Roland FR-5 User Manual
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FR-7/FR-5
OS Version 2
Owner’s Manual
WARNING
– To reduce the risk of fire or electric shock, do not expose this device to rain or moisture.
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
ATTENTION
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK,
NO USER-SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR
DO NOT REMOVE COVER (OR BACK).
The lightning flash with arrowhead symbol, within an equilateral triangle, is intended to alert the user to the presence of uninsulated
“dangerous voltage” within the product’s enclosure that may be of
sufficient magnitude to constitute a risk of electric shock to persons.
The exclamation point within an equilateral triangle is intended to
alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the
product.
INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS.
IMPORTANT SAFETY INSTRUCTIONS
SAVE THESE INSTRUCTIONS
WARNING
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with a dry cloth.
7. Do not block any of the ventilation openings. Install in accordance with the manufacturers instructions.
8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat.
9. Do not defeat safety purpose of the polarized or grounding-type
plug. A polarized plug has two blades with one wider than the
other.
A grounding type plug has two blades and third grounding
prong. The wide blade or the third prong are provided for your
safety. If the provided plug does not fit into your outlet, consult
an electrician for replacement of the obsolete outlet.
– When using electric products, basic precautions should always be followed, including the following:
10. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where
they exit from the apparatus.
11. Only use attachments/accessories specified by the manufacturer.
12. Unplug this apparatus during lightning storms or when unused
for long periods of time.
13. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such
as power-supply cord or plug is damaged, liquid has been
spilled or objects have fallen into the apparatus, the apparatus
has been exposed to rain or moisture, does not operate normally, or has been dropped.
For the U.K.
IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.
BLUE:
BROWN:
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying
the terminals in your plug, proceed as follows:
The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.
Under no circumstances must either of the above wires be connected to the earth terminal of a three pin plug.
This product must be disposed of separately at
your local waste recycling centre.
Do not dispose of in household waste bin.
The technology used in the FR-7 and FR-5 is covered by U.S. Patent No. 6.946.594.
NEUTRAL
LIVE
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FR-7/FR-5
OS Version 2
Owner’s Manual
ENGLISH ENGLISH
Thank you for purchasing the Roland FR-7/FR-5 V-Accordion. The FR-7/FR-5 is an amazingly versatile electronic instrument that can emulate the sounds of a vast array of accordions. You may know that the term “accordion” refers to a
portable musical instrument of the free reed family, that its sound is controlled by air flow from the bellows, and that
there are almost as many types as there are countries. The accordion family indeed includes instruments called
“Aeloine”, “Aerophone”, “Bayan”, “Buzika”, “Concertina”, “Drängkammarorgel”, “Fisarmonica”, “Hanuri”, “Melodeon”,
“Pedalowka”, “Schwyzerorgeli”, “Squeeze Box”, “Sun Fin Chin”, and many others.
For the first time in history, Roland introduces an accordion instrument that can emulate (recreate) the sounds and
behavior of several bellows instruments. Though it is also the most sophisticated MIDI controller to date (even more
powerful than any keyboard instrument), the major advantage of the FR-7/FR-5 is probably that it allows you to
change sounds without changing instruments. Apart from the financial benefit (the FR-7/FR-5 costs far less than what
you have to pay for the emulated originals), this also means that you can use your familiar playing style and techniques
while covering a host of different musical genres.
To get the most out of the FR-7/FR-5 and to ensure many years of trouble-free service, we urge you to read through
this Owner’s Manual thoroughly.
Before using this instrument, carefully read the “Important notes” (p. 9). They provide information concerning the
proper operation of the FR-7/FR-5. Be sure to keep this manual in a safe place for future reference.
ENGLISH ENGLISH
Copyright © 2005 ROLAND EUROPE. All rights reserved. No part of this publication may be reproduced in any form without the written permission of Roland Europe S.p.a.
FR-7/FR-5
|
V-Accordion
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Contents
1. Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
2. Important notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
3. Panel descriptions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
4. Setting up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
5. About the FBC-7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34
6. Editing sounds. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
7. MIDI functions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79
8. Miscellaneous functions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
9. MIDI implementation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .105
10. Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .109
11. Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .110
V-Accordion
Treble control panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Bass control panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Display and master bar. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Connection panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Connection panel of the FBC-7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Switching the power on and off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Listening to the demo songs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
First steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Touring the FR-7/FR-5’s sections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Using the orchestral sounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Other practical functions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Using the FBC-7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Charging the battery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Selecting parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Setting parameter values. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
1. TUNING parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
2. TREBLE EDIT parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
3. BASS EDIT parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
4. FREE BASS EDIT parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
5. ORC BASS EDIT parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
6. ORCH. EDIT parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
7. ORC CHD EDIT parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
8. ORC FBS EDIT parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
9. SET COMMON parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
10. SYSTEM parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
11. UTILITY parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
About MIDI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Global MIDI parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
MIDI parameters for the various sections/parts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Archiving your settings via MIDI (Bulk Dump). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Saving settings using the WRITE function . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Restoring the factory defaults . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Troubleshooting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Specifications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Parameter list. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Factory Sets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Demo Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .103
MIDI Implementation Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
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FR-7/FR-5
Features
V-Accordion
| Features
1. Features
Stand-alone electronic instrument
Though the FR-7/FR-5 is a fully electronic instrument, you do not need to connect the FR-7 to an
amplifier in order to produce sounds. Its onboard
amplification system is powerful enough for small
venues, restaurants, etc. (The FR-5 has no internal
amplification.)
Furthermore, the FR-7 comes with a rechargeable
battery (Ni-Mh) so that you do not need to connect it
to a wall outlet. The battery should last ±8 hours.
(The battery is available as an optional item for the
FR-5.)
Sophisticated MIDI control
The FR-7/FR-5 is the most versatile and “musical”
MIDI controller to date, going far beyond the control
possibilities of a MIDI keyboard with optional performance functions or of MIDIfied wind instruments.
The piano-style Treble keyboard even transmits aftertouch messages.
PBM (Physical Behavior Modeling)
The FR-7/FR-5 V-Accordion is based on Roland’s latest sound generation technology called “PBM” (Physical Behavior Modeling) whose sonic result is very
close to the sound of traditional accordions.
Super realistic accordion simulations
The FR-7/FR-5 provides 40 memories called “Sets”,
with 14 treble registers, 7 bass & chord registers and
7 free bass registers each. All sounds it produces were
obtained by sampling the most popular traditional
acoustic accordions. Different tuning systems are
also available.
This V-Accordion allows you to switch from an Italian
jazz accordion to German folk, French musette or a
historic bandoneon sound – without changing your
technique.
