button.

fig.04-03

All enabled

Applied only to the Upper Tone

Applied only to the Lower Tone

Changing How the Pedals Work

A pedal connected to the Soft(FC2) jack normally functions as a soft pedal (p. 9). A pedal connected to the Sostenuto(FC1) jack normally functions as a sostenuto pedal (p. 9).

It can also be set to function as an another works. You can select from the following ten pedal functions.

With certain sounds, the function may not work.

Indication Description

dnP

(Damper)

SFt

(Soft)

Stn

(Sostenuto)

EPr

(Expression)

Sets function to damper pedal.

Sets function to soft pedal.

Sets function to sostenuto pedal.

Allows control of the volume. Connect a separately available expression pedal (EV-5).

* You cannot change volume level of session

partner.

flashes in red

Press the [-] or [+] button to select how the pedal

effects are to be applied.

■

How the Sostenuto Pedal(FC1) effects are applied

Switch to Function mode, and press the [Organ] button.

Press the [-] or [+] button to select how the pedal effects are to be applied.

■

How the Damper Pedal effects are applied

Switch to Function mode, then press the [Guitar/

Bass] button.

Press the [-] or [+] button to select how the pedal

effects are to be applied.

r.St

(Start/Stop)

L.bS

(Leading bass)

EFF

(On/Off of Effects)

b.uP

(Bend Up)

b.dn

(Bend Down)

Mod

(Modulation)

Allows control the start/stop of Session Partner by pressing the pedal, instead of pressing the buttons.

Allows control the on/off of leading bass function*. It is turned on while having stepped on the pedal.

Effects can be switched on/off by pressing the pedal instead of pressing the [Effects] button. When effect type is rotary, you can control the slow/fast of spinning.

Pitch rises by pressing the pedal

Pitch lowers by pressing the pedal

Vivrato is added by pressing the pedal

* What is the leading bass function?

The function that sounds the lowest note of a fingered chord as the bass tone is called “Leading Bass.”

* 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.

* The function may not work properly if a pedal other than the

supplied pedal or expression pedal is used.

* Be sure to switch off the power to the unit before attempting to

disconnect or connect a pedal cord.

Chapter 4 Other Functions

■

Works of the Soft Pedal(FC2)

When the instrument is turned on, this is set to function as a soft pedal.

Switch to Function mode, and press the [Strings/Pad] button.

fig.04-02

flashes in red

Press the [-] or [+] button to select the pedal function.

■

Works of the Sostenuto Pedal(FC1)

When the instrument is turned on, this is set to function as a sostenuto pedal.

Switch to Function mode, and press the [Voice/GM2] button.

Press the [-] or [+] button to select the pedal function.

* The function may not work properly if a pedal other than the

supplied pedal or expression pedal is used.

* Be sure to switch off the power to the unit before attempting to

disconnect or connect a pedal cord.

Setting the Part to Which Effects Are Added

This specifies which part is to have priority when the effects assigned to the Upper Tone and Lower Tone differ in Dual Play or Split Play.

Switch to Function mode, and press the [Effects] button.

fig.04-04

flashes in red

Press the [-] or [+] button to select Upper or Lower.

indication description

Changing the Work of the Pedal Control

Connecting the included pedal to the Damper jack allows you to use pedal to alter the sounds’ pitches, when you press the [Pedal Control] button to light up.

It can also be set to function as an another works.

Switch to Function mode, and press the

[Pedal Control] button.

fig.04-04

flashes in red

Press the [-] or [+] button to select the pedal function.

indication function description

b.uP

b.dn

Bend Up Pitch rises by pressing the pedal

Bend Down Pitch lowers by pressing the

pedal

-U-

(Upper)

-L-

(Lower)

→

If same effects are assigned to the Upper Tone and Lower Tone,

the same effects are added to both of Tones.

Effects are added to the Upper Tone.

Effects are added to the Lower Tone.

Changing the Pitch of the Lower Tone in Octave Steps (Octave Shift)

You can change the pitch of the Lower Tone in Dual Play (p. 18) and Split Play (p. 19) an octave at a time.

Altering the pitch in one-octave units in this way is called “Octave Shift.”

For example, you can raise the pitch of the Lower Tone to the same pitch of the Upper Tone in Split Play.

Switch to Function mode, and press the [Split]

button.

Mod

Modulation Vivrato is added by pressing the

pedal

Chapter 4 Other Functions

fig.04-04

flashes in red

Press the [-] or [+] button to select the pitch.

The range of available pitch change spans from two octaves higher to two octaves lower.

The pitch is lowered one octave each time the [-] button is pressed, while each press of the [+] button raises the pitch by one octave.

To return to the original pitch, press the [-] and [+] buttons simultaneously.

Changing the Velocity When the Key Touch Is Set to “Fixed”

This sets the velocity the sound will have when the keyboard touch is set to “Fixed (p. 22).”

Switch to Function mode, and press the [Piano]

button.

fig.04-05

flashes in red

The last three digits of the current standard pitch setting appear in the display.

Press the [-] or [+] button to change the standard pitch.

You can set the standard pitch anywhere in a range of

415.3 Hz to 466.2 Hz.

The pitch is lowered 0.1 Hz each time the [-] button is pressed. When the button is held down, the pitch drops continuously.

The pitch is raised 0.1 Hz each time the [+] button is pressed. When the button is held down, the pitch rises continuously.

To return to the original pitch, press the [-] and [+] buttons simultaneously.

Switch to Function mode, and press the [Reverb]

button.

fig.04-04

flashes in red

Press the [-] or [+] button to change the velocity.

You can set this to any value from 1 to 127.

Tuning to Other Instruments’ Pitches (Master Tuning)

When playing ensemble with other instruments and in other such instances, you can match the standard pitch to another instrument.

The standard pitch generally refers to the pitch of the note that’s played when you finger the middle A key. For a cleaner ensemble sound while performing with one or more other instruments, ensure that each instrument’s basic pitch is in tune with that of the other instruments. This tuning of all the instruments to a standard pitch is called “master tuning.”

When the instrument is turned on, the standard pitch is set to “440.0 Hz.”

Adjusting the Tuning (Temperament)

You can play classical music such as baroque pieces using their original tuning.

Most modern songs are composed and played with the assumption that equal temperament (the most common tuning in use today) will be used, but when classical music was composed, there were a wide variety of other tuning systems in existence. Playing a composition with its original tuning lets you enjoy the sonorities of the chords that the composer originally intended.

Switch to Function mode, and press the [Transpose] button.

fig.04-06

flashes in red

Temperament

Press the [-] or [+] button to change the temperament.

Tonic

Chapter 4 Other Functions

You can choose from among the seven tunings described below.

Temperament Qualities

Equal In this tuning, each octave is divided

into twelve equal steps. Every interval produces about the same amount of slight dissonance. This setting is in effect when you turn on the power.

Pythagorean This tuning, devised by the philoso-

pher Pythagoras, eliminates dissonance in fourths and ﬁfths. Dissonance is produced by thirdinterval chords, but melodies are euphonious.

Just Major This tuning eliminates ambiguities

in the ﬁfths and thirds. It is unsuited to playing melodies and cannot be transposed, but is capable of beautiful sonorities.

Just Minor The Just tunings differ from major

and minor keys. You can get the same effect with the minor scale as with the major scale.

Mean Tone This scale makes some compromises

in just intonation, enabling transposition to other keys.

Werckmeister This temperament combines the

Mean Tone and Pythagorean tunings. Performances are possible in all keys (ﬁrst technique, III).

Kirnberger This is an improvement of the Mean

Tone and Just tunings that provides a high degree of freedom of modulation. Performances are possible in all keys (III).

Press a key corresponding to the keynote.

The display is as follows:

fig.Chart3

Display

Letter name

C d_ d E_ E F F G A_ A b_ b

C D D E E F F G A A B B

When playing with tuning other than equal temperament, you need to specify the keynote for tuning the song to be performed (that is, the note that corresponds to C for a major key or to A for a minor key).

If you choose an equal temperament, there’s no need to select a keynote.

* When performing in ensemble with other instruments, be

aware that depending on the key, there may be some shifting of

the pitch. Tune the FP-5 to the fundamental pitch of the other

instruments.

Changing the Beat Pattern

The metronome usually sounds one beat per quarter note, but you can change the beat pattern to sound, for example, one beat for every dotted quarter note.

Switch to Function mode, and press the

[ (Metronome)] button.

fig.04-07

flashes in red

Press the [-] or [+] button to change the beat division.

Indication Description

—

(Normal)

2. ( )

2 ( )

4. ( )

4 ( )

8. ( )

8 ( )

16 ( )

→

If you select “A1” with a triplet rhythm (6/8, 9/8, 12/8), the

additional sound is played in the same way as “A2.”

→

Refer to “Using the Metronome” (p. 29).

The metronome sounds in the ordinary way.

Counting starts at the beginning of the measure, in intervals of dotted half-note upbeats.

Counting starts at the beginning of the measure, in intervals of half-note upbeats.

Counting starts at the beginning of the measure, in intervals of dotted quarter-note upbeats.

Counting starts at the beginning of the measure, in intervals of quarter-note upbeats.

Counting starts at the beginning of the measure, in intervals of dotted eighth-note upbeats.

Counting starts at the beginning of the measure, in intervals of eighth-note upbeats.

Counting starts at the beginning of the measure, in intervals of sixteenth-note upbeats.

The metronome plays with a backbeat added to each beat.

Counting is with triplets for each beat.

The added sounds are shufﬂed.

Chapter 4 Other Functions

Setting the Intro and Ending on or off

This sets session partner Intro and Ending on or off. When set to “Off,” pressing [Start/Stop] causes the Intro and Ending not to be played.

Switch to Function mode, and press the [Start/Stop] button.

fig.04-04

flashes in red

Press the [-] or [+] button to set on or off.

OFF

Pressing [Start/Stop] causes the Intro and Ending to be played.

Pressing [Start/Stop] causes the Intro and Ending not to be played.

Setting the Root Note of the Chord Progression

This sets the root note of the chord progression.

Switch to Function mode, and press the [Bass]

button.

fig.04-04

flashes in red

Press the key corresponding to the root note of

the first chord.

The root is indicated in the display as shown below.

Display

Letter name

→

C d_ d E_ E F F G A_ A b_ b

C D D E E F F G A A B B

You can hold down the [Bass] button and pressing the [-] or

[+] button to change the cord progression pattern.

Fixing a Set Chord Progression

When changing the Session Partner Rhythm, select whether or not the chord progression is to change along with the Rhythm. The default value when the power is turned on is “ON.”

Switch to Function mode, and press the

[Chord Progression] button.

fig.04-04

flashes in red

Press the [-] or [+] button to set on or off.

OFF

When the rhythm changes, a change to the optimal chord progression is made.

When the rhythm changes, the chord progression does not change.

Setting the Chord Display on or off

This setting determines whether or not the chords are indicated in the display during performances using Session Partner.

Switch to Function mode, and press the [Chord] button.

fig.04-04

flashes in red

Press the [-] or [+] button to set on or off.

Chords are displayed.

OFF

Chords are not displayed.

Chapter 4 Other Functions

Connecting to Audio Equipment

You can connect audio devices to play the sound of the FP-5 through the speakers of your audio system, or to record your performance on a tape recorder or other recording device.

When connecting, please use an audio cable with a standard phone plug (sold separately).

Connection Examples

* 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.

Playing the sound of the FP-5 through the speakers of an audio system/Recording the performance of the FP-5 on a recording device

fig.audio1.e

Input R/L

(Line In, Aux In)

❍

Use the following procedure when turning on the power.

Set the volume of the FP-5 and of the connected

devices to the minimum position.

Set the speaker switch to “OFF” located on the

rear panel.

Turn on the power of the connected device.

Turn on the power of the FP-5.

Adjust the volume of each device.

Turning off the power

Set the volume of the FP-5 and of the connected

devices to the minimum position.

Turn off the power to the FP-5.

Turn off the connected equipment.

FP-5

❍

Use the following procedure when turning on the power.

Set the volume of the FP-5 and of the connected devices to the minimum position.

Set the speaker switch to “OFF” located on the rear panel.

Turn on the power of the FP-5.

Turn on the power of the connected device.

Adjust the volume of each device.

When Recording FP-5 Performances on a Recording Device

Start recording with the connected device.

Perform on the FP-5.

When the performance ends, stop recording on

the connected equipment.

Playing the sound of an audio device through the speakers of the FP-5

fig.audio2.e

Output R/L

(Line Out, Aux Out)

About the FP-5 Sound Generator

The FP-5 come equipped with GM2 sound generators.

General MIDI

The General MIDI is a set of recommendations which seeks to provide a way to go beyond the limitations of proprietary designs, and standardize the MIDI capabilities of sound generating devices. Sound generating devices and music files that meets the General MIDI standard bears the General MIDI logo. Music files bearing the General MIDI logo can be played back using any General MIDI sound generating unit to produce essentially the same musical performance.

General MIDI 2

The upwardly compatible General MIDI 2 recommendations pick up where the original General MIDI left off, offering enhanced expressive capabilities, and even greater compatibility. Issues that were not covered by the original General MIDI recommendations, such as how sounds are to be edited, and how effects should be handled, have now been precisely defined. Moreover, the available sounds have been expanded. General MIDI 2 compliant sound generators are capable of reliably playing back music files that carry either the General MIDI or General MIDI 2 logo.

FP-5

In some cases, the conventional form of General MIDI, which does not include the new enhancements, is referred to as “General MIDI 1” as a way of distinguishing it from General MIDI 2.

Chapter 4 Other Functions

Connecting to the USB Connector

You can use a USB connector to connect the FP-5 to your computer. For more details, refer to the separate “USB Installation Guide.”

* Connecting your computer to the FP-5 for the first time

requires installation of the “USB Driver” (on the included

CD-ROM) to the computer. For more details, refer to the

separate “USB Installation Manual.”

* Only MIDI data can be transmitted using USB.

* 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.

* USB cables are not included. Consult your Roland dealer if

you need to purchase.

* Turn on the power to the FP-5 before starting up MIDI

applications on the computer. Do not turn the FP-5 on or off

while any MIDI application is running.

* Do not connect or disconnect the USB cable while the FP-5’s

power is on.

* If not using USB, disconnect the USB cable from the FP-5.

* If, during the transmission/reception of data, the computer

switches to energy-saving mode or suspended mode, or if the

FP-5’s power is switched on or off, the computer may freeze, or

the FP-5’s operation may become unstable.

* A separate publication titled “MIDI Implementation” is also

available. It provides complete details concerning the way

MIDI has been implemented on this unit. If you should require

this publication (such as when you intend to carry out byte-

level programming), please contact the nearest Roland Service

Center or authorized Roland distributor.

* MIDI cables are not included. Consult your Roland dealer if

you need to purchase.

■

Connectors

fig.04-08

MIDI Out Connector

Sends data about what is being played on the keyboard and other performance data.

Connect to the MIDI in connector on the external MIDI device.

MIDI In connector

Receives messages sent from external MIDI devices.

Connect to the MIDI Out connector on the external MIDI device.

■

Making the Connections

* To prevent malfunction and/or damage to speakers or other

devices, always turn down the volume, and turn off the power

on all devices before making any connections.

* When using your computer’s sequencer software to record

FP-5 performances, we recommend setting the sequencer

software’s Soft Thru to “OFF,” or setting MIDI Out mode

(p. 51) to “4.”

Connecting MIDI Devices

About MIDI

MIDI stands for “Musical Instrument Digital Interface,” and is a worldwide standard for the exchange of performance data (MIDI messages) and other information among electronic instruments and computers.

The FP-5 features a MIDI connector and a computer connector to allow performance information to be exchanged with external devices. Connecting the keyboard to other devices with these connectors provides you with an even greater variety of ways to use your keyboard.

Turn the volume all the way down on the FP-5

and on the device you’re about to connect.

Turn off the power to the FP-5 and to the device

being connected.

Connect a MIDI cable (sold separately) between the MIDI connectors on each device.

Switch on the power to the FP-5 and the connected device.

Adjust the volume level on the FP-5 and the connected device.

You should also set the MIDI settings as needed.

Make the settings for the MIDI send and receive channels (p. 50) and for Local On/Off (p. 50).

Chapter 4 Other Functions

flashes in red

■

How to Enjoy MIDI

Recording Data of Performances Played on the FP-5 to a

Sequencer* and Automatically Playing Recorded

Performance Data on the FP-5

Connection example: Connecting to a sequencer (the Roland MT series, etc.)

fig.04-09.e

sequencer

Use a sequencer whici has

MIDI

InOut

MIDI out connector.

FP-5

→

When connecting a sequencer, we recommend using it with

the settings described below.

• Local Control off (p. 50)

• MIDI Out Mode 4 (p. 51)

When the instrument is turned on, MIDI Out Mode is set

to “1.”

Performing on the FP-5 Using Sounds from Another

Sound Module*

What is a MIDI Sound Module?

Inside a synthesizer or electronic piano is the section that actually produces sound, known as the sound module. A MIDI sound module produces sounds as the result of MIDI messages sent to it by other devices.

■

MIDI Settings

MIDI Send Channel Settings

Select the transmission channel of FP-5.

MIDI features sixteen MIDI channels, numbered 1–16. Simply connecting a cable is not enough for communication to take place. The connected devices must be set to use the same MIDI channels. Otherwise, no sound will be produced, and no sounds can be selected. When the instrument is turned on, this is set to Channel “1.” The FP-5 receives messages on all channels, 1–16.

* When the keyboard is in dual play, the channel you’ve set here

is transmitted.

* When the keyboard is split into left and right sides, the

transmission channel for messages from the left-hand side is

fixed at “3.”

Switch to Function mode(p. 42), and press the [Rec] button.

fig.04-11

Connection Example: Connecting to a MIDI Sound Module

fig.04-10.e

MIDI Sound Module

MIDI OUTTHRU IN

FP-5

→

When connecting to a MIDI sound module, we recommend

using the system with MIDI Out Mode set to “2” (p. 51).

When the instrument is turned on, MIDI Out Mode is set to

“1.”

What is a Sequencer?

A sequencer is a device that records the stream of MIDI messages that is sent out by an instrument. These messages convey all the details of what has occurred while the instrument is played; including the timing of notes, their sound, the force used to play them, and for how long. Afterwards, you can send the recorded MIDI information back to the instrument, and it will play automatically.

Press the [-] or [+] button to select the

transmission channel.

Select the transmission channel (1–16) of the FP-5.

Switching Local Control On and Off

When connecting a MIDI sequencer, set Local Control to “Off.”

When the instrument is turned on, this is set to “On.”

As illustrated, information describing what has been played on the keyboard is passed to the internal sound generator over two different routes, (1) and (2). As a result, you hear overlapping or intermittent sounds. To prevent this from happening, route (1) must be severed, by setting the unit to what is known as “Local Off.”

Chapter 4 Other Functions

fig.04-12.e

Local On

(1)

Sequencer

Sound

Generator

Each note played

is sounded twice

MIDI

MIDI OUT

Memory

MIDI

Thru function On

(2)

Local Control ON: The keyboard and the internal sound generator are in a linked state.

fig.04-13.e

Sound is emitted

Sound Generator

Local On

Local Control OFF: The keyboard and the internal sound generator are in an unlinked state. No sound will be produced by the keyboard when it is played.

fig.04-14.e

No sound produced

Sound Generator

Local Off

* When connecting a unit in the Roland MT series, you don’t

need to switch off Local Control. MT units transmit Local Off

messages when their power is switched on. If you first switch

on the FP-5, then the MT-series device, Local Control is

automatically switched off on the FP-5.

Switch to Function mode, and press the [Song]

button.

fig.04-15

Setting the MIDI Out Mode

By setting the MIDI Out Mode, you can select to have a more suitable (to the external MIDI device) selection of MIDI data be output from the MIDI Out connector when you make tone changes on the FP-5.

Four settings for the MIDI Out Mode are available.

“MIDI Out Mode 1” is the power-up default setting.

Indication

MIDI Out Mode 1 This setting is suitable for the connection of sequencers. The MIDI information (for example: Bank select, Program Change, Settings of Effects, and so on) is output from the MIDI Out connector when you make a tone change on the FP-5.

MIDI Out Mode 2 This setting is suited for connecting to a sound module. The MIDI information (for example: Bank select) is not output from the MIDI Out connector when you make a tone change on the FP-5.

MIDI Out Mode 3 You can transmit performance data recorded with the FP-5. Additionally, the MIDI messages that are output have the same content as those in MIDI Out Mode 1.

MIDI Out Mode 4 The MIDI messages that are output have the same content as those in MIDI Out Mode 3. However, these are not transmit to FP-5’s sound module. Additionally, the local control is switched to off (p. 50).

Switch to Function mode, and press the [Play/ Stop] button.

fig.04-17

Descriptions

flashes in red

Press the [-] or [+] button to switch Local Control on and off.

flashes in red

Press the [-] or [+] button to select the MIDI Out

Mode.

Chapter 4 Other Functions

Transferring the Program Change message

When a setup is switched, a Program Change message is transmitted.

Switch to Function mode, and press the [Setup] button.

Hold down the [Setup] button, and press the [-] or

[+] button to select bank select MSB, LSB or Program change (PC).

fig.disp—-

flashes in red

Press [-] or [+] button to select the number.

Exit Function mode to register the setup to the

settings (p. 37).

Indication description

OFF

FC1

FC2

You can use a function assigned to the sostenuto(FC1) pedal and the soft(FC2) pedal.

The sostenuto(FC1) pedal is dedicated to switching Setup. The function assigned to the sostenuto(FC1) pedal cannot to be used.

The soft(FC2) pedal is dedicated to switching Setup. The function assigned to the soft(FC2) pedal cannot to be used.

Transferring the FP-5’s Settings to an External MIDI Device (Bulk Dump)

You can transfer the contents of FP-5’s Setup settings to an external MIDI device. This operation is called “bulk dump.”

Using the Pedal to Switch Setup (Pedal shift)

You can use the pedal which is connected to the sostenuto(FC1) jack or the soft(FC2) jack as a dedicated switch for selecting Setup in order.

Switch to Function mode, and press the [Setup] button.

Hold down the [Setup] button, and press the [-] or [+] button so “SFt” is displayed.

fig.disp—-

flashes in red

Press the [-] or [+] button to select pedal setting.

Use a MIDI cable (optional) to connect the FP-5’s

MIDI OUT connector to the MIDI IN connector on an external sequencer, or use a USB cable to connect the computer.

Switch to Function mode, and press the [Setup]

button.

Hold down the [Setup] button, and press the [-] or

[+] button to select bank select.

“dnP” is displayed, and the [Play/Stop] button’s indicator begin flashes.

fig.disp—-

flashes in redflashes in red

Put the external sequencer in record mode.

Press [Play/Stop] to transmit the settings.

After the transmitting is finished, “dnP” is appeared in display.

Stop the external sequencer.

Chapter 4 Other Functions

Making the Settings for the USB Driver

If you intend to connect to a computer using the USB connector, you need to make the following setting before you make the connection.

Switch to Function mode, and press the [Tone Wheel] button.

fig.04-04

flashes in red

Press the [-] or [+] buttons to select the driver.

Indication Description

vdr

(Vender)

GEn

(Generic)

Select this when using the supplied driver with a USB connection.

Select this when using a generic USB driver included with the OS with a USB connection.

Disabling Everything Except Piano Play (Panel Lock)

The “Panel Lock” function locks the FP-5 in a state where only piano performance can be used, and all buttons will be disabled. This prevents the settings from being inadvertently modified even if children press the buttons accidentally.

Turn the volume to the minimum, and press the

[Power] switch to turn off the power.

Hold down the [Piano] button and press the [Power]

switch to turn on the power.

Then, continue to hold down these two buttons by following display will appear.

fig.disp—-

Adjust the volume.

When you play the keyboard, the grand piano sound will be heard.

It cannot be changed to another tone.

Restoring the settings to the factory condition (Factory Reset)

The settings stored in the FP-5 can be returned to their factory settings.

* Executing “Factory Reset” results in deletion of the Settings.

If you want to keep any data you have stored, use the “Bulk

Dump” operation to save the data to an external sequencer (p.

52).

Turn the volume to the minimum, and press the [Power] switch to turn off the power.

Hold down the [Pedal control] button, and press the [Power] switch to turn on the power.

Continue pressing the button until “Fct” appears in the display.

fig.04-04

To defeat the Panel Lock function, turn the

volume down to the minimum, and turn on the power once again.

After “Fct” is displayed, the screen and buttons go back to normal.

Troubleshooting

Case Cause/What to do

No Power

No Sound

No Sound (With a

MIDI Device

Connected)

No Sound From

the Left Side

The Volume of the

Keyboard is Too

Low

Two Sounds are

Produced When

the Keyboard is

Played

Not All Sounds Are

Played

Is the power cord properly connected? (p. 8)

Is the volume level of the FP-5 (p. 10) or connected device turned all the way down?

Are headphones plugged in? Has a plug remained connected to the

Phones jack? (p. 10)

Is the Speaker switch to “ON”? (p. 7)

Is Local Off selected? When Local Control is set to OFF, no sound is produced by playing the keyboard. Set Local Control to “ON”(p. 50).

Is the MIDI Out mode set to “4”? (p. 51)

Is the power to all devices turned on? (p. 48)

Is the MIDI cable connected and plugged in correctly? (p. 49)

Does the MIDI channel match the connected instrument? (p. 50)

Is the [Chord Progression] button’s indicator off? (p. 35) No sound from the left side is produced if the [Chord Progression] button’s indicator is off while the Session Partner is playing.

Is the volume balance turned all the way down? (p. 21)

Is the FP-5 in Dual Play? (p. 18)

When the FP-5 is connected to an external sequencer, set it to the Local OFF mode (p. 50). Alternatively, set SOFT THRU on the sequencer to “OFF.”

The FP-5 has a maximum polyphony of 64 voices. When playing together with a song or Rhythm along with heavy use of the damper pedal, the performance data may exceed the number of available voices, and as a result, some notes or sounds played on the keyboard may not sound.

Case Cause/What to do

Have you set Transpose? (p. 28)

Are the settings for the Temperament (p. 45) correct?

Is the setting for Master Tuning correct?

The Keyboard or

Song Register or

Pitch is Off

Rhythm Does Not

Sound

Song Doesn’t Play

Back

Only the Sound of

a Particular

Instrument in a

Song Does Not

Play

Cannot Record

Tempo of

Recorded Song or

Metronome is Off

Recorded

Performance is

Erased

The [Split] button’s

light won’t go out

(p. 45)

Is the [Pedal Control] button’s indicator on? When the [Pedal Control] button is illuminated, pitch bend is applied with the damper pedal. Press the [Pedal Control] button, getting its indicator goes out.