The digital advantage
The V-Accordion includes all functions and sounds of
a traditional accordion, thus conveying a really natural feel and sound. Yet it also provides the advantages only an electronic musical instrument can give
you:
• reduced overall weight;
• possibility to choose among a wide variety of sounds;
• you can create and customize the accordion timbres
(program your own sounds);
• you can choose among various bass button operation
modes (Minor 3rd Free Bass, 5th, Bayan, North
Europe, Finnish);
• tuning stability over time and wear resistance of all
mechanical parts;
• you can sound in a different key than the one you are
playing in (transpose function);
• you can play with headphones, i.e. without disturbing
your neighbors or family.
Superb performance flexibility
The V-Accordion allows you to control external MIDIcompatible instruments. The Treble keyboard and
chord/bass buttons are velocity-sensitive, while the
bellows controller provides more articulation possibilities than any other MIDI keyboard, MIDI wind
instrument, etc., you may know.
In High or Low mode (see p. 26), you can control up
to 4 parts simultaneously (two sounds in the right
hand/two sounds in the left).
Orchestral sounds
22 orchestral sounds can be used in combination
with traditional accordion sounds – complete with
full bellows articulation and unique keyboard modes
(Solo, Dual, High and Low as well as “M” variants of
these modes).
In addition, the FR-7/FR-5 provides 7 orchestral bass
sounds for the Bass section, 7 orchestral sounds for
the chord buttons, and 7 orchestral sounds for the
Free Bass section that can be added to the Bass
accordion sound.
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• All product names mentioned in this document are trademarks or
registered trademarks of their respective owners.
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.
V-Accordion
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Using the unit safely
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.
• Before using this instrument, read the instructions below
and the Owner’s Manual.
...................................................................................................................................
• Connect the mains plug of this model to a mains outlet
with a protective earthing connection.
...................................................................................................................................
• Do not open or perform any internal modifications on
the unit.
...................................................................................................................................
• Do not attempt to repair the FR-7/FR-5 or FBC-7 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.
...................................................................................................................................
• Never use or store the FR-7/FR-5 or FBC-7 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.
...................................................................................................................................
•When not in use, do not place the FR-5 or FR-7 vertically
due to instability. If placed in the vertical position on the
floor/stage, ensure that it leans against a stable vertical
surface e.g. a wall or a heavy musical instrument.
...................................................................................................................................
• The FBC-7 should only be connected to a power supply of
the type described in the operating instructions or as
marked on the bottom of the FBC-7.
...................................................................................................................................
• Never expose the battery pack to excessive heat such as
sunshine, fire or the like.
• 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!
....................................................................................................................................
• This instrument, 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 FR-7/FR-5 or
FBC-7 and consult an audiologist.
....................................................................................................................................
• Do not allow any objects (e.g., flammable material, coins,
pins); or liquids of any kind (water, soft drinks, etc.) to
penetrate the FR-7/FR-5 or FBC-7.
....................................................................................................................................
• In households with small children, an adult should provide supervision until the child is capable of following all
rules essential for the safe operation of the FR-7/FR-5 or
FBC-7.
....................................................................................................................................
• Protect the FR-7/FR-5 and FBC-7 from strong impact.
(Do not drop it!)
....................................................................................................................................
•Immediately turn the power off, remove the power cord
from the outlet and request servicing by your retailer, the
nearest Roland Service Center or an authorized Roland
distributor, as listed on the “Information” page when:
• The power-supply cord or the plug has been damaged;
or
• Objects have fallen into or liquid has been spilled onto
the FR-7/FR-5 or FBC-7; 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.
7
FR-7/FR-5
Features
• Do not force the FBC-7’s power cord to share an outlet
• Before using the FBC-7 in a foreign country, consult with
• The FR-7/FR-5 or FBC-7 should be located so that its
...................................................................................................................................
• Always grasp only the plug on the power-supply cord
...................................................................................................................................
• Try to prevent cords and cables from becoming entan-
...................................................................................................................................
• Never climb on top of, nor place heavy objects on the
V-Accordion
| Using the unit safely
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.
your retailer, the nearest Roland Service Center or an
authorized Roland distributor, as listed on the “Information” page.
location or position does not interfere with its proper
ventilation.
when plugging into or unplugging from, an outlet or this
unit.
gled. Also, all cords and cables should be placed out of
the reach of children.
FR-7/FR-5 or FBC-7.
...................................................................................................................................
• Never handle the power cord or its plugs with wet hands
when plugging into or unplugging from, an outlet or this
unit.
...................................................................................................................................
• If you need to move the FBC-7, take note of the precautions listed below. Make sure to have a firm grip, to protect yourself from injury and the instrument from damage.
• Disconnect the power cord.
• Disconnect all cords coming from external devices.
...................................................................................................................................
• Before cleaning the FR-7/FR-5, turn off the power and
unplug the power cord from the outlet.
...................................................................................................................................
• Whenever you suspect the possibility of lightning in your
area, disconnect the FBC-7’s power cord from the outlet.
...................................................................................................................................
• Should you remove screws, 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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V-Accordion
2. Important notes
In addition to the items listed under “Using the unit safely” on p. 7, please read and observe the following:
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Important notes
Power supply
• Do not use this instrument on the same power circuit with any
device that will generate line noise (such as an electric motor or
variable lighting system).
• Before connecting the FR-7/FR-5 to other devices, turn off the
power to all units. This will help prevent malfunctions and/or damage to speakers or other devices.
• Although the LCD and LEDs are dark when the POWER switch is
off, this does not mean that the unit has been completely disconnected from the power source. To turn off the power completely,
first turn off the POWER switch, then unplug the power cord from
the wall outlet. For this reason, the outlet to which you connect
the power cord’s plug should be one that is within easy reach.
Placement
• Using the FR-7/FR-5 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.
• This device may interfere with radio and television reception. Do
not use this device in the vicinity of such receivers.
• Do not place the FR-7/FR-5 near devices that produce a strong
magnetic field (e.g., loudspeakers).
• Install the FR-7/FR-5 on a solid, level surface.
• 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, relocate such wireless
devices so they are at a greater distance from this unit or switch
them off.
• 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. Also, do not allow lighting devices
that normally are used while their light source is very close to the
unit (such as a piano light) or powerful spotlights to shine upon
the same area of the unit for extended periods of time. Excessive
heat can deform or discolor the unit.
• To avoid possible breakdown, do not use the unit in a wet area,
such as an area exposed to rain or other moisture.
• Do not allow rubber, vinyl or similar materials to remain on the
instrument for long periods of time. Such objects can discolor or
otherwise harmfully affect the finish.
• Do not put anything that contains water (e.g., flower vases) on the
instrument. Also, avoid the use of insecticides, perfumes, alcohol,
nail polish, spray cans, etc., near the unit. Swiftly wipe away any
liquid that spills on the unit using a dry, soft cloth.
• Do not allow objects to remain on top of the keyboard or buttons.
This can be the cause of malfunction, such as keys or buttons ceasing to produce sound.
• Do not paste stickers, decals or the like on this instrument. Peeling
these off, particularly when strong adhesives have been used, can
damage the instrument’s exterior finish (the stickers provided with
this instrument feature a weak adhesive).