Is the volume balance for the Rhythm turned all the way down? (p. 33)

Does “dEL” appear in the display? (p. 13) The internal songs cannot be played back while recorded performance data remains in the FP-5’s memory. Try playing back the song after deleting the performance data.

Is Track Mute on? (p. 13) If the button’s light is out when you hold down the [Play/Stop] button, the music on that track is not heard. Press the track button so the light is illuminated.

Have you selected which of the Track Buttons to be recorded? (p. 40)

When you select for recording an internal song that features tempo changes, the tempos of Performances recorded on other tracks are altered along with these changes. In addition, the Metronome tempo is also changed the same way.

Performances that have been recorded are erased when the power for the FP-5 is turned off. Once erased, Performances cannot be recovered.

Is the [Chord Progression] button’s indicator off? (p. 35)

The

accompaniment

sounds when the

keys are played

Is the [Chord Progression] button’s indicator on? (p. 35) When the [Chord Progression] button’s indicator is on, the Session Partner begins if you ﬁnger a keyboard.

Troubleshooting

Case Cause/What to do

Is the pedal connected correctly? Connect the pedal securely to the Pedal jack (p. 9).

Are you using a pedal made by another manufacturer? Use the pedal included with the FP-5 or an optional DP Series or similar pedal.

Unplugging a pedal cord from the unit

Pedal Has No

Effect, or Effect

“Sticks”

Effects Not

Applied

Reverb Remains

Even After Reverb

is Lifted

Sound Suddenly

Changes at Key in

Upper Octaves

while the power is on may cause the pedal’s effect to be applied nonstop. Be sure to switch off the power to the unit before attempting to disconnect or connect a pedal cord (p. 9).

Is the [Pedal Control] button’s indicator on? When the [Pedal Control] button’s indicator is on, a damper pedal cannot be used for its original function (p. 27).

Once it’s been assigned as a setup switch, a soft pedal or sostenuto pedal cannot be used for its original function (p. 52).

When the part to which the effects are applied is assigned to the Lower Tone, the effects are then not applied to the Upper Tone (p. 44).

As the FP-5 piano sounds faithfully reproduce the depth and reverberation of actual acoustic pianos, reverberation may still be audible even after the reverb effect is removed from sounds.

With the acoustic piano settings, sounds in the upper 1 1/2-octave range are extended to the end regardless of the damper pedal actions. The tone is also different in this range. Roland’s pianos faithfully reproduce the sonic qualities of acoustic pianos. Furthermore, you can use the instrument’s Key Transpose setting to change that range over which the damper pedal has no effect.

Case Cause/What to do

When listening through headphones: Certain piano tones that feature vibrant, sparking sounds contain a large highfrequency component, which may make it appear that a metallic reverberation has been applied. This faithfully reproduces the characteristics of acoustic pianos, and does not indicate any malfunction. Since

High-Pitched

Whine is Produced

Low End Sounds

Are Strange/Have

a Rattling Sound

The volume level

of the instrument

connected to Line

In Jack is too low

this reverberation becomes particularly audible when supplemented by heavy reverb, you may be able to diminish the problem by reducing the amount of reverb applied to the sound. When listening through speakers: Here, a different cause (such as resonance produced by the FP-5) would be suspect. Consult your Roland dealer or nearest Roland Service Center.

When listening through speakers: Playing at loud volumes may cause instruments near the FP-5 to resonate. Resonation can also occur with ﬂuorescent light tubes, glass doors, and other objects. In particular, this problem occurs more easily when the bass component is increased, and when the sound is played at higher volumes. Use the following measures to suppress such resonance.

- Place speakers so they are 10–15 cm from walls and other surfaces.

- Reduce the volume.

- Move the speakers away from any resonating objects.

- Check to make sure that the screws holding the music stand in place are not loose. When listening through headphones: The cause lies somewhere else. Consult your Roland dealer or nearest Roland Service Center.

Could you be using a connection cable that contains a resistor? Use a connection cable that does not contain a resistor.

Error Messages/Other Messages

Display Meaning

USr

Usr.

dEL

SUP

dnP

Fct

E.32

E.40

E.41

User. Stores recorded Performances (p. 12, p. 38).

The “.” in the display indicates that there is Performance material already recorded (p. 12, p. 38).

Piano song number (p. 12).

Rhythm number (p. 33).

This appears when you attempt to delete a recorded song (p. 41). Additionally, this appears after recording a song when you try to select another song (p. 13).

This appears when you store setting to set up, or select stored settings (p. 37).

Bulk Dump. This appears when you transfer the FP-5’s settings to an external sequencer (p. 52).

Factory Reset. This appears when you restore the settings to the factory condition (p. 53).

The amount of performance information is too large, and further recording is not possible.

Too much MIDI data was sent from the external MIDI instrument at one time, and the unit could not process the data. Reduce the amount of MIDI data being sent to the FP-5.

A problem such as a loose MIDI cable or computer cable occurred. Make sure the MIDI cables and computer cables are correctly hooked up.

A system error has occurred. Try performing the procedure over again.

E.51

Should this message continue to appear even after repeated attempts, please consult the nearest Roland Service Center.

* Error messages are indicated by an “E.” before the number

When the Error message appears, the [-] and [+] button indicators flashes in red.

Press the [-] or [+] button, and you can cancel the error message.

Tone List

→

“Performing with a Variety of Sounds” (p. 14)

Piano

1 Grand Piano 1 2 Piano+Strings 3 Grand Piano 2 4 Piano+Pad 5 Rock Piano 6 Mellow Piano 7 Honky-tonk 8 Harpsichord

E.Piano

1 Pop E.Piano 2 Stage E.Piano 3 60’s E.Piano 4 70’s E.Piano 5 E.Grand 6 FM E.Piano 1 7 FM E.Piano 2 8 Clav. 9 Vibraphone 10 Morning Lite

Organ

1 Jazz Organ 2 Mellow Bars 3 Rock Organ 4 Purple Spin 5 Lower Organ 6 Ballad Organ 7 60’s Organ 8 Church Organ 1 9 Church Organ 2 10 Nason Flute

Guitar/Bass

1 Steel Gtr 2 Nylon Gtr 3 Jazz Guitar 4 Blusey OD 5 Acoustic Bass 6 A.Bass+Ride 7 Finger Bass 8 Slap Bass 9 Synth Bass 10 Vox Bass

Strings/Pad

1 Rich Strings 2 Velo Strings 3 Fat Strings 4 Synth Strings 5 Synth Pad 1 6 Synth Pad 2 7 Glasswaves 8 Orchestra 9 Voyager Brass

Voice/GM2

1 Jazz Scat 2 Choir 3 Beauty Vox 4 Voice Oohs 5 Holy Voice 6 Tenor Sax 7 Flute

Rhythm

→

“Rhythm Set List” (p. 59)

8 Pop Drum Set 9 Jazz Drum Set 10 Voice Drum Set 11 House Drum Set 12 GM2 STANDARD 13 GM2 ROOM 14 GM2 POWER 15 GM2 ELECTRIC 16 GM2 ANALOG 17 GM2 JAZZ 18 GM2 BRUSH 19 GM2 ORCHESTRA 20 GM2 SFX

GM2

21 Piano 1 22 Piano 1 (wide) 23 Piano 1 (dark) 24 Piano 2 25 Piano 2 (wide) 26 Piano 3 27 Piano 3 (wide) 28 Honky-tonk 1 29 Honky-tonk 2 30 E.Piano 1 31 St.Soft EP 32 FM+SA EP 33 60’s E.Piano 34 E.Piano 2 35 Detuned EP 2 36 St.FM EP 37 EP Legend 38 EP Phase 39 Harpsichord 40 Coupled Hps. 41 Harpsi (wide) 42 Harpsi (key Off) 43 Clav. 44 Pulse Clav 45 Celesta 46 Glockenspiel 47 Music Box 48 Vibraphone 49 Vibraphone (wide) 50 Marimba 51 Marimba (wide) 52 Xylophone 53 Tubular-bell 54 Church Bell 55 Carillon 56 Santur 57 Organ 1 58 Trem. Organ 59 60’s Organ 60 70’s E.Organ 61 Organ 2 62 Chorus Or.2 63 Perc. Organ 64 Organ 3 65 Church Org.1 66 Church Org.2 67 Church Org.3 68 Reed Organ 69 Puff Organ 70 Accordion Fr 71 Accordion It

Tone List

72 Harmonica 73 Bandoneon 74 Nylon-str.Gt 75 Ukulele 76 Nylon Gt (key Off) 77 Nylon Gt.2 78 Steel-str.Gt 79 12-str.Gt 80 Mandolin 81 Steel + Body 82 Jazz Gt. 83 Pedal Steel 84 Clean Gt. 85 Chorus Gt. 86 Mid Tone GTR 87 Muted Gt. 88 Funk Pop 89 Funk Gt.2 90 Jazz Man 91 Overdrive Gt 92 Guitar Pinch 93 DistortionGt 94 Feedback Gt. 95 Dist Rtm GTR 96 Gt.Harmonics 97 Gt. Feedback 98 Acoustic Bs. 99 Fingered Bs. 100 Finger Slap 101 Picked Bass 102 Fretless Bs. 103 Slap Bass 1 104 Slap Bass 2 105 Synth Bass 1 106 Synth Bass 101 107 Acid Bass 108 Clavi Bass 109 Hammer 110 Synth Bass 2 111 Beef Bass 112 Rubber Bass 113 Attack Pulse 114 Violin 115 Slow Violin 116 Viola 117 Cello 118 Contrabass 119 Tremolo Str 120 Pizzicato Str 121 Harp 122 Yang Qin 123 Timpani 124 Strings 125 Orchestra 126 60s Strings 127 Slow Strings 128 Synth Strings 1 129 Synth Strings 3 130 Synth Strings 2 131 Choir Aahs 132 Chorus Aahs 133 Voice Oohs 134 Humming 135 SynVox 136 Analog Voice 137 OrchestraHit 138 Bass Hit 139 6th Hit 140 Euro Hit 141 Trumpet 142 Dark Trumpet 143 Trombone 1 144 Trombone 2 145 Bright Tb

146 Tuba 147 Muted Trumpet 1 148 Muted Trumpet 2 149 French Horns 1 150 French Horns 2 151 Brass 1 152 Brass 2 153 Synth Brass 1 154 Pro Brass 155 Oct SynBrass 156 Jump Brass 157 Synth Brass 2 158 SynBrass sfz 159 Velo Brass 160 Soprano Sax 161 Alto Sax 162 Tenor Sax 163 Baritone Sax 164 Oboe 165 English Horn 166 Bassoon 167 Clarinet 168 Piccolo 169 Flute 170 Recorder 171 Pan Flute 172 Bottle Blow 173 Shakuhachi 174 Whistle 175 Ocarina 176 Square Wave 1 177 Square Wave 2 178 Sine Wave 179 Saw Wave 180 OB2 Saw 181 Doctor Solo 182 Natural Lead 183 Sequenced Saw 184 Syn.Calliope 185 Chiffer Lead 186 Charang 187 Wire Lead 188 Solo Vox 189 5th Saw Wave 190 Bass & Lead 191 Delayed Lead 192 Fantasia 193 Warm Pad 194 Sine Pad 195 Polysynth 196 Space Voice 197 Itopia 198 Bowed Glass 199 Metal Pad 200 Halo Pad 201 Sweep Pad 202 Ice Rain 203 Soundtrack 204 Crystal 205 Syn Mallet 206 Atmosphere 207 Brightness 208 Goblin 209 Echo Drops 210 Echo Bell 211 Echo Pan 212 Star Theme 213 Sitar 1 214 Sitar 2 215 Banjo 216 Shamisen 217 Koto 218 Taisho Koto 219 Kalimba

220 Bagpipe 221 Fiddle 222 Shanai 223 Tinkle Bell 224 Agogo 225 Steel Drums 226 Woodblock 227 Castanets 228 Taiko 229 Concert BD 230 Melo. Tom 1 231 Melo. Tom 2 232 Synth Drum 233 808 Tom 234 Elec Perc 235 Reverse Cym. 236 Gt.FretNoise 237 Gt.Cut Noise 238 String Slap 239 Breath Noise 240 Fl.Key Click 241 Seashore 242 Rain 243 Thunder 244 Wind 245 Stream 246 Bubble 247 Bird 1 248 Dog 249 Horse-Gallop 250 Bird 2 251 Telephone 1 252 Telephone 2 253 DoorCreaking 254 Door 255 Scratch 256 Wind Chimes 257 Helicopter 258 Car-Engine 259 Car-Stop 260 Car-Pass 261 Car-Crash 262 Siren 263 Train 264 Jetplane 265 Starship 266 Burst Noise 267 Applause 268 Laughing 269 Screaming 270 Punch 271 Heart Beat 272 Footsteps 273 Gun Shot 274 Machine Gun 275 Laser 276 Explosion

Tone Wheel

1 Tone Wheel Organ 1 2 Tone Wheel Organ 2 3 Tone Wheel Organ 3 4 Tone Wheel Organ 4 5 Tone Wheel Organ 5 6 Tone Wheel Organ 6

Rhythm Set List

R&B Snare Rock Snare 2 Rock Snare 2 Pop Snare 3 Pop Snare Ghost Pop Snare 3 Finger Snap 707 Claps Hand Clap Hand Clap2 Hand Clap Pop Pedal HH [EXC1] Hand Clap Pop Snare Ghost Pop Kick Pop Kick Rock Side Stick Pop Snare 1 Pop Snare Ghost Pop Snare 2 Pop Low Tom Flm Pop CHH 1 [EXC1] Pop Low Tom Pop CHH 2 [EXC1] Pop Mid Tom Flm Pop OHH [EXC1] Pop Mid Tom Pop High Tom Flm Pop Crash Cymbal 1 Pop High Tom Pop Ride Cymbal 1 Pop Crash Cymbal 2 Pop Ride Bell Tambourine Splash Cymbal Cha Cha Cowbell Pop Crash Cymbal 3 Vibraslap Pop Ride Cymbal 2 High Bongo 2 Low Bongo 2 Mute Conga High Conga 2 Low Conga 2 High Timbale 2 Low Timbale 2 High Agogo Low Agogo Shaker 3 Shaker 4 ShortWhistle [EXC2] Long Whistle [EXC2] Short Guiro [EXC3] Long Guiro [EXC3] Claves High Wood Block Low Wood Block Mute Cuica [EXC4] Open Cuica [EXC4] Mute Triangl [EXC5] Open Triangl [EXC5] 808 Maracas Jingle Bell Bar Chimes Castanets Mute Surdo [EXC6] Open Surdo [EXC6]

----Flamenco Hi-Timbale Flamenco Lo-Timbale Flamenco Tmbl Flam Shaker 1 Shaker 2 Low Bongo Mute Cabasa Up Cabasa Down

-----

----Flamenco Hand Clap Flamenco Hand Clap Bongo Cowbell

----Bongo Cowbell Wah Gtr Noise 1 Wah Gtr Noise 2 Wah Gtr Noise 3 Wah Gtr Noise 4

R&B Snare Pop Snare 3 Pop Snare 3 Pop Snare 3 Pop Snare Ghost Pop Snare 3 Finger Snap 707 Claps Hand Clap Hand Clap2 Hand Clap Pop Pedal HH [EXC1] Hand Clap Pop Snare Ghost Pop Kick Pop Kick Jazz Brsh Swirl 1 Jazz Snare 2 Jazz Brsh Swirl 2 Jazz Snare 2 Jazz Low Tom Flm Pop CHH 1 [EXC1] Jazz Low Tom Pop CHH 2 [EXC1] Jazz Mid Tom Flm Pop OHH [EXC1] Jazz Mid Tom Jazz High Tom Flm Jazz Crash Cymbal 1 Jazz High Tom NewJzRide1 Jazz Crash Cymbal 2 NewJzRide1 Tambourine Splash Cymbal Cha Cha Cowbell Jazz Crash Cymbal 3 Vibraslap Pop Ride Cymbal 2 High Bongo 2 Low Bongo 2 Mute Conga High Conga 2 Low Conga 2 High Timbale 2 Low Timbale 2 High Agogo Low Agogo Shaker 3 Shaker 4 ShortWhistle [EXC2] Long Whistle [EXC2] Short Guiro [EXC3] Long Guiro [EXC3] Claves High Wood Block Low Wood Block Mute Cuica [EXC4] Open Cuica [EXC4] Mute Triangl [EXC5] Open Triangl [EXC5] 808 Maracas Jingle Bell Bar Chimes Castanets Mute Surdo [EXC6] Open Surdo [EXC6]

----Flamenco Hi-Timbale Flamenco Lo-Timbale Flamenco Tmbl Flam Shaker 1 Shaker 2 Low Bongo Mute Cabasa Up Cabasa Down

-----

----Flamenco Hand Clap Flamenco Hand Clap Bongo Cowbell

----Bongo Cowbell Wah Gtr Noise 1 Wah Gtr Noise 2 Wah Gtr Noise 3 Wah Gtr Noise 4

108

107

R&B Snare Rock Snare 2 Rock Snare 2 Pop Snare 3 Pop Snare Ghost Pop Snare 3 Finger Snap 707 Claps Hand Clap Hand Clap2 Hand Clap Pop Pedal HH Hand Clap Vox Dut Vox Dom Vox Tuush Vox Hehho Vox Doyear Vox Thu! Vox That Vox Aahhh Vox Tu Vox Dooh Vox Ptu Vox Down Vox Pa Vox Bom Vox Toear Vox Aahhu Vox Toya Vox Thu Vox Cheey Vox Cymm Vox Tub Vox Pruru Vox Tut Vox Tyun Vox Tdum Vox Afahhhh High Bongo 2 Low Bongo 2 Mute Conga High Conga 2 Low Conga 2 High Timbale 2 Low Timbale 2 High Agogo Low Agogo Shaker 3 Shaker 4 ShortWhistle [EXC2] Long Whistle [EXC2] Short Guiro [EXC3] Long Guiro [EXC3] Claves High Wood Block Low Wood Block Mute Cuica [EXC4] Open Cuica [EXC5] Mute Triangl [EXC5] Open Triangl [EXC5] 808 Maracas Jingle Bell Bar Chimes Castanets Mute Surdo [EXC6] Open Surdo [EXC6]

----Flamenco Hi-Timbale Flamenco Lo-Timbale Flamenco Tmbl Flam Shaker 1 Shaker 2 Low Bongo Mute Cabasa Up Cabasa Down

-----

----Flamenco Hand Clap Flamenco Hand Clap Bongo Cowbell

----Bongo Cowbell Wah Gtr Noise 1 Wah Gtr Noise 2 Wah Gtr Noise 3 Wah Gtr Noise 4

R&B Snare Rock Snare 2 Rock Snare 2 Pop Snare 3 Pop Snare Ghost Pop Snare 3 Finger Snap 707 Claps Hand Clap Hand Clap2 Hand Clap Pop Pedal HH [EXC1] Hand Clap Pop Snare Ghost 808 Kick 2 909 BD 2 808 Rimshot DRS Dregg Hand Clap 707 Claps Room Tom 5 909 CHH [EXC1] Room Tom 5 808 CHH 2 [EXC1] Room Tom 6 909 OHH [EXC1] Room Tom 6 Room Tom 2 Pop Crash Cymbal 1 Room Tom 2 Pop Ride Cymbal 1 ReverseCymbl Pop Ride Bell Tambourine Splash Cymbal 808 Cowbell Pop Crash Cymbal 3 Vibraslap Pop Ride Cymbal 2 808 High Bongo 808 Low Bongo 808 High Conga 808 Mid Conga 808 Low Conga High Timbale 2 Low Timbale 2 High Agogo Low Agogo Shaker 3 Shaker 4 ShortWhistle [EXC2] Long Whistle [EXC2] Short Guiro [EXC3] Long Guiro [EXC3] 808 Claves High Wood Block Low Wood Block Mute Cuica [EXC4] Open Cuica [EXC4] Mute Triangl [EXC5] Open Triangl [EXC5] 808 Maracas Jingle Bell Bar Chimes Castanets Mute Surdo [EXC6] Open Surdo [EXC6]

----Flamenco Hi-Timbale Flamenco Lo-Timbale Flamenco Tmbl Flam Shaker 1 Shaker 2 Low Bongo Mute Cabasa Up Cabasa Down

-----

----Flamenco Hand Clap Flamenco Hand Clap Bongo Cowbell

----Bongo Cowbell Wah Gtr Noise 1 Wah Gtr Noise 2 Wah Gtr Noise 3 Wah Gtr Noise 4

Pop Drum Set Jazz Drum Set Vox Drum Set House Drum Set

100

101

103

105

102

104

*-----: No sound. *[EXC]: will not sound simultaneously with other percussion instruments of the same number.

106

Tone List

-----

----High-Q Slap ScratchPush [EXC7] ScratchPull [EXC7] Sticks SquareClick Mtrnm.Click Mtrnm. Bell Jazz Kick 1 Mix Kick Rock Side Stick Standard SN1 Hand Clap Standard SN2 Real Tom 6 Close HiHat2 [EXC1] Real Tom 6 Pedal HiHat2 [EXC1] Real Tom 4 Open HiHat2 [EXC1] Real Tom 4 Real Tom 1 Crash Cym.1 Real Tom 1 Ride Cymbal ChinaCymbal Ride Bell Tambourine Splash Cym. Cowbell Crash Cym.2 Vibraslap Ride Cymbal4 Bongo High Bongo Lo Mute H.Conga High Conga 2 Low Conga 2 High Timbale 2 Low Timbale 2 High Agogo Low Agogo Cabasa Maracas ShortWhistle [EXC2] Long Whistle [EXC2] Short Guiro [EXC3] Long Guiro [EXC3] Claves High Wood Block Low Wood Block Mute Cuica [EXC4] Open Cuica [EXC4] Mute Triangl [EXC5] Open Triangl [EXC5] Shaker 3 Jingle Bell Bar Chimes Castanets Mute Surdo [EXC6] Open Surdo [EXC6]

-----

----Cabasa Up Cabasa Down

-----

----Wah Gtr Noise 1 Wah Gtr Noise 2 Wah Gtr Noise 3 Wah Gtr Noise 4

-----

----High-Q Slap ScratchPush [EXC7] ScratchPull [EXC7] Sticks SquareClick Mtrnm.Click Mtrnm. Bell Mix Kick Standard KK1 Rock Side Stick Room SN1 Hand Clap Room SN2 Room Tom 5 Close HiHat2 [EXC1] Room Tom 6 Pedal HiHat2 [EXC1] Room Tom 2 Open HiHat2 [EXC1] Room Tom 2 Rock Tom 1 Crash Cym.1 Rock Tom 1 Ride Cymbal ChinaCymbal Ride Bell Tambourine Splash Cym. Cowbell Crash Cym.2 Vibraslap Ride Cymbal4 Bongo High Bongo Lo Mute H.Conga High Conga 2 Low Conga 2 High Timbale 2 Low Timbale 2 High Agogo Low Agogo Cabasa Maracas ShortWhistle [EXC2] Long Whistle [EXC2] Short Guiro [EXC3] Long Guiro [EXC3] Claves High Wood Block Low Wood Block Mute Cuica [EXC4] Open Cuica [EXC4] Mute Triangl [EXC5] Open Triangl [EXC5] Shaker 3 Jingle Bell Bar Chimes Castanets Mute Surdo [EXC6] Open Surdo [EXC6]

-----

----Cabasa Up Cabasa Down

-----

----Wah Gtr Noise 1 Wah Gtr Noise 2 Wah Gtr Noise 3 Wah Gtr Noise 4

108

107

-----

----High-Q Slap ScratchPush [EXC7] ScratchPull [EXC7] Sticks SquareClick Mtrnm.Click Mtrnm. Bell Standard KK1 Power Kick1 Rock Side Stick Dance Snare1 Hand Clap Elec Snare 4 Room Tom 5 Close HiHat2 [EXC1] Room Tom 6 Pedal HiHat2 [EXC1] Room Tom 2 Open HiHat2 [EXC1] Room Tom 2 Rock Tom 1 Crash Cym.1 Rock Tom 1 Ride Cymbal ChinaCymbal Ride Bell Tambourine Splash Cym. Cowbell Crash Cym.2 Vibraslap Ride Cymbal4 Bongo High Bongo Lo Mute H.Conga High Conga 2 Low Conga 2 High Timbale 2 Low Timbale 2 High Agogo Low Agogo Cabasa Maracas ShortWhistle [EXC2] Long Whistle [EXC2] Short Guiro [EXC3] Long Guiro [EXC3] Claves High Wood Block Low Wood Block Mute Cuica [EXC4] Open Cuica [EXC4] Mute Triangl [EXC5] Open Triangl [EXC5] Shaker 3 Jingle Bell Bar Chimes Castanets Mute Surdo [EXC6] Open Surdo [EXC6]

-----

----Cabasa Up Cabasa Down

-----

----Wah Gtr Noise 1 Wah Gtr Noise 2 Wah Gtr Noise 3 Wah Gtr Noise 4

-----

----High-Q Slap ScratchPush [EXC7] ScratchPull [EXC7] Sticks SquareClick Mtrnm.Click Mtrnm. Bell Power Kick1 Elec Kick 1 Rock Side Stick Elec. Snare Hand Clap Elec Snare 2 Synth Drum 2 Close HiHat2 [EXC1] Synth Drum 2 Pedal HiHat2 [EXC1] Synth Drum 2 Open HiHat2 [EXC1] Synth Drum 2 Synth Drum 2 Crash Cym.1 Synth Drum 2 Ride Cymbal ReverseCymbl Ride Bell Tambourine Splash Cym. Cowbell Crash Cym.2 Vibraslap Ride Cymbal4 Bongo High Bongo Lo Mute H.Conga High Conga 2 Low Conga 2 High Timbale 2 Low Timbale 2 High Agogo Low Agogo Cabasa Maracas ShortWhistle [EXC2] Long Whistle [EXC2] Short Guiro [EXC3] Long Guiro [EXC3] Claves High Wood Block Low Wood Block Mute Cuica [EXC4] Open Cuica [EXC4] Mute Triangl [EXC5] Open Triangl [EXC5] Shaker 3 Jingle Bell Bar Chimes Castanets Mute Surdo [EXC6] Open Surdo [EXC6]

-----

----Cabasa Up Cabasa Down

-----

----Wah Gtr Noise 1 Wah Gtr Noise 2 Wah Gtr Noise 3 Wah Gtr Noise 4

GM2 Standard Set GM2 Room Set GM2 Power Set GM2 Electric Set GM2 Analog Set

100

101

103

105

102

104

-----

----High-Q Slap ScratchPush [EXC7] ScratchPull [EXC7] Sticks SquareClick Mtrnm.Click Mtrnm. Bell 808 Kick 2 808 Kick 1 808 Rimshot 808 Snare 1 Hand Clap Elec Snare 6 808 Tom 2 808 CHH [EXC1] 808 Tom 2 808 CHH 1 [EXC1] 808 Tom 2 808 OHH 2 [EXC1] 808 Tom 2 808 Tom 2 808 Crash 808 Tom 2 Ride Cymbal ChinaCymbal Ride Bell Tambourine Splash Cym. 808 Cowbell Crash Cym.2 Vibraslap Ride Cymbal4 Bongo High Bongo Lo 808 High Conga 808 Mid Conga 808 Low Conga High Timbale 2 Low Timbale 2 High Agogo Low Agogo Cabasa 808 maracas 2 ShortWhistle [EXC2] Long Whistle [EXC2] Short Guiro [EXC3] Long Guiro [EXC3] Claves High Wood Block Low Wood Block Mute Cuica [EXC4] Open Cuica [EXC4] Mute Triangl [EXC5] Open Triangl [EXC5] Shaker 3 Jingle Bell Bar Chimes Castanets Mute Surdo [EXC6] Open Surdo [EXC6]

-----

----Cabasa Up Cabasa Down

-----

----Wah Gtr Noise 1 Wah Gtr Noise 2 Wah Gtr Noise 3 Wah Gtr Noise 4

*-----: No sound. *[EXC]: will not sound simultaneously with other percussion instruments of the same number.