Maintenance
• For everyday cleaning wipe the FR-7/FR-5 with a soft, dry cloth or
one that has been slightly dampened with water. To remove stubborn dirt, use a mild, non-abrasive detergent. Afterwards, be sure
to wipe the instrument thoroughly with a soft, dry cloth.
• Never use benzene, thinner, alcohol or solvents of any kind, to
avoid the possibility of discoloration and/or deformation.
Repairs and data
• Please be aware that all data contained in the instrument’s memory may be lost when it is sent for repairs. In certain cases (such as
when circuitry related to memory itself is out of order), we regret
that it may not be possible to restore the data. Roland assumes no
liability concerning such loss of data.
Additional precautions
• Please be aware that the memory contents can be irretrievably lost
as a result of a malfunction or the improper operation of the
instrument. Therefore, be sure to archive important settings using
the FR-7/FR-5’s Bulk Dump function (see p. 89).
• Use a reasonable amount of care when using the instrument’s
buttons, other controls and jacks/connectors. Rough handling can
lead to malfunctions.
• Never strike or apply strong pressure to the display.
• When connecting/disconnecting 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.
• A small amount of heat will radiate from the instrument during
normal operation. This is perfectly normal.
• To avoid disturbing your neighbors, try to keep the instrument’s
volume at reasonable levels. You may prefer to use headphones, so
you do not need to be concerned about those around you (especially late at night).
• When you need to transport the instrument, package it in the box
(including padding) that it came in. Otherwise, you will need to use
equivalent packaging materials or a flightcase.
• Use only the specified expression pedal (EV-5, EV-8; sold separately). By connecting any other expression pedals, you risk causing malfunction and/or damage to the FR-7/FR-5.
• 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.
Precautions for the included (FR-7) or optional
(FR-5) battery
• The temperature range for use of the batteries is as follows. Using
them outside this range may impair battery performance and
shorten battery service life.
–20~30°C,
• Do not use or store a battery at high temperature, such as in
strong direct sunlight, in cars during hot weather or directly in
front of heaters. This may cause battery fluid leakage, impaired
performance and shorten the battery’s service life.
• Do not charge a battery while it is cold (below 0°C) or outside
when it is freezing. This may cause battery fluid leakage, impaired
performance and shorten the battery’s service life.
• Do not splash fresh or saltwater on a battery or allow the terminals to become damp. This may cause heat generation and formation of rust on the battery and its terminals.
• Use only the supplied FBC-7 to charge the FR-7/FR-5’s battery.
Failure to follow proper charging procedures may cause excessive
current flow, loss of control during charging, leakage of battery
fluid, heat generation, bursting or fire.
• For the procedure for charging the FR-7/FR-5’s battery, please
read page 35.
Charging
Use (discharging)
: 0~40°C.
: 0~50°C,
Storage
:
9
FR-7/FR-5
Important notes
• Do not connect the battery directly to a power outlet or
• If a newly purchased battery exhibits rust, generates heat or seems
• Be sure to fully deplete a battery before recharging it for the first
• Keep the battery out of reach of babies or small children. Ensure
• Be sure to carefully instruct any person on the proper way of han-
• Never dispose of the battery in a fire. Never heat it. Doing so may
• Do not charge or use the battery with the positive (+) and nega-
• Do not remove the outer tube from a battery or damage it.
• Do no strike or drop the battery. Strong impact can cause leakage
• Never try to connect two batteries in parallel as this may cause
• Do not alter or remove protective mechanisms or other parts.
• The positive (+) terminal section of the battery is equipped with a
• Do not overcharge the battery by exceeding the predetermined
• If the battery is not fully charged after the predetermined charg-
• If any fluid from a battery comes in contact with the eyes, flush
• If skin or clothing comes in contact with any fluid from the bat-
• When a battery is no longer usable, dispose of it in accordance
• If the battery leaks fluid, changes color or shape or changes in any
V-Accordion
| Important notes
insert it into a cigarette lighter socket in a car. High voltage
may cause excessive current flow, leakage of battery fluid, heat,
bursting or fire.
abnormal in any other way, do not use it. Take it back to your
Roland dealer.
time.
that babies or small children cannot remove a battery from the
FBC-7 while it is being charged.
dling a battery.
melt the insulation, damage the gas release vents or protective
devices, cause combustion through chemical reaction with generated hydrogen, ejection of battery fluid, bursting or fire.
tive (–) terminals reversed, as this may drain the battery or cause
abnormal chemical reactions. Under normal operation, this should
be impossible, because the battery or cable can only be connected
in one direction.
of battery fluid, heat generation, bursting or fire.
leakage of battery fluid, heat generation, bursting or fire.
Never disassemble the battery.
gas release vent. Never deform this section or cover it. Do not
obstruct the release of gas as this could result in leakage of battery
fluid, heat generation, bursting or fire.
charging period of the FBC-7 or indicator. Never recharge a battery that is already fully charged. This could result in leakage of
battery fluid, heat generation, bursting or fire.
ing period has elapsed, stop the charging process. Prolonged
charging could result in leakage of battery fluid, heat generation,
bursting or fire.
the eyes immediately, washing them thoroughly with clean water
from a tap or other source and consult a doctor. Strong alkaline
fluid can damage the eyes and lead to permanent loss of eyesight.
tery, wash the area immediately with clean water from a tap. Battery fluid can cause skin damage.
with all applicable local laws and regulations.
other way, do not use it, otherwise it may cause heat generation,
bursting or fire.
Strap holder precaution
• Never unscrew the strap holder rings to avoid damaging the FR-7/
FR-5’s plastic housing, which eventually compromises overall stability and safety.
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10
A
C
E
F
3. Panel descriptions
Treble control panel
B
D
B
V-Accordion
Panel descriptions
I
J
r
K
L
G
A
DATA/ENTER knob
This knob allows you to enter values and to select
menu entries or shortcuts by turning it. You can also
press it (ENTER) to confirm a setting or to jump to
another parameter in the display.
It also allows you to start/stop an external MIDI
device (see p. 72).
B
UP/DOWN buttons
On the Main page, [UP] and [DOWN] allow you to
select 8 important functions: TRANSPOSE (press [UP]
once), MUSETTE DETUNE (press [UP] 2x), SCALE TUNING (press [UP] 3x), VALVE/BUTTON NOISE (press [UP]
4x); ORCHESTRA VOLUME (press [DOWN] once),
ORCHESTRA BASS VOLUME (press [DOWN] 2x), ORCH
CHORD VOLUME (press [DOWN] 3x), and ORCH
FREEBS VOLUME (press [DOWN] 4x).
After selecting the MENU, [UP] and [DOWN] are used
to enter values (same function as the [DATA÷ENTER]
knob).
C
EXIT/JUMP button
The [EXIT÷JUMP] button allows you to return to the
Main page (the display page that is shown while you
are playing the FR-7/FR-5). After selecting a Menu
function, briefly pressing [EXIT÷JUMP] takes you back
to a higher level. Press it again to return to the Main
page.
By holding down [EXIT÷JUMP] while the Main page is
displayed, you activate the JUMP function (see p. 38).
D
MENU/WRITE button
This button allows you to select the FR-7/FR-5’s
MENU environment where you can set and view the
available functions. By holding down [MENU÷WRITE],
you activate the WRITE function, which allows you to
save your settings.
VOLUME knob
E
This knob allows you to set the V-Accordion’s overall
volume.
H
ORCH LINK
BASS LINK
BALANCE knob
F
LOW
DUAL
SOLO
MODE
HIGH
This knob allows you to set the balance between the
Bass and the Treble sections. Turn it towards “BASS”
to decrease the Treble section’s volume. Turn it
towards “TREBLE” to decrease the Bass section’s volume.
G
SET buttons
These two buttons allow you to choose among 40
accordion Sets. Each Set contains suitable settings
for the 14 Treble, 7 Bass, 7 Free Bass registers, 22
orchestral sounds and 7 orchestral bass/7 orchestral
Free Bass/7 orchestral chord sounds.
H
Treble registers
The Treble section provides the following 14 switches
(“registers”):
1 Bassoon 8 Master
2 Bandon 9 Musette
3 Cello 10 Celeste
4 Harmon 11 Tremolo
5 Organ 12 Clarinet
6 Accord 13 Oboe
7 Violin 14 Piccolo
Note: By pressing and holding any register, you can switch off
the Treble section. Press another register to switch it back on.
Note: In Orchestra mode the first 9 registers provide access to
two sounds (A/B) of the family whose name is printed below
the register. To select a “B” sound, press the corresponding register twice.
By holding down [ORCHESTRA], while pressing a register 9~14, you activate the Link functions (see p. 46)
or select an Orchestra mode (see p. 26). By holding
down [ORCHESTRA] while pressing register [8], you
select the “Send PC” function (page 83).
M
11
FR-7/FR-5 V-Accordion
Panel descriptions | Bass control panel
I
POWER button
Press this button to switch the V-Accordion on (the
button lights) and off (button dark).
Note: The FR-7/FR-5 is automatically switched off after 10
minutes of inaction to save battery power. This can be
changed, however (see p. 71).
J
SORDINA switch
This ON/OFF switch allows you to switch the simulation of the wooden resonance chamber on and off.
Bass control panel
N
K
DELAY knob
The FR-7/FR-5 contains three digital effects that can
be used simultaneously. This knob is used to set the
level of the Delay (echo) effect (see p. 66).
L
CHORUS knob
Use this knob to set the level of the Chorus effect
(see p. 64).
M
REVERB knob
Use this knob to set the level of the Reverb effect (see
p. 63).
N
Bass registers
Note: By pressing and holding any register, you can switch off
the Bass (or Free Bass) section. Press another register to switch
it back on.
These switches allow you to select the desired bass
mix. They include the following footages:
1
2
3
4
O
ORCH BASS registers
Press the last three (“ORCH BASS”) registers (viewed
from the top) simultaneously to enter Orchestra Bass
mode (see p. 28). Doing so switches off the accordion
bass sound and selects an orchestral sound. Press the
last three registers again simultaneously to return to
normal bass mode.
2’
4’
8-4’
16’/8’/8-4’/4’/2’
8’/4’/2’
5
16’/8’/8-4’
6
7
16’/2’
QO P
ORCH FREE BS/ORCH CHORD registers
P
By pressing these three registers, you activate (or
switch off) one of two orchestral sections: ORCH
CHORD (if the Free Bass section is off) or ORCH FREE
BS (if the Free Bass section is on). “ORCH CHORD”
allows you to select an orchestral sound for the
chord buttons, while “ORCH FREE BS” can be used to
select an orchestral bass sound for the Free Bass section. See p. 29 for details.
Q
FREE BASS registers
Press the first three (“FREE BASS”) registers (viewed
from the top) simultaneously to enter Free Bass
mode. The FR-7/FR-5 provides several systems for
this mode (see p. 70). Press the first three registers
again simultaneously to return to normal bass mode.
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12
Display and master bar
S
R
V-Accordion
Display and master bar
R
Master bar
In most cases, this bar (which
you can press) recalls a Treble
register you specify. In Dual,
High or Low mode, however, it
allows you to switch the Orchestra section on and off.
S
Display
The display keeps you informed
about the FR-7/FR-5’s status.
r
Connection panel
T
T
TO FBC-7 socket
Use the supplied cable to connect this socket to the
supplied FBC-7 power supply/footswitch unit/battery
charger. This may be necessary in the following cases:
• To power the FR-7/FR-5 without using the supplied
battery. In most instances, this may be unnecessary,
because the supplied battery (FR-7) lasts up to 8
hours.
Note: See also “Connecting the FBC-7” on p. 34 for details
about maximizing the life span of the battery.
If you connect the 19-pin cable, be sure to never
place the FR-7/FR-5 on the side when not using it.
• Always stand the V-Accordion on its rubber feet (and
in the corresponding direction) to avoid damaging
the 19-pin plug.
• Always handle and move the FR-7/FR-5 with care
and pay special attention to the cable slack to avoid
damaging or bending the 19-pin cable.
• If you place the FR-7/FR-5 on your lap, ensure that
the 19-pin cable runs between you legs (not sideways) to avoid damaging or bending the 19-pin
cable.
• To be able to control certain functions by foot (see
p. 34).
• To use the FR-7/FR-5 as a MIDI controller (only the
FBC-7 has MIDI sockets).
U
U
OUTPUT L/MONO (Treble) & R/MONO (Bass) sockets
These sockets can be connected to an amplifier, a
mixing console or a wireless system.
If you use both connectors, the FR-7/FR-5’s output is
stereo. If you only use one jack (connected to the “L”
or “R” socket), the FR-7/FR-5’s output is mono.
Note: If you don’t want to use a wireless system, consider connecting the FR-7/FR-5 to the FBC-7 when you need to connect
it to an external amplifier.
Note: On the FR-7, connecting jacks to these sockets does not
mute the internal speakers.
V
PHONES socket
This is where you can connect stereo headphones
(Roland RH-25, RH-50 or RH-200). On the FR-7, connecting a pair of headphones mutes the internal
speakers.
V
13
FR-7/FR-5 V-Accordion
Panel descriptions | Connection panel of the FBC-7
Connection panel of the FBC-7
AB CDEF
A
POWER ON switch
Press it to switch the FBC-7 (but not the FR-7/FR-5)
on and off.
B
AC connector
This is where you need to connect the supplied power
cable. See also page 16.
C
MIDI THRU/OUT/IN sockets
Use these sockets to connect the FR-7/FR-5 to external MIDI gear (see p. 79).