106

-----

----High-Q Slap ScratchPush [EXC7] ScratchPull [EXC7] Sticks SquareClick Mtrnm.Click Mtrnm. Bell Mix Kick Jazz Kick 1 Rock Side Stick Standard SN3 Hand Clap Elec Snare 5 Real Tom 6 Close HiHat2 [EXC1] Real Tom 6 Pedal HiHat2 [EXC1] Real Tom 4 Open HiHat2 [EXC1] Real Tom 4 Real Tom 1 Crash Cym.1 Real Tom 1 Ride Cymbal ChinaCymbal Ride Bell Tambourine Splash Cym. Cowbell Crash Cym.2 Vibraslap Ride Cymbal4 Bongo High Bongo Lo Mute H.Conga High Conga 2 Low Conga 2 High Timbale 2 Low Timbale 2 High Agogo Low Agogo Cabasa Maracas ShortWhistle [EXC2] Long Whistle [EXC2] Short Guiro [EXC3] Long Guiro [EXC3] Claves High Wood Block Low Wood Block Mute Cuica [EXC4] Open Cuica [EXC4] Mute Triangl [EXC5] Open Triangl [EXC5] Shaker 3 Jingle Bell Bar Chimes Castanets Mute Surdo [EXC6] Open Surdo [EXC6]

-----

----Cabasa Up Cabasa Down

-----

----Wah Gtr Noise 1 Wah Gtr Noise 2 Wah Gtr Noise 3 Wah Gtr Noise 4

-----

----High-Q Slap ScratchPush [EXC7] ScratchPull [EXC7] Sticks SquareClick Mtrnm.Click Mtrnm. Bell Mix Kick Jazz Kick 1 Rock Side Stick Brush Swirl Brush Slap1 Brush Swirl Brash Tom 2 Pop CHH 1 [EXC1] Brash Tom 2 Pop CHH 2 [EXC1] Brash Tom 2 Pop OHH [EXC1] Brash Tom 2 Brash Tom 2 Crash Cym.3 Brash Tom 2 NewJzRide1 ChinaCymbal NewJzRide1 Tambourine Splash Cym. Cowbell Crash Cym.2 Vibraslap Ride Cymbal4 Bongo High Bongo Lo Mute H.Conga High Conga 2 Low Conga 2 High Timbale 2 Low Timbale 2 High Agogo Low Agogo Cabasa Maracas ShortWhistle [EXC2] Long Whistle [EXC2] Short Guiro [EXC3] Long Guiro [EXC3] Claves High Wood Block Low Wood Block Mute Cuica [EXC4] Open Cuica [EXC4] Mute Triangl [EXC5] Open Triangl [EXC5] Shaker 3 Jingle Bell Bar Chimes Castanets Mute Surdo [EXC6] Open Surdo [EXC6]

-----

----Cabasa Up Cabasa Down

-----

----Wah Gtr Noise 1 Wah Gtr Noise 2 Wah Gtr Noise 3 Wah Gtr Noise 4

108

107

-----

----Close HiHat2 [EXC1] Pedal HiHat2 [EXC1] Open HiHat2 [EXC1] Ride Cymbal4 Sticks SquareClick Mtrnm.Click Mtrnm. Bell Concert BD Mix Kick Rock Side Stick Concert Snr Castanets Concert Snr Timpani F Timpani F# Timpani G Timpani G# Timpani A Timpani A# Timpani B Timpani C Timpani C# Timpani D Timpani D# Timpani E Timpani F Tambourine Splash Cym. Cowbell Con.Cymbal2 Vibraslap Concert Cym. Bongo High Bongo Lo Mute H.Conga High Conga 2 Low Conga 2 High Timbale 2 Low Timbale 2 High Agogo Low Agogo Cabasa Maracas ShortWhistle [EXC2] Long Whistle [EXC2] Short Guiro [EXC3] Long Guiro [EXC3] Claves High Wood Block Low Wood Block Mute Cuica [EXC4] Open Cuica [EXC4] Mute Triangl [EXC5] Open Triangl [EXC5] Shaker 3 Jingle Bell Bar Chimes Castanets Mute Surdo [EXC6] Open Surdo [EXC6] Applause

-----

----Cabasa Up Cabasa Down

-----

----Wah Gtr Noise 1 Wah Gtr Noise 2 Wah Gtr Noise 3 Wah Gtr Noise 4

-----

----High-Q Slap ScratchPush [EXC7] ScratchPull [EXC7] Sticks SquareClick Mtrnm.Click Mtrnm. Bell Gt.FretNoiz Gt.CutNoise (Up) Gt.CutNoise (Down) String Slap Fl.KeyClick Laughing Screaming Punch Heart Beat Footsteps 1 Footsteps 2 Applause Creaking Door Scratch Wind Chimes Car-Engine Car-Stop Car-Pass Car-Crash Siren Train Jetplane Helicopter Starship Gun Shot Machine Gun Lasergun Explosion Dog HorseGallop Bird Rain Thunder Wind Seashore Stream Bubble

-----

----Wah Gtr Noise 1 Wah Gtr Noise 2 Wah Gtr Noise 3 Wah Gtr Noise 4

GM2 Jazz Set GM2 Brush Set GM2 Orchestra Set GM2 SFX Set

100

101

103

105

102

104

*-----: No sound. *[EXC]: will not sound simultaneously with other percussion instruments of the same number.

106

Tone List

Rhythm List

→

“Selecting a Rhythm’s Chord Progression” (p. 34)

No. Genre Chord

Progression

Pattern No.

r.1

r.2

r.3

r.4

r.5

r.6

r.7

r.8

r.9

r.10

r.11

r.12

r.13

r.14

r.15

r.16

r.17

r.18

r.19

r.20

r.21

r.22

r.23

r.24

r.25

r.26

r.27

r.28

r.29

r.30

r.31

r.32

r.33

r.34

r.35

r.36

r.37

r.38

r.39

r.40

Pop

Hip Pop

Guitar Funk

Ballad

Fast Jazz

Jazz

Cutting Guitar

Fusion

70’s Soul

Contemporary

Medium Pop

Street Pop

808 Pop

Piano Pop

Guitar Pop

Country Pop

Shufﬂe

Smooth Pop

8 beat Rock

16 beat Rock

Beat

4/4

No. Genre Chord

Progression

Pattern No.

r.41

r.42

r.43

r.44

r.45

r.46

r.47

r.48

r.49

r.50

r.51

r.52

r.53

r.54

r.55

r.56

r.57

r.58

r.59

r.60

r.61

r.62

r.63

r.64

r.65

r.66

r.67

r.68

r.69

r.70

r.71

r.72

r.73

r.74

r.75

r.76

r.77

r.78

r.79

r.80

Gospel

Gospel Shout

Honky Pop

Boogie

Double Time Feel

Scat Swing

Piano Jazz

Piano Ballad

E.Piano Ballad

R&B Ballad

808 Ballad

New Age Ballad

6/8 Ballad

Mambo

Latin

Latin Pop

Bossa Nova

Beguine

Jazz Waltz

Piano Waltz

Beat

6/8

4/4

6/8

3/4

4/4

3/4

Chord Progression Pattern List

* It is the Chord Progression Pattern List by each measure. These are basic chord progression pattern from No. 1 to No. 10, and these are

suitable chord progression for the internal rhythm from No. 11 to No. 90.

No.

Rhyt

12345678910111213141516

Chord Progression

No.

1 — C Am Dm7 G7 C Am Dm7 G7

2 — Am G F E7 Am G F E7

3 — CM7 Am7 Dm7 G7 CM7

4 — Dm7 G7 CM7 Am7 Dm7 G7 CM7 A7

5 — C Bm7 Em7 Am F G Csus4 C

6 — Dm7 G7 CM7 FM7

7 — C7 F7 C7 F7 C7 G7 F7 C7 G7

8 — CM7 Cdim Dm9 G7 CM7 Dm9 CM7 Cdim Dm9 G7 CM7

9 — C Am7 Dm7 G7sus4

10 — C C/B Am Am/G F G C

11 r. 1 C Gm7 FM7

12 r. 2 FM9 F/G C Am7 FM9 F/G

13 r. 3 C

14 r. 4 C G7 C G7 C G7 C

15 r. 5 C Am7 Dm7 G7 C Am7 Dm7 G7

16 r. 6 FM7 CM7 Am7 FM7 Fm7 F/G

17 r. 7 C Gm7 C Gm7

18 r. 8 F G7 C C7 F G7 Am F/G

19 r. 9 F C7 Am7 C7 F7

20 r.10 A7 D7 G7 C7

21 r.11 C6 Dm7 G7 Dm7 G7 C6 Am Am9 Dm7 G(11) C6 F/G

22 r.12 C6 Dm7 G7 Dm7 G7 C6 Am

23 r.13 Am7 D7 Am7 D7 Am7 D7 Am7 F/G

24 r.14 C Am7 C F/G

25 r.15 CM9

26 r.16

27 r.17 CM9 Am9 CM9 Am9 FM9 G6

28 r.18 FM9 G6 FM9 G6 FM9 G6 FM9 G6 CM9 F/G

29 r.19 C FM7 C F/G

30 r.20 Dm7 G7 C Am7 Dm7 G7 C

31 r.21 C G G7 C C7 F C Am7 Dm7 G C C7

32 r.22 FM7 G FM7 G FM7 G G7 C F/G

33 r.23 C G7

34 r.24 C G7

35 r.25 Am7 D7 Am7 D7 Gm7 C7 Gm7

36 r.26 Am7 D7sus4 Am7 D7 FM7

37 r.27 C Am C Am

38 r.28 FM7 C FM7 C

39 r.29 CM7 Am7 Dm7 G7

40 r.30 C F Dm G C F G C

41 r.31 C Am C Am C Am F G

42 r.32 C G F G C G F G7

43 r.33 C F7sus4 F7 G7sus4 G7

44 r.34 FM7 G7 C FM7 G7 C

45 r.35 Cm CmM7 Cm7 F7 Cm

AM9 B9 AM9 B9

AM7

C Gm7 C

CM9

AM7

FCG7

D7 C G7

E7 Am7 A7

Bm7 5

C Gm7 F F/G

F/G

C Gm7

F/C C7

CM9

FM9 F/G

AM7

E7 9

Am7

E7 9

CG7G7

BM7

A aug

Dm7 G(11) C6

Chord Progression Pattern List

No.

Rhyt

12345678910111213141516

Chord Progression

No.

46 r.36 Cm CmM7 Cm7 F7

47 r.37 C G C G

48 r.38 F Am G7 Dm7 F Am7 G7

49 r.39 D C/D G/D

50 r.40

51 r.41 C Fm7 C

52 r.42 F

53 r.43 C FCFCFCG7

54 r.44 C C7 G F7 G7 F7 G7

55 r.45 C F G

56 r.46 F C F G

57 r.47 A7 D7 A7 D7 A7 E7 D7 A7 E7

58 r.48 C F C C7 F7 C A7 D7 G7 C G7

59 r.49 C C7 F C G7 F7 C G7

60 r.50 C F C C7 F7 C A7 D7 G7 C G7

61 r.51 C F C F

62 r.52 Em7

63 r.53 CM9 F/G CM9 C9 FM9 F/G

64 r.54 FM9 F/G CM9 Am9

65 r.55 C F C F C F C F/G

66 r.56 F C F C F C Dm7 F/G

67 r.57 CM7

68 r.58 FM7 G7 CM7 FM7 G7 C C7

69 r.59 Cm7 Fm7 Cm7 Fm7 Cm7 Fm7 Cm7 Fm7

70 r.60 Ddim

71 r.61 Gm

72 r.62

73 r.63 C Dm Dm7/G C F Em7

74 r.64 C Bm7 Em9 A7 Am D7 Dm9 G7sus4

75 r.65 C Am F G C Am F G

76 r.66 F Em Dm C Em Am F F/G G7

77 r.67 C G7 C G7 C

78 r.68 F C G7 C7 F C G7 C

79 r.69 Am E7 Am E7 Am E7 Dm7 E7

80 r.70 Am E7 Am E7 Dm7 G7 Bm7 E7

81 r.71 DM7 CM7

82 r.72 DM7

83 r.73 C D6 Dm7 G7 C

84 r.74 F Fm C F Fm G7sus4 G7

85 r.75 C G G7 G G7 C

86 r.76 C G7 G7 C G7 Dm7 G7 C

87 r.77 Fm7

88 r.78

89 r.79 C CM7 C7 F CM7

90 r.80 Dm

Fm7

Bm7 E7 A D F

Bm D

F dim

A7 9

C dim

G7 9

D7 Gm7 C7

Cm75

D dim

B/D

C7 Fm7

C/G A7 D7 G7

Dm7 G7 Em7

Dm7 G7 CM7

Ddim

G7 9

D7 Gm

Am7 5

Bm7 Am7 GM7

Fm7

Em7 A7 Dm7 G7 C

G7 Cm F7

D C/D G/D

Bm G A7

Dm7 G7

C dim

Dm7 G7

C dim

Dm7 5 G7 9

Ddim

EM7

Fm9

Fm7

CM7 F/G

Dm7 G7

C dim

Ddim

G7 9

Am7 5

D7 Gm

F9 Em9

Em9 A7

Fm7 5

B7 D7

Gm7 5

B/D

G7 9

C7 Fm7

Fm7

C dim

Fm7

Dm7 Fm C

C7 Fm

Chord Fingering List

C#m / D m

C#7m / D 7m

C#dim / D dim

C#m7( 5) / D m7( 5)

C#aug / D aug

C#sus4 / D sus4

C#6 / D 6

C#m6 / D m6

C# other / D other

C#7sus4 / D 7sus4

Cm7 ( 5 )

C C# / D

C#M7 / D M7

C#7 / D 7

CM7 DM7

C7 D7

Cm Dm

Cm7 Dm7

Cdim Ddim

Dm7 ( 5 )

Caug Daug

Csus4 Dsus4

C7sus4 D7sus4

C6 D6

Cm6 Dm6

D otherC other

● symbol: indicates the constituent notes of chords. ★ symbol: Chords shown with an “★” can be played by pressing just the key marked with the “★”.

→

“Performing With the Chord Progression Specified in the Left Hand (Chord Progression off)” (p. 35)

Chord Fingering List

E M7

E 7

E m

E m7

E dim

E aug

E sus4

E 7sus4

E m7 ( 5 )

E 6

E m6

EM7

Em7

Edim

Em7 ( 5 )

Eaug

Esus4

E7sus4

Em6

FM7

Fm7

Fdim

Faug

Fsus4

F7sus4

Fm7 ( 5 )

Fm6

F otherE other E other

Chord Fingering List

F# other / G other

F#m7( 5 ) / G m7 ( 5 )

F# / G

F#M7 / G M7

F#7 / G 7

F#m / G m

F#m7 / G m7

F#dim / G dim

F#aug / G aug

F#sus4 / G sus4

F#7sus4 / G 7sus4

F#6 / G 6

F#m6 / G m6

GM7

Gm7

Gdim

Gm7 ( 5 )

Gaug

Gsus4

G7sus4

Gm6

A M7

A 7

A m

A m7

A dim

A aug

A sus4

A 7sus4

A m7 ( 5 )

A 6

A m6

A otherG other

Chord Fingering List

B 7sus4

AM7

Am7

Adim

Am7 ( 5 )

Aaug

Asus4

A7sus4

Am6

B M7

B 7

B m

B m7

B dim

B aug

B sus4

B m7 ( 5 )

B 6

B m6

BM7

Bm7

Bdim

Bm7 ( 5 )

Baug

Bsus4

B7sus4

Bm6

B otherB otherA other

Internal Song List

→

“Listening to Demo Songs” (p. 11)

Song

No.

d. 1 Late Night Chopin

d. 2 L'éveil del l'amour

d. 3 Fly Free J. Maul

d. 4

d. 5

d. 6 Sonate für Klavier No. 15 W. A. Mozart

d. 7 Liebesträume III F. Liszt

d. 8 Étude, op.10-3 F. Chopin

d. 9 Je te veux E. Satie

d. 10 Valse, op.64-1 F. Chopin

Paganini Boogie Variation: Jazz Variation Based on “Caprice No. 24 in A Minor”

Hungarian Rag: Hungarian Dance No. 5 Ragtime Arrangement For Solo Piano

Song Name Composer Copyright

F. Chopin/ Arranged by John Maul

Masashi & Kazuko Hirashita

N. Paganini/ Arranged by John Maul

J. Brahms/ Arranged by John Maul

d. 11 Golliwog’s Cake walk C. Debussy

d. 12 Fantaisie-Impromptu F. Chopin

d. 13 1ére Arabesque C. Debussy

d. 14 An der schönen, blauen Donau J. Strauss

d. 15 Auf Flügeln des Gesanges F. Mendelsshon

d. 16 Mazurka No.5 F. Chopin

d. 17 1ère Gymnopédie E. Satie

d. 18 Étude, op.25-1 F. Chopin

d. 19 Clair de Lune C. Debussy

d. 20 Étude, op.10-5 F. Chopin

d. 21 Doctor Gradus ad Parnassum C. Debussy

d. 22 Grande Valse Brillante F. Chopin

d. 23 La prière d'une Vierge T. Badarzewska

d. 24 Course en Troïka P. Tchaikovsky

d. 25 To The Spring E. Grieg

d. 26 Valse, op.64-2 F. Chopin

d. 27 Radetzky Marsch J. Strauss

d. 28 Träumerei R. Schumann

d. 29 Moments Musicaux III F. Schubert

d. 30 Prélude, op.28-15 F. Chopin

d. 31 The harmonious blacksmith G. Handel

d. 32 Ungarische Tänze V J. Brahms

Internal Song List

Song

No.

d. 33 Türkischer Marsch (Beethoven) L. v. Beethoven

d. 34 Nocturne No.2 F. Chopin

d. 35 Frühlingslied F. Mendelsshon

d. 36 Präludium J. S. Bach

d. 37 Jägerlied F. Mendelsshon

d. 38 Menuet Antique M. Ravel

d. 39 Für Elise L. v. Beethoven

d. 40 Türkischer Marsch (Mozart) W. A. Mozart

d. 41 Ständchen F. Schubert

d. 42 Humoreske A. Dvorjak

d. 43 Blumenlied G. Lange

d. 44 Alpenglöckchen T. Oesten

d. 45 Menuett G dur (Beethoven) L. v. Beethoven

d. 46 Venezianisches Gondellied F. Mendelsshon

d. 47 Alpenabendröte T. Oesten

Song Name Composer Copyright

d. 48 Farewell to the Piano L. v. Beethoven

d. 49 Brautchor W. Wagner

d. 50 Battle of Waterloo W. Anderson

d. 51 Wiener Marsch C. Czerny

d. 52 Le Coucou L. C. Daquin

d. 53 Menuett G dur (Bach) J. S. Bach

d. 54 Spinnerlied A. Ellmenreich

d. 55 Gavotte F. Gossec

d. 56 Heidenröslein G. Lange

d. 57 Zigeuner Tanz H. Lichner

d. 58 La Cinquantaine G. Marie

d. 59 Csikos Post H. Necke

d. 60 Dolly’s Dreaming Awakening T. Oesten

d. 61 La Violette L. Streabbog

d. 62 Fröhlicher Landmann R. Schumann

d. 63 Sonatine op.36-1 (Clementi) M. Clementi

d. 64 Sonatine op.20-1 (Kuhlau) F. Kuhlau

d. 65 Sonatine No.5 (Beethoven) L. v. Beethoven

a violation of applicable laws.

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

Settings Stored in the Setup

■

Stored Settings

settings page

The Tone which is selected in the Upper Tone or the Lower Tone p. 14 to p. 19

The Tone number which is assigned to each Tone button p. 14

Settings for dual and split play p. 18 to p. 20

The volume balance for dual and split play p. 21

Keyboard’s touch p. 22

The velocity when the keyboard touch is set to “Fixed” p. 45

Reverb switch’s on or off, and the depth of reverb p. 23

The effect type and the depth of effects p. 24

Pedal control’s on or off p. 27

Works of Pedal control p. 44

Key transpose’s on or off, and its value p. 28

Session partoner’s settings (*1) p. 32 to p. 36, p. 47

How the pedal effects are applied p. 43

Pedals work p. 43

Setting the part to which effects are applied p. 44

Octave shift p. 44

MIDI send channel settings p. 50

Transferring the program number p. 52

■

Not Stored Settings

Recorded performance p. 38 to p. 40

Master tuning p. 45

Metronome settings p. 14, p. 46

Temperament p. 45

Local control p. 50

MIDI Out mode p. 51

Pedal Shift p. 52

settings page

USB Driver settings (*2) p. 53

Panel lock p. 53

*1 Only the settings related to the selected tone or rhythm are stored.

*2 Though not stored in the Setup, the FP-5 remembers the settings even while its power is turned off.

Easy Operation List

Power ON

Press the Key

No. You want to Buttons Page

Hold down the [ ] button and press the [-] or [+] button.

No. You want to Buttons Page

Switch to Function mode [Variation/Effects] + [Tempo/Rhythm] p. 42

Key Touch [Transpose] + [Reverb] p. 22

Demo [Setup] + [Split] p. 11

All Song Play [Song] + [Play/Stop] p. 12

Storing settings to Setup [Setup] + Tone p. 37

Recording Chord Progression [Chord Progression] + [Rec] p. 36

Erasing the recorded performance [Song] + [Rec] p. 41

Selecting the Lower Tone in Split play [Split] + Tone p. 20

Depth of the Reverb effect [Reverb] + [-] [+] p. 23

Depth of the Effect [Effects] + [-] [+] p. 26

Beat of metronome [Tempo/Rhythm] + [-] [+] p. 30

Volume level of metronome [Metronome] + [-] [+] p. 30

Volume level of Session Partner [Start/Stop] + [-] [+] p. 33

Volume level of individual parts [Drums], [Bass], [Chord] + [-] [+] p. 33

Selecting a Chord Progression Pattern [Chord Progression] + [-] [+] p. 34

Hold down the [ ] button and press the key.

Split Point [Split] + key p. 20

Key Transpose [Transpose] + key p. 28

Hold down the [ ] button and press the [Power] switch.

Factory Reset [Pedal Control] + Power ON p. 53

Panel Lock [Piano] + Power ON p. 53

Easy Operation List

2 3

8 9 10 11

19 20

Function mode

No. You want to Buttons Page

Work of the Pedal Control [Pedal Control] p. 44

Bulk dump, Pedal Shift,

Transferring the Program Change

Octave shift [Split] p. 44

Temperament [Transpose] p. 45

Changing the Velocity when the Key Touch is set to

“Fixed”

Setting the Part to which Effects are added [Effects] p. 44

Master Tuning [Piano] p. 45

How the Soft Pedal(FC2) effects are applied [E.Piano] p. 43

How the Sostenuto Pedal(FC1) effects are applied [Organ] p. 43

[Setup] p. 52

[Reverb] p. 45

How the Damper Pedal effects are applied [Guitar/Bass] p. 43

Soft Pedal(FC2)s Work [Strings/Pad] p. 44

Sostenuto Pedal(FC1)s Work [Voice/GM2] p. 44

USB Driver [Song] + [Rec] p. 53

Metronome beat pattern

Setting the Intro and Ending ON or OFF [Start/Stop] p. 47

Root Note of the Chord Progression [Bass] p. 47

Setting the Chord Display ON or OFF [Chord] p. 47

Fixing a set Chord Progression [Chord Progression] p. 47

MIDI Out mode [Play/Stop] p. 51

MIDI send channel settings [Rec] p. 50

Local Control [Song] p. 50

[ (Metronome)]

p. 46

DIGITAL PIANO

Date : Oct. 1, 2002

Model FP-5

Basic Channel

Mode

Note Number :

Velocity

After Touch

Pitch Bend

Control Change

Function...

Default Changed

Default Messages Altered

True Voice

Note ON Note OFF

Key’s Ch’s

100, 101

0, 32

6, 38

10 11 64 65 66 67 71 72 73 74 75 76 77 78 84 91 93

98, 99

MIDI Implementation Chart

Transmitted Recognized Remarks

1 1

Mode 3 x

**************

15–113

**************

O x 8n v=64

x x

x x O O x O O x x x x x x x x x O O x x

–16

1–16 1–16

Mode 3 Mode 3, 4(M=1)

0–127 0–127

O x

O O

O O O O O O O O O O O O O O O O O O O O O (Reverb) O x O

Version : 1.00

* 2

*1 *1

*1 *1 *1 *1

Bank select Modulation Portamento time Data entry Volume Panpot Expression Hold 1 Portamento Sostenuto Soft Resonance Release time Attack time Cutoff Decay time Vibrato rate Vibrato depth Vibrato delay Portamento control Effect1 depth Effect3 depth NRPN LSB, MSB RPN LSB, MSB

Prog Change

: True Number

System Exclusive

System Common

System Real Time

Aux Message

: Song Pos : Song Sel : Tune

: Clock : Commands

: All sound off :

Reset all controllers : Local Control : All Notes OFF : Active Sense : Reset

Notes

Mode 1 : OMNI ON, POLY

Mode 3 : OMNI OFF, POLY

0–127

**************

x x x

O O

x x x x O x

O 0–127

x x x

x x

O (120, 126, 127) O O O (123–125) O x

* 1 O x is selectable by SysEx. * 2 Recognized as M=1 even if M≠1.