D
OUTPUT R/MONO & L/MONO sockets
Connect these sockets to an external amplifier or
mixing console. For stereo operation, be sure to connect both jacks.
E
EXPRESSION PEDAL socket
This is where you can connect an optional EV-series
expression pedal (see p. 34).
F
TO FR7/5 V-ACCORDION socket
Use the supplied 19-pin cable to connect this socket
to your FR-7/FR-5 (see p. 34).
Note: See also “Using the FBC-7” on p. 34 for additional functions of the FBC-7.
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14
V-Accordion
r
Setting up
4. Setting up
Connections
The FR-7 can be used without any connections to either an amplification system or the FBC-7 power supply/battery
charger unit. An FR-5 without an optional battery needs to be connected to the supplied FBC-7, however.
Connecting the FR-7/FR-5 to the supplied FBC-7
If you do not have a battery (FR-5) or prefer
not to use it (FR-7), you need to connect the
V-Accordion to the FBC-7 using the supplied
cable. That cable powers the FR-7/FR-5, transmits pedal messages and sends the FR-7/
FR-5’s audio signals to the OUTPUT L/MONO &
R sockets on the FBC-7.
In that case, there is no real need to connect
the OUTPUT sockets on the FR-7/FR-5 to an
external amplifier. Connect the FR-7/FR-5 as
shown in the illustration.
Note: This connection is required if you wish to take
advantage of the FR-7/FR-5’s MIDI functions (see
p. 79).
The FR-7/FR-5’s sounds have been arranged
in such a way as to provide a natural stereo
image. If you connect the V-Accordion to a
mixing console, set the PAN control of the
input to which the OUTPUT L socket (Treble
section) is connected to “11 o’clock” and the
PAN control of the channel to which the
OUTPUT R socket (Bass & chord section) is
connected to “3 o’clock” to preserve this balance. Something like this: . This
T
B/C
setting can be changed, however (see p. 70).
Use the supplied 19-pin
cable.
Note: Do not forget to connect the
FBC-7’s AC socket to a suitable wall
outlet.
OUTPUT
L/MONO + R/MONO
INPUT
L + R
Using the OUTPUT sockets
If you are using the supplied
rechargeable battery (FR-7) and
need to connect the FR-7/FR-5 to a
PA system or mixer, we recommend using a wireless system to
avoid having to use excessively
long signal cables.
The FR-7 is equipped with an internal speaker system and thus does
not need to be connected to an
amplifier at all. The FR-5, on the
other hand, always requires an
audio connection. As long as it
does not contain an optional battery, we recommend connecting it
to the FBC-7 (see above).
You can also use a pair of headphones (Roland RH-25, RH-50 or
RH-200). In the case of the FR-7, connecting headphones switches off the internal speakers.
Note: The FR-7/FR-5’s OUTPUT sockets are also available if you connect the FR-7/FR-5 to the FBC-7. Do not try to connect them to any of the
FBC-7’s sockets, because that does not work.
OUTPUT
L/MONO (Treble) + R/MONO (Bass)
Use either a long signal cable (10m or more) or an optional wireless system (recommended).
INPUT
L + R
15
FR-7/FR-5 V-Accordion
Setting up | Switching the power on and off
Switching the power on and off
The power-on procedure depends on whether you are
using a battery or the FBC-7 Foot Pedal/DC Power/ Battery Charger Unit.
Note: Only use the battery that either came with your FR-7 or
that you purchased from your Roland dealer. Using other batteries can severely damage the FR-7/FR-5 or FBC-7. Roland assumes
no responsibility for damages caused by batteries that have not
been explicitly approved. Such damages are not covered by
Roland’s warranty regulations.
If you are using a battery and no external
amplification (FR-7 only)
(1) Press the FR-7’s [POWER] button (it lights) to
switch it on.
—To switch off your system—
(6) Turn down the output volume of the receiving
audio device or switch it off.
(7) Press the FR-7/FR-5’s [POWER] button again so
that it goes dark.
If you are using the FBC-7
If the FR-7/FR-5 is powered by the supplied FBC-7 unit,
proceed as follows:
(1) Connect the FR-7/FR-5 to the FBC-7 using the
supplied 19-pin cable.
(2) Connect the FBC-7’s AC INLET socket to a wall out-
let that meets the specifications (see p. 98).
To a wall outlet
Note: You can also connect headphones.
(2) Start playing (see “First steps” on page 18).
(3) Press the [POWER] button again so that it goes
dark when you are finished.
If you are using a battery and an audio connection to an external device
The FR-5 needs to be connected to an amplification
system of some sort (unless you want to use headphones), while you also need the FBC-7.
Note: You can also purchase a wireless transmitter from your
Roland dealer and connect it to the OUTPUT sockets on the FR-7/
FR-5.
(1) Turn down the output volume of the receiving
audio device.
You can also simply switch it off.
(2) Connect the FR-7/FR-5’s OUTPUT sockets to the
external audio device using two 1/4” guitar cables.
Note: You can also connect headphones to the PHONES
socket, in which case you do not need to establish an audio
connection.
(3) Press the FR-7/FR-5’s [POWER] button (it lights) to
switch it on.
The icon informs you that the FR-7/FR-5 runs on
the battery (it also indicates the battery’s status).
(4) Switch on the receiving audio device.
(5) Start playing (see “First steps” on page 18).
The FBC-7 should only be connected to a power
source of the type marked on the bottom of the unit.
For details on the power consumption, please refer to
page 98.
(3) Turn down the output volume of the receiving
audio device.
You can also simply switch it off.
(4) Connect the FBC-7’s OUTPUT sockets to the exter-
nal audio device (amplifier, mixing console, etc.).
Though you can also use the FR-7/FR-5’s OUTPUT
sockets, doing so is probably only a good idea if you
are working with a wireless transmitter. Using the
FBC-7’s OUTPUT sockets indeed means that you only
need one connection between the FR-7/FR-5 and the
FBC-7.
(5) Press the FBC-7’s [POWER¥ON] button to switch it
on.
The POWER ON indicator on the FBC-7’s top panel
lights red.
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16
V-Accordion
Listening to the demo songs
r
(6) Press the FR-7/FR-5’s [POWER] button (it lights) to
switch it on.
The icon in the display means that the FR-7/FR-5
is powered by the FBC-7.
(7) Switch on the receiving audio device.
(8) Start playing (see “First steps” on page 18).
—To switch off you system—
(9) Turn down the output volume of the receiving
audio device or switch it off.
(10) Press the FR-7/FR-5’s [POWER] button again so
that its indicator goes dark.
(11) Switch off the FBC-7.
Listening to the demo songs
One of the most striking aspects of your V-Accordion may be that it can play all by itself! It contains indeed a series of
demo songs that illustrate its wide variety of sounds and applications. Here is how to listen to the demo songs:
(1) Switch on the FR-7/FR-5.
See “Switching the power on and off” on p. 16. The
display now looks more or less as follows:
Let us agree to call this page the “Main page”.
Note: If you like, you can program a short message that is displayed each time the FR-7/FR-5 is switched on.
(2) Simultaneously press and hold SET [√] and [®] to
jump to the following display page:
(3) If necessary, use the SET [√][®] buttons to select
another demo song.
(4) Use the [VOLUME] knob to change the volume if it
is too loud or too soft.
Note: All demo songs are copyright ©2005 by Roland Europe.
Public performance or recording of these songs is prohibited.
(5) Press [EXIT÷JUMP] (or SET [√] and [®] simultaneously)
to leave the demo mode.
Playback starts automatically with the first demo
song (there are 30 demo songs in all).
17
FR-7/FR-5 V-Accordion
Setting up | First steps
First steps
The sections of your FR-7/FR-5
Before showing you how to use the FR-7/FR-5, let’s briefly look at
the various “sections” of your instrument, as that will help you
understand how your V-Accordion works.
The FR-7/FR-5 is a “virtual” accordion. That term was borrowed
from synthesizers that recreate the sounds of other synthesizers
using a different technology (hence the term “virtual analog synthesizer”, for example).
The FR-7/FR-5 recreates the sounds of various accordion instruments (the “virtual” part) and can even generate orchestral sounds,
like trumpet, flute, etc. (the synthesizer part).
The sections outlined in the illustration to the right contain several
functions you can set. Let us agree to call those functions “parameters”.
The parameters allow you to change certain aspects of
the FR-7/FR-5’s sound: you can select a French
musette, an Italian accordion, etc., specify how strongly
the virtual reeds should be detuned, add digital effects
and more. Each section has its own parameters, so that
you can fine-tune your sounds until you really like the
entire accordion sound. You can save your settings and
select them each time you want to play a given piece.
There is thus no need to set the parameters time and
again.
The various sections are combined into “Sets”. Why
is that? Because that way, you only need to select one
memory (the Set) in order to save and recall the settings of all sections.
Set 40
Set 3
COMMON
Reverb
Chorus
Delay
Name
Icon
Master Bar
Set 2
Set 1
Master bar
Bass,
Orchestra Bass,
Orchestra Chord,
Free Bass,
Orchestra Free
Bass section
Treble section
Registers of the bass, chord and orchestral bass/chord sections
If you are really into programming, however, you could
also assign completely different instruments to each
register, in which case a Set becomes a container (the
aforesaid car trunk) for a variety of accordion sounds.
One possibility: each Treble register represents a different
instrument.
Treble 1:
Bandoneon
Treble 2:
Italian
Treble 14:
Cajun
The same system also applies
to the Bass, Free Bass, Orchestra Bass, Orchestra Free Bass,
Orchestra Chord, and Orchestra section.
Another advantage of the Set structure is that it allows
you to reconfigure the three digital effects processors
(Reverb, Chorus, Delay) whose settings always apply to
all sections.
Oh and… the Sets can be selected with the SET [√][®]
buttons on the FR-7/FR-5 and the SET ([1], [2]) footswitches on the FBC-7 (if it is connected to the FR-7/
FR-5).
Treble
1~14
Bass
1~7
There are 40 Set memories that already contain useful
settings right out of the box. But you can replace them
with your own settings. (And if 40 Sets are not enough,
you can archive and load new sets via MIDI, see
page 89).
Sets are like the trunk of a car that contains several
instruments (bandoneon, musette, etc.). The instruments themselves can be recalled via the registers.
There are 14 Treble memories, 7 Bass, Free Bass, Orchestra Chord, Orchestra Free Bass, and Orchestra Bass registers, and 22 Orchestra registers per Set. Except for the
orchestral sounds, the registers can behave like on an
acoustic accordion, i.e. they allow you to change the
footage combinations.
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18
Free Bass
1~7
Orch. Chord
1~7
Orch. Bass
1~7
Orchestral
1~22
Selecting Easy or Full mode
At first, the FR-7/FR-5 is configured to start up in “Easy”
mode. In that mode, only the main parameters can be
selected. It has the advantage that you do not feel
overwhelmed by the FR-7/FR-5’s possibilities. The
downside, however, is that there are certain (albeit
rather specialized) parameters you cannot even select.
To use the full potential of your FR-7/FR-5, you need to
select “Full” mode:
(1) Switch on the FR-7/FR-5.
See “Switching the power on and off” on p. 16. The
display now looks more or less as follows:
Let us agree to call this page the “Main page”.
(2) Press and hold the [EXIT÷JUMP] button until the
display looks as follows:
V-Accordion
Selecting Easy or Full mode
(6) Press [EXIT÷JUMP] to return to the main page.
This setting is remembered until you switch off the
FR-7/FR-5. If you want to keep it, proceed as follows:
(7) Press and hold the [MENU÷WRITE] button until the
following page appears:
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(3) Press registers [10] and [2] to jump to the following
page:
(4) Press the [DATA÷ENTER] knob.
(5) Rotate the [DATA÷ENTER] knob or press the [UP]/
[DOWN] buttons to select either “Full” (show all
parameters) or “Easy” (show only the main parameters).
(8) Rotate the [DATA÷ENTER] knob (or use the [UP]/
[DOWN] buttons) to select “Global”.
(9) Press the [DATA÷ENTER] knob to confirm your
selection.
Note: The GLOBAL page shows all parameters that are saved to
the Global memory (there is only one such memory).
(10) Press the [MENU÷WRITE] button to save your
changes. The display briefly shows a confirmation:
Note: If you don’t save the edited Global settings, they will be
used until you switch off the FR-7/FR-5 (or change the settings
again).
(11) Press the [EXIT÷JUMP] button to return to the Main
page.
19
FR-7/FR-5 V-Accordion
Setting up | First steps
About the Main page
You may have realized by now that, with the exception of the display as well as the additional buttons and knobs, the
FR-7/FR-5 looks like a conventional accordion. The display contains important clues about the settings that are currently
in effect.
What’s shown in the display depends on the function
you select. When you switch on the FR-7/FR-5, or if you
press the [EXIT÷JUMP] button several times, the Main
page appears. In some cases, it may also reappear automatically after changing a parameter. The Main page
must be displayed whenever you wish to play the FR-7/
FR-5 without changing any of its “internal” settings.
A typical Main page display looks like this:
ABCD
E
F
The exact contents depend on the Set that is currently
selected and on how the various sections and performance functions are set. The A~H fields, however, are
always there:
A Selected Orchestra register (here “14”).
G
H
G
B Orchestra mode.
C Power source (here the battery).
If you are working with a battery, this field also
indicates the remaining battery power.
D Number of the currently selected Set.
E Selected Treble register (here “8”).
F Bass, Free Bass, Orchestra Bass, Orchestra Chord,
Orchestra Free Bass register (here “4”).
Only one of the two available Bass sections (Free
Bass or Bass) can be active at any one time.
G Link symbols. These symbols mean that the Orches-
tra (upper entry) and Bass registers change whenever you select a different Treble register (page 46).