Mode 2 : OMNI ON, MONO

Mode 4 : OMNI OFF, MONO

Program number 1–128

O : Yes

X : No

Main Specifications

88 keys (progressive hammer action keyboard)

Touch Sensitivity

Light/Normal/Heavy/Fixed (adjustable velocity)

Keyboard Mode

Whole Dual Split (adjustable split point)

Conforms to General MIDI 2 System

Max. Polyphony

64 voices

Tones

Tones: 7 groups 64 variations (include 6 Tone Wheel Organ and 4 Drum Sets)

GM2 Tones: 256 + 9 Drum Sets

Effects

Reverb Multi Effects (10 Types)

Transposition

-6 to +5 (semitone steps)

Temperament

7 types, selectable tonic

Master Tuning

415.3 Hz to 466.2 Hz (0.1 Hz Step)

Rhythms

80 Rhythms

Chord Progression

Automatic or input with keyboard User Programmable

Metronome Beat: 2/2, 0/4, 2/4, 3/4, 4/4, 5/4, 6/4, 7/4, 3/8, 6/8, 9/8, 12/8 Volume: 10 levels Pattern: 11 patterns

Tracks

3 tracks (only Rhythm sound can be recorded to Track [R] button.)

Song

1 song

Tempo

Quarter note = 20 to 250

Resolution

120 ticks per quarter note

Setup

Internal Songs

Demo songs: 9 Piano songs: 65

Speakers

10 cm x 2

Rated Power Output

10 W x 2

Display

7-segment, 3-digit LED

Connectors

Line Out jacks (L/Mono, R) Line In jacks (L/Mono, R) Phones jack (front panel) x 2 (stereo miniature phone type) USB connector (MIDI) MIDI connectors (In/Out) Pedal jacks (Damper, Soft*, Sostenuto*) * Assignable DC In Jack

Power Supply

DC 12 V (AC adaptor)

Power Consumption

35 W

Dimensions

FP-5 (Without the music stand) :

1,308 (W) x 360 (D) x 128(H) mm 51-1/2 (W) x 14-3/16 (D) x 5-1/16 (H) inches

FP-5 + FPS-11A (With the music stand) :

1,308 (W) x 394 (D) x 920(H) mm 51-1/2 (W) x 15-9/16 (D) x 36-1/4 (H) inches

Weights

FP-5: 21.5 kg / 47 lbs 7 oz FPS-11A: 7.3 kg / 16 lbs 2 oz Music Stand: 0.6 kg / 1 lbs 6 oz Total: 29.4 kg / 64 lbs 14 oz

Accessories

Owner’s manual USB Installation guide CD-ROM (Roland Digital Piano USB Driver) AC adaptor AC cord Music Stand / 2 screws for the music stand Pedal (DP-8)

Options

Keyboard Stand (FPS-11A) Pedal (DP-2/8) Expression Pedal (EV-5) MIDI Implementation

* In the interest of product improvement, the specifications

and/or appearance of this unit are subject to change without prior notice.

Index

AC adaptor ....................................................................... 8

AC cable ............................................................................ 8

All Song Play .................................................................. 12

Balance knob .................................................................. 21

Bass button ................................................... 32–33, 40, 47

Beat

Metronome ............................................................... 30

Bend Down ............................................................... 43–44

Bend Up .................................................................... 43–44

Brilliance knob ............................................................... 10

Bulk Dump ..................................................................... 52

Chord button ................................................ 32–33, 40, 47

Chord Fingering List ..................................................... 65

Chord Progression

Automatically ........................................................... 32

Fixing ......................................................................... 47

Recording .................................................................. 36

Root Note .................................................................. 47

Selecting pattern ...................................................... 34

Specifying the chords .............................................. 35

Chord Progression button ................................ 34–36, 47

Chord Progression off .................................................. 35

Chord Progression Pattern List ................................... 62

Connecting

Audio Equipment .................................................... 48

MIDI .......................................................................... 49

Power ........................................................................... 8

USB ............................................................................ 49

cord hook .......................................................................... 8

Damper jack ......................................................... 9, 27, 44

Damper Pedal ............................................................ 9, 43

Demo Song ..................................................................... 11

Display ............................................................................ 56

Drums button ..................................................... 32–33, 40

Dual Play ........................................................................ 18

E.Piano button ............................................................... 43

Easy Operation List ....................................................... 72

Effects ........................................................................ 24, 43

Effects button ........................................................... 24, 44

Ending ....................................................................... 32, 47

Erasing ............................................................................ 41

Expression ...................................................................... 43

Factory Reset .................................................................. 53

Feet .................................................................................. 15

Fill In ............................................................................... 33

Function Mode ............................................................... 42

General MIDI ................................................................. 48

General MIDI 2 .............................................................. 48

Guitar/Bass button ....................................................... 43

Headphones ................................................................... 10

Including pedal ................................................................ 9

Internal Song .................................................................. 12

Recording .................................................................. 40

Internal Song List .......................................................... 69

Intro ........................................................................... 32, 47

Key Transpose ............................................................... 28

Keyboard Touch ...................................................... 22, 45

Leading bass ................................................................... 43

Local Control .................................................................. 50

Lower Tone .............................................................. 18–19

Master Tuning ................................................................ 45

Messages ......................................................................... 56

Metronome ..................................................................... 29

Beat Pattern ............................................................... 46

Volume ...................................................................... 30

Metronome button ............................................ 29–30, 46

MIDI ................................................................................ 49

MIDI Out Mode ............................................................. 51

MIDI Send Channel ....................................................... 50

MIDI Sound Module ..................................................... 50

Modulation ......................................................... 27, 43–44

Music Stand ...................................................................... 8

Muting ............................................................................. 13

Index

Octave Shift .................................................................... 44

Organ button .................................................................. 43

Panel Lock ...................................................................... 53

Pedal .................................................................................. 9

Effects ........................................................................ 43

Works .................................................................. 43–44

Pedal Control ........................................................... 27, 44

Pedal Control button ........................................ 27, 44, 53

Pedal Shift ...................................................................... 52

Phones ............................................................................. 10

Piano button ............................................................. 45, 53

Pitch ................................................................................. 45

Pitch Bend ....................................................................... 27

Play/Stop button ..................................................... 39, 51

Playback

All Songs ................................................................... 12

demo song ................................................................ 11

Each part separately ................................................ 13

Internal song ............................................................. 12

Power ................................................................................ 9

Program Change ........................................................... 52

Rec button ........................................................... 38–41, 50

Recording ....................................................................... 38

Along with internal songs ...................................... 40

Performance using Session Partner ...................... 39

Selected Tracks ......................................................... 40

Reverb button .......................................................... 23, 45

Reverb Effect .................................................................. 23

Rhythm ........................................................................... 31

selecting .................................................................... 33

Rhythm List .................................................................... 62

Rotary Effect ................................................................... 26

Sequencer ....................................................................... 50

Session Partner .................................................. 31–32, 47

Setup ............................................................................... 37

Setup button ............................................................. 37, 52

Soft Pedal .............................................................. 9, 43–44

Soft(FC2) jack ............................................................. 9, 43

Song button .................................................. 12, 38, 41, 51

Sostenuto Pedal ................................................... 9, 43–44

Sostenuto(FC1) jack ................................................... 9, 43

Split button ............................................................... 19, 44

Split Play ......................................................................... 19

Split Point ....................................................................... 20

Standard pitch ................................................................ 45

Start/Stop button .................................................... 32, 47

Start/Stop of Session Partner ...................................... 43

Strings/Pad button ....................................................... 44

Sympathetic Resonance ............................................ 9, 25

Temperament ................................................................. 46

Tempo

Metronome ............................................................... 29

Rhythm ...................................................................... 34

Tempo/Rhythm button .......................................... 29, 33

Tone ................................................................................. 14

Tone button .............................................................. 14, 37

Tone group ..................................................................... 14

Tone List ......................................................................... 57

Tone Wheel button .................................................. 16, 53

Tone Wheel Mode ......................................................... 15

Touch sensitivity ........................................................... 22

Track Button ............................................................. 13, 40

Recording ............................................................ 40–41

Transpose ........................................................................ 28

Transpose button ............................................... 22, 28, 45

Troubleshooting ............................................................ 54

Tuning ............................................................................. 45

Upper Tone .............................................................. 18–19

USB .................................................................................. 53

USr ................................................................................... 38

Variation/Effects button ........................................ 14, 24

Velocity ........................................................................... 45

Voice/GM2 button ........................................................ 44

Volume

Metronome ............................................................... 30

part ............................................................................. 33

Volume Balance

Lower Tone and Upper Tone ................................. 21

Volume knob .............................................................. 9–10

volume level ................................................................... 10

Information

When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as shown below.

AFRICA

EGYPT

Al Fanny Trading Office

9, EBN Hagar A1 Askalany Street, ARD E1 Golf, Heliopolis, Cairo 11341, EGYPT TEL: 20-2-417-1828

REUNION

Maison FO - YAM Marcel

25 Rue Jules Hermann, Chaudron - BP79 97 491 Ste Clotilde Cedex, REUNION ISLAND TEL: (0262) 218-429

SOUTH AFRICA

That Other Music Shop(PTY)Ltd.

11 Melle St., Braamfontein, Johannesbourg, SOUTH AFRICA TEL: (011) 403 4105 FAX: (011) 403 1234

Paul Bothner(PTY)Ltd.

17 Werdmuller Centre, Main Road, Claremont 7708 SOUTH AFRICA

TEL: (021) 674 4030

ASIA

CHINA

Roland Shanghai Electronics Co.,Ltd.

5F. No.1500 Pingliang Road Shanghai 200090, CHINA TEL: (021) 5580-0800

Roland Shanghai Electronics Co.,Ltd. (BEIJING OFFICE)

10F. No.18 3 Section Anhuaxili Chaoyang District Beijing 100011 CHINA TEL: (010) 6426-5050

Roland Shanghai Electronics Co.,Ltd. (GUANGZHOU OFFICE)

2/F., No.30 Si You Nan Er Jie Yi Xiang, Wu Yang Xin Cheng, Guangzhou 510600, CHINA TEL: (020) 8736-0428

HONG KONG

Tom Lee Music Co., Ltd. Service Division

22-32 Pun Shan Street, Tsuen Wan, New Territories, HONG KONG TEL: 2415 0911

Parsons Music Ltd.

8th Floor, Railway Plaza, 39 Chatham Road South, T.S.T, Kowloon, HONG KONG TEL: 2333 1863

INDIA

Rivera Digitec (India) Pvt. Ltd.

409, Nirman Kendra Mahalaxmi Flats Compound Off. Dr. Edwin Moses Road, Mumbai-400011, INDIA TEL: (022) 2493 9051

INDONESIA

PT Citra IntiRama

J1. Cideng Timur No. 15J-150 Jakarta Pusat INDONESIA TEL: (021) 6324170

KOREA

Cosmos Corporation

1461-9, Seocho-Dong, Seocho Ku, Seoul, KOREA TEL: (02) 3486-8855

MALAYSIA

Roland Asia Pacific Sdn. Bhd.

45-1, Block C2, Jalan PJU 1/39, Dataran Prima, 47301 Petaling Jaya, Selangor, MALAYSIA TEL: (03) 7805-3263

PHILIPPINES

G.A. Yupangco & Co. Inc.

339 Gil J. Puyat Avenue Makati, Metro Manila 1200, PHILIPPINES TEL: (02) 899 9801

SINGAPORE

SWEE LEE MUSIC COMPANY PTE. LTD.

150 Sims Drive, SINGAPORE 387381 TEL: 6846-3676

CRISTOFORI MUSIC PTE LTD

Blk 3014, Bedok Industrial Park E, #02-2148, SINGAPORE 489980 TEL: 6243-9555

TAIWAN

ROLAND TAIWAN ENTERPRISE CO., LTD.

Room 5, 9fl. No. 112 Chung Shan N.Road Sec.2, Taipei, TAIWAN, R.O.C. TEL: (02) 2561 3339

THAILAND

Theera Music Co. , Ltd.

330 Verng NakornKasem, Soi 2, Bangkok 10100, THAILAND TEL: (02) 2248821

VIETNAM

Saigon Music

Suite DP-8 40 Ba Huyen Thanh Quan Street Hochiminh City, VIETNAM TEL: (08) 930-1969

AUSTRALIA/ NEW ZEALAND

Roland Corporation Australia Pty.,Ltd.

38 Campbell Avenue Dee Why West. NSW 2099 AUSTRALIA

For Australia Tel: (02) 9982 8266 For New Zealand Tel: (09) 3098 715

CENTRAL/LATIN AMERICA

ARGENTINA

Instrumentos Musicales S.A.

Av.Santa Fe 2055 (1123) Buenos Aires ARGENTINA TEL: (011) 4508-2700

BARBADOS

A&B Music Supplies LTD

12 Webster Industrial Park Wildey, St.Michael, Barbados TEL: (246)430-1100

BRAZIL

Roland Brasil Ltda.

Rua San Jose, 780 Sala B Parque Industrial San Jose Cotia - Sao Paulo - SP, BRAZIL TEL: (011) 4615 5666

CHILE

Comercial Fancy II S.A.

Rut.: 96.919.420-1 Nataniel Cox #739, 4th Floor Santiago - Centro, CHILE TEL: (02) 688-9540

COLOMBIA

Centro Musical Ltda.

Cra 43 B No 25 A 41 Bododega 9 Medellin, Colombia TEL: (574)3812529

COSTA RICA

JUAN Bansbach Instrumentos Musicales

Ave.1. Calle 11, Apartado 10237, San Jose, COSTA RICA TEL: 258-0211

CURACAO

Zeelandia Music Center Inc.

Orionweg 30 Curacao, Netherland Antilles TEL:(305)5926866

DOMINICAN REPUBLIC

Instrumentos Fernando Giraldez

Calle Proyecto Central No.3 Ens.La Esperilla Santo Domingo, Dominican Republic TEL:(809) 683 0305

ECUADOR

Mas Musika

Rumichaca 822 y Zaruma Guayaquil - Ecuador TEL:(593-4)2302364

EL SALVADOR

OMNI MUSIC

75 Avenida Norte y Final Alameda Juan Pablo II, Edificio No.4010 San Salvador, EL SALVADOR TEL: 262-0788

GUATEMALA

Casa Instrumental

Calzada Roosevelt 34-01,zona 11 Ciudad de Guatemala Guatemala TEL:(502) 599-2888

HONDURAS

Almacen Pajaro Azul S.A. de C.V.

BO.Paz Barahona 3 Ave.11 Calle S.O San Pedro Sula, Honduras TEL: (504) 553-2029

MARTINIQUE

Musique & Son

Z.I.Les Mangle 97232 Le Lamantin Martinique F.W.I. TEL: 596 596 426860

Gigamusic SARL

10 Rte De La Folie 97200 Fort De France Martinique F.W.I. TEL: 596 596 715222

MEXICO

Casa Veerkamp, s.a. de c.v.

Av. Toluca No. 323, Col. Olivar de los Padres 01780 Mexico D.F. MEXICO TEL: (55) 5668-6699

NICARAGUA

Bansbach Instrumentos Musicales Nicaragua

Altamira D'Este Calle Principal de la Farmacia 5ta.Avenida 1 Cuadra al Lago.#503 Managua, Nicaragua TEL: (505)277-2557

PANAMA

SUPRO MUNDIAL, S.A.

Boulevard Andrews, Albrook, Panama City, REP. DE PANAMA TEL: 315-0101

PARAGUAY

Distribuidora De Instrumentos Musicales

J.E. Olear y ESQ. Manduvira Asuncion PARAGUAY TEL: (595) 21 492147

PERU

Audionet

Distribuciones Musicales SAC Juan Fanning 530 Miraflores Lima - Peru TEL: (511) 4461388

TRINIDAD

AMR Ltd

Ground Floor Maritime Plaza Barataria Trinidad W.I. TEL: (868)638 6385

URUGUAY

Todo Musica S.A.

Francisco Acuna de Figueroa 1771 C.P.: 11.800 Montevideo, URUGUAY TEL: (02) 924-2335

VENEZUELA

Instrumentos Musicales Allegro,C.A.

Av.las industrias edf.Guitar import #7 zona Industrial de Turumo Caracas, Venezuela TEL: (212) 244-1122

EUROPE

AUSTRIA

Roland Elektronische Musikinstrumente HmbH. Austrian Office

Eduard-Bodem-Gasse 8, A-6020 Innsbruck, AUSTRIA TEL: (0512) 26 44 260

BELGIUM/FRANCE/ HOLLAND/ LUXEMBOURG

Roland Central Europe N.V.

Houtstraat 3, B-2260, Oevel (Westerlo) BELGIUM TEL: (014) 575811

CZECH REP.

K-AUDIO

Kardasovska 626. CZ-198 00 Praha 9, CZECH REP. TEL: (2) 666 10529

DENMARK

Roland Scandinavia A/S

Nordhavnsvej 7, Postbox 880, DK-2100 Copenhagen DENMARK TEL: 3916 6200

FINLAND

Roland Scandinavia As, Filial Finland

Elannontie 5 FIN-01510 Vantaa, FINLAND TEL: (0)9 68 24 020

GERMANY

Roland Elektronische Musikinstrumente HmbH.

Oststrasse 96, 22844 Norderstedt, GERMANY TEL: (040) 52 60090

GREECE

STOLLAS S.A. Music Sound Light

155, New National Road Patras 26442, GREECE TEL: 2610 435400

HUNGARY

Roland East Europe Ltd.

Warehouse Area ‘DEPO’ Pf.83 H-2046 Torokbalint, HUNGARY TEL: (23) 511011

IRELAND

Roland Ireland

G2 Calmount Park, Calmount Avenue, Dublin 12 Republic of IRELAND TEL: (01) 4294444

ITALY

Roland Italy S. p. A.

Viale delle Industrie 8, 20020 Arese, Milano, ITALY TEL: (02) 937-78300

NORWAY

Roland Scandinavia Avd. Kontor Norge

Lilleakerveien 2 Postboks 95 Lilleaker N-0216 Oslo NORWAY TEL: 2273 0074

POLAND

MX MUSIC SP.Z.O.O.

UL. Gibraltarska 4. PL-03664 Warszawa POLAND TEL: (022) 679 44 19

PORTUGAL

Roland Iberia, S.L. Portugal Office

Cais das Pedras, 8/9-1 Dto 4050-465, Porto, PORTUGAL TEL: 22 608 00 60

ROMANIA

FBS LINES

Piata Libertatii 1, 535500 Gheorgheni, ROMANIA TEL: (266) 364 609

RUSSIA

MuTek

3-Bogatyrskaya Str. 1.k.l 107 564 Moscow, RUSSIA TEL: (095) 169 5043

SPAIN

Roland Iberia, S.L.

Paseo García Faria, 33-35 08005 Barcelona SPAIN TEL: 93 493 91 00

SWEDEN

Roland Scandinavia A/S SWEDISH SALES OFFICE

Danvik Center 28, 2 tr. S-131 30 Nacka SWEDEN TEL: (0)8 702 00 20

SWITZERLAND

Roland (Switzerland) AG

Landstrasse 5, Postfach, CH-4452 Itingen, SWITZERLAND TEL: (061) 927-8383

UKRAINE

TIC-TAC

Mira Str. 19/108 P.O. Box 180 295400 Munkachevo, UKRAINE TEL: (03131) 414-40

UNITED KINGDOM

Roland (U.K.) Ltd.

Atlantic Close, Swansea Enterprise Park, SWANSEA SA7 9FJ, UNITED KINGDOM TEL: (01792) 702701

MIDDLE EAST

BAHRAIN

Moon Stores

No.16, Bab Al Bahrain Avenue, P.O.Box 247, Manama 304, State of BAHRAIN TEL: 17 211 005

CYPRUS

Radex Sound Equipment Ltd.

17, Diagorou Street, Nicosia, CYPRUS TEL: (022) 66-9426

IRAN

MOCO INC.

No.41 Nike St., Dr.Shariyati Ave., Roberoye Cerahe Mirdamad Tehran, IRAN TEL: (021) 285-4169

ISRAEL

Halilit P. Greenspoon & Sons Ltd.

8 Retzif Ha'aliya Hashnya St. Tel-Aviv-Yafo ISRAEL TEL: (03) 6823666

JORDAN

AMMAN Trading Agency

245 Prince Mohammad St., Amman 1118, JORDAN TEL: (06) 464-1200

KUWAIT

EASA HUSAIN AL-YOUSIFI & SONS CO.

Abdullah Salem Street, Safat, KUWAIT TEL: 243-6399

LEBANON

Chahine S.A.L.

Gerge Zeidan St., Chahine Bldg., Achrafieh, P.O.Box: 165857 Beirut, LEBANON TEL: (01) 20-1441

OMAN

TALENTZ CENTRE L.L.C.

P.O. BOX 37, MUSCAT, POSTAL CODE 113 TEL: 931-3705

QATAR

Al Emadi Co. (Badie Studio & Stores)

P.O. Box 62, Doha, QATAR TEL: 4423-554

SAUDI ARABIA

aDawliah Universal Electronics APL

Corniche Road, Aldossary Bldg., 1st Floor, Alkhobar, SAUDI ARABIA

P.O.Box 2154, Alkhobar 31952 SAUDI ARABIA TEL: (03) 898 2081

SYRIA

Technical Light & Sound Center

Rawda, Abdul Qader Jazairi St. Bldg. No. 21, P.O.BOX 13520, Damascus, SYRIA TEL: (011) 223-5384

TURKEY

Ant Muzik Aletleri Ithalat Ve Ihracat Ltd Sti

Siraselviler Caddesi Siraselviler Pasaji No:74/20 Taksim - Istanbul, TURKEY TEL: (0212) 2449624

U.A.E.

Zak Electronics & Musical Instruments Co. L.L.C.

Zabeel Road, Al Sherooq Bldg., No. 14, Grand Floor, Dubai, U.A.E. TEL: (04) 3360715

NORTH AMERICA

CANADA

Roland Canada Music Ltd. (Head Office)

5480 Parkwood Way Richmond B. C., V6V 2M4 CANADA TEL: (604) 270 6626

Roland Canada Music Ltd. (Toronto Office)

170 Admiral Boulevard Mississauga On L5T 2N6 CANADA TEL: (905) 362 9707

U. S. A.

Roland Corporation U.S.

5100 S. Eastern Avenue Los Angeles, CA 90040-2938, U. S. A. TEL: (323) 890 3700

As of January 15, 2005 (ROLAND)

This product complies with the requirements of European Directive 89/336/EEC.

For EU Countries

For Canada

This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.

Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.

NOTICE

AVIS

For the USA

FEDERAL COMMUNICATIONS COMMISSION

RADIO FREQUENCY INTERFERENCE STATEMENT

Unauthorized changes or modification to this system can void the users authority to operate this equipment. This equipment requires shielded interface cables in order to meet FCC class B Limit.

This owner’s manual is printed on recycled paper.

03124823 ’05-2-7N

Roland FP-5 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

USING THE UNIT SAFELY

IMPORTANT NOTES

Contents

Panel Descriptions

Front Panel

Rear Panel

Before You Play

Making Connections

Installing the Music Stand

Connecting Pedals

Turning the Power On and Off

Turning On the Power

Turning Off the Power

Connecting Headphones

Adjusting the Sound’s Volume and Brilliance

Chapter 1 Playing the Keyboard

Listening to Demo Songs

Listening to Internal Songs

Playing Back All Songs Continuously (All Song Play)

Listening to Each Part Separately

Performing with a Variety of Sounds

Simulating the Creation of Organ Tones (Tone Wheel Mode)

Selecting the Footage

Changing volume of feet

Performing With Two Layered Tones (Dual Play)

Performing With Different Tones in the Left and Right Sides of the Keyboard (Split Play)

Changing Tone Group and Tone variation.

Changing the Keyboard’s Split Point

Changing the Volume Balance for Dual Play and Split Play

Changing the Keyboard’s Touch

Adding Reverberation to Sounds (The Reverb Effect)

Changing the Depth of Reverb Effect

Adding a Variety Effects to the Sound

Changing the Effect type

Changing the Depth of Effect

Adding a Spinning Sound to Organ Tones (Rotary Effect)

Changing the Sound’s Pitch in Real Time (Pedal Control)

Transposing the Key of the Keyboard (Key Transpose)

Using the Metronome

Changing the Tempo

Changing the Beat of Metronome

Changing the Volume

Chapter 2 Playing Along with Rhythms

What is Session Partner?

Performing Along With Session Partner

Changing the Volume of a Part

Selecting a Rhythm

Changing a Rhythm’s Tempo

Selecting a Rhythm’s Chord Progression

Performing With the Chord Progression Specified in the Left Hand (Chord Progression off)

Recording the Chord Progression (Chord Progression)

Storing Settings (Setup)

Selecting Stored Settings

Chapter 3 Recording a Performance

Recording a Performance

Recording a Performance Using Session Partner

Recording Selected Track buttons

Erasing Recorded Performances

Chapter 4 Other Functions

How to make settings

Changing How the Pedal Effects Are Applied

How the Soft Pedal(FC2) effects are applied

Changing How the Pedals Work

How the Sostenuto Pedal(FC1) effects are applied

How the Damper Pedal effects are applied

Works of the Soft Pedal(FC2)

Works of the Sostenuto Pedal(FC1)

Setting the Part to Which Effects Are Added

Changing the Work of the Pedal Control

Changing the Pitch of the Lower Tone in Octave Steps (Octave Shift)

Changing the Velocity When the Key Touch Is Set to “Fixed”

Tuning to Other Instruments’ Pitches (Master Tuning)

Adjusting the Tuning (Temperament)

Changing the Beat Pattern

Setting the Intro and Ending on or off

Setting the Root Note of the Chord Progression