The Bass Link function also applies to the Orchestra
Chord section (or the Orchestra Free Bass section).
H Part Select indicator. It tells you whether the Treble
keyboard plays the accordion or orchestral sound.
Note: The information shown in the display may change when
you rotate a knob or press a button. In such cases, however,
the Main page reappears after a few seconds.
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20
V-Accordion
Touring the FR-7/FR-5’s sections
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Touring the FR-7/FR-5’s sections
It’s time we put the FR-7/FR-5 through its paces, because that’s what you purchased it for. We’ll work section by section.
Treble section
The Treble section can be played
using the 41-key “piano” keyboard.
The sound it produces is determined by the register (1~14) you
pressed last. This section can be
used as “accordion”, to play an
orchestral sound or both.
Note: By pressing and holding any register, you can switch off the Treble section. (Even in that case, the Treble section continues to send MIDI commands.)
Press another register to switch it back
on.
(1) Connect the FR-7/FR-5 (if
necessary) and switch it on.
See pages 15 and 16.
(2) Grab the FR-7/FR-5, press a Treble register and
start playing on the “piano” keyboard.
Though the FR-7/FR-5 is an electronic musical instrument, it only produces sound if you move the bellows. As long as you don’t move the bellows, you hear
nothing at all (like on an acoustic accordion).
Note: When the FR-7/FR-5 is controlled via MIDI, there is no
need to move the bellows.
(3) Press one of the registers to change the sound.
The display briefly confirms your setting and indicates which footage you selected.
Black dots mean that the Cassotto function (see
p. 45) is off, hollow dots mean that the Cassotto
function is on. Here is what the registers and display
indications mean (bear in mind that the dots can
either be black or white):
Treble registers
1 Bassoon 8 Master
2 Bandon 9 Musette
3 Cello 10 Celeste
4 Harmon 11 Tremolo
5 Organ 12 Clarinet
6 Accord 13 Oboe
7 Violin 14 Piccolo
On the Main page, the number of the selected register appears in the TREBLE field:
(4) If you think the sound is too loud or too soft, you
can change the setting of the [VOLUME] knob.
These indications refer to the octaves (vertical direction, ) and the number of slightly detuned reeds
that are used (horizontal direction, ). The detuned
reeds are only available for the central register (8’).
2
2 / '
1
5 / '
3
3
8–' 4'
8' 16' 8+'
(5) If you still can’t hear the Treble notes, set the
[BALANCE] knob to the center position.
This knob is used to set the balance between the Treble and Bass registers. When it is turned all the way
to BASS, the Treble section is inaudible. When you
change the Balance setting, the display briefly confirms your setting:
21
FR-7/FR-5 V-Accordion
Setting up | Touring the FR-7/FR-5’s sections
(6) Use the SET [√][®] buttons to select another Set and
again play a few notes.
The number of the selected Set is shown in the upper
right corner of the display. Note that you can also
use the FBC-7’s SET footswitches to select Sets.
■Using the Sordina
The [SORDINA] switch
allows you to attenuate
the sound (make it
softer). On an acoustic
accordion, this closes
the wooden resonance
chamber inside the
instrument.
The FR-7/FR-5 simulates
this effect electronically (it contains not a
single reed!).
When you switch on the
Sordina, the display briefly confirms your selection:
Note: The Sordina only applies to the Treble section.
Note: If you add an organ sound (8A~9B) to the Treble register
(using the Orchestra section), the Sordina function is no longer
available. Organ sounds use a Rotary effect that blocks the
Sordina function (in order to add the modulation of an organ
speaker cabinet). You can use aftertouch, to switch between
the fast and slow Rotary speeds. “Aftertouch” refers to the fact
that you press a key even further down after playing a note.
■Using the FR-7/FR-5’s digital effects
While playing on the Treble keyboard, you may have
noticed that the accordion sounds were enhanced by
effects (probably reverb). It may also have struck you
that the effects change whenever you select a different Set. That’s because the effect settings are part of
the parameters you can save for each Set independently.
The FR-7/FR-5 contains 3 digital effects:
Reverb: This effect gives the
impression that you are playing
in a concert hall, a church or a
room. It adds “depth” to the
sound.
Chorus: This effect gives the
impression that several instruments of the same type are
playing at the same time (it is
similar to detuning several
reeds of a register).
Delay: This effect creates echoes, i.e. repetitions.
Short intervals (called “slapback”) create an effect
similar to reverb. Longer intervals, on the other hand,
create real echoes.
The [DELAY], [CHORUS] and [REVERB] knobs allow you
to set the volume of these three effects. Turn them
all the way towards the left (the small dot) if you
don’t need the effect in question.
Turn them towards the right (the big dot) to increase
the effect volume.
Note: The settings of these knobs apply to all sections and all
Sets.
After familiarizing yourself with the FR-7/FR-5’s
parameters, you will realize that these knobs should
only be used as a last resort (i.e. on stage). You can
indeed program the effect level for each section separately, so that the [DELAY], [CHORUS] and [REVERB]
knobs can be left in the center position, while the
effect amount changes with every Set you select.
Note: In certain cases, changing the knob position of an effect
may not produce any audible result. This is due to the Send
Level settings of the sections (see page 46, for example). It
means that a given section was programmed not to send any
signal to the effect in question. Even setting the corresponding
knob to the maximum therefore produces no change.
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22
V-Accordion
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Bass section
Bass section
The Bass section can be played via the “Stradella” buttons.
The buttons in this section allow you to play both bass
notes and chords. The chords use the (sound) register
selected for the Bass section – hence the name of this
section. The “real” bass notes are assigned to the two
circled rows. The remaining buttons are used to play
chords. (You can also play an orchestral sound using
the chord buttons, while playing accordion with the
bass buttons, and vice versa.)
The FR-7/FR-5 is supplied with several reference caps
(concave and with lines) designed to help you locate
the bass and chord buttons without looking at them. At
the factory, three caps are installed on the black buttons in the following illustration. Feel free to remove
them and to slide them over other buttons if that feels
more comfortable.
ORCH BASS
Ab3 Eb3 Bb3 F3 C3 G3 D3 A3 E3 B3 F#3 C#3 Ab3 Eb3 Bb3 F3 C3 G3 D3 A3
E3 B3 F#3 C#3 Ab3 Eb3 Bb3 F3 C3 G3 D3 A3 E3 B3 F#3 C#3 Ab3 Eb3 Bb3 F3
EM BM F#M C#M AbM EbM BbM FM CM GM DM AM EM BM F#M C#M AbM EbM BbM FM
Em Bm F#m C#m Abm Ebm Bbm Fm Cm Gm Dm Am Em Bm F#m C#m Abm Ebm Bbm Fm
E7 B7 F#7 C#7 Ab7 Eb7 Bb7 F7 C7 G7 D7 A7 E7 B7 F#7 C#7 Ab7 Eb7 Bb7 F7
Bdim F#dim C#dim Abdim Ebdim Bbdim Fdim Cdim Gdim Ddim Adim Edim Bdim F#dim C#dim Abdim Abdim Bbdim Fdim
Edim
(*) This can be changed to 3 bass and 3 chord rows. See “10.5 Bass & Chord
Mode” on p. 69.
ORCH FREE BS
ORCH CHORD
Chord buttons*
FREE BASS
Bass
buttons
(3) Press another register to change the sound.
ORCH BASS
FREE BASS
The display briefly confirms your setting and indicates which footage you selected:
2'
4'
8-4'
8'
16'
These indications refer to the octaves (vertical direction) and the number of slightly detuned reeds that
are used (horizontal direction).
On the Main page, the number of the selected register appears in the BASS field:
(4) If you think the sound is too loud or too soft, you
can change the setting of the [VOLUME] knob.
Here is what the caps look like:
Slide up to remove
Reference cap
Slide over button
The sound the Bass section produces is determined by
the register you pressed last. This section can be used as
“accordion”, to play orchestral sounds, or both.
(1) Connect the FR-7/FR-5 (if necessary) and switch it
on.
See pages 15 and 16.
(2) Grab the FR-7/FR-5, press a register and start play-
ing on the Bass (button) keyboard.
Though the FR-7/FR-5 is an electronic musical instrument, it only produces sound if you move the bellows.
Note: By pressing and holding any register, you can switch off
the Bass section. (Even in that case, the Bass section continues
to send MIDI commands.) Press another register to switch it
back on.
(5) If you still can’t hear the bass and chord notes you
are playing, change the [BALANCE] knob’s setting.
This knob is used to set the balance between the Treble and Bass registers. When it is turned all the way
to TREBLE, you won’t be able to hear the Bass section.
(6) Use the SET [√][®] buttons to select another Set and
again play a few notes.
23
FR-7/FR-5 V-Accordion
Setting up | Touring the FR-7/FR-5’s sections
The number of the selected Set is shown in the upper
right corner of the display. You can also use the
FBC-7’s SET footswitches to select Sets.
■Playing in Free Bass mode
The FR-7/FR-5 also provides a Free Bass mode, which
is chiefly used by professionals who prefer to play the
left-hand notes (Bass section) differently. You may
never need it, but if you wish to experiment with it…
Note: See page 70 for how to select the note system for Free
Bass mode. That setting is shared by all Sets.
(1) Simultaneously press the three registers labeled
“FREE BASS”.
ORCH BASS
The display now briefly responds with:
FREE BASS
■Using the FR-7/FR-5’s digital effects
While playing on the Bass keyboard, you may have
noticed that the accordion sounds were enhanced by
effects (probably reverb). It may also have struck you
that the effects change whenever you select a different Set.
The FR-7/FR-5 contains 3 digital effects that apply to
all sections. See page 22 for details and how to set
them.
Note: In certain cases, changing the knob position of an effect
may not produce any audible result. This is due to the Send
Level settings of the sections. It means that a given section (or
all sections) was programmed not to send any signal to the
effects processor in question. Even setting the corresponding
knob to the maximum therefore produces no change.
8' 8'
L H
16' 16'
“L” refers to the low range and “H” to the high range.
The exact ranges depend on the FREE BASS mode you
selected. See also the illustration on page 71 where
the high range is indicated by means of black buttons, and the low range by means of white buttons.
Note: See page 70 for the assignment of the bass buttons to
the available Free Bass notes.
(2) Use the Bass registers to select another registration
(if necessary).
(3) Press the three FREE BASS registers again to return
to the normal Bass mode.
Note: You can add an orchestral sound to the Bass, chord or
Free Bass section. See page 28 for details.
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24
V-Accordion
Using the orchestral sounds
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Using the orchestral sounds
Your FR-7/FR-5 also contains PCM sounds (samples) of various instruments that are not related to accordion sounds.
Those sounds allow you to expand your musical endeavours without using external MIDI devices. Of course, you are free
to add external MIDI tone generators to your setup and to control them from your FR-7/FR-5. See page 79 for details. Let
us first look at how to use the on-board orchestral sounds, however.
The FR-7/FR-5’s Orchestra functionality actually comprises four sections: one for the Treble keyboard (called
“Orchestra”) and three for the Bass buttons (called
“Orchestra Bass/Orchestra Chord/Orchestra Free Bass”).
You can specify for each keyboard whether the orchestral sounds should be used alongside the accordion
sounds (so that each note or chord you play results in a
combination of accordion + instrument sound) or in
isolation (no accordion).
Orchestral sounds for the Treble section
Note: Only one orchestral sound can be selected at any one time.
(1) Press the [ORCHESTRA] register.
The display now responds with:
The arrow moves from the TREBLE to the ORCH line.
By pressing a register, you therefore select an orchestral sound.
Let us quickly analyze the information you get on this
page:
• “SOLO” means that the mode of the same name is
currently selected (there are four different modes,
see below).
• “CANCEL” means that the Orchestra part is not active.
When you play on the Treble keyboard, you only hear
the Treble accordion sound.
To activate the Orchestra part at this stage, you need
to select a sound (see below).
• The TREBLE field contains a keyboard icon. It means
that the Treble keyboard is assigned to the Treble
accordion part. The ORCH field, on the other hand,
contains no keyboard icon, which confirms the “CANCEL” message.
• The sound name (“Celeste”) refers to the register that
was selected for the TREBLE section’s accordion part.
(2) Press one of the registers to select the desired
orchestral sound (see the names below the Treble
registers).
This activates the Orchestra part. The display now
changes (the sound name may be different on your
instrument):
Compare the information discussed above with what
you see now:
• A sound name is displayed next to the ORCH field
(“Ac Guitar”). That’s the sound you’ll hear when you
play on the Treble keyboard.
• The keyboard icon has moved from the TREBLE to the
ORCH field.
The 22 available orchestral sounds and associated
registers are:
Orchestral Treble sounds
1A Trombone 7A HighLand*
1B Trumpet 7B Zampogna*
2A Tenor Sax 8A PercOrgan
2B Alto Sax 8B JazzOrgan
3A Clarinet 9A RotOrgan
3B Oboe 9B TremOrg
4A Harmonica 10 ScatVoice
4B Mute Harm 11 Mandolin
5A Violin 12 AcGuitar
5B Pizzicato 13 AcPiano
6A Flute
6B Pan Flute
[*] See “About the ‘HighLand’ and ‘Zampogna’
sounds” on p. 26.
The first nine registers allow you to select two sounds
(“A” and “B”). To select a “B” sound, press the corresponding register again.
If you select a “B” sound (5B “Pizzicato”, for example),
then press another register (12 “AcGuitar”), and again
the previous register (5), the FR-7/FR-5 automatically
recalls the “B” sound (“Pizzicato”). This “configuration” is retained until you switch the FR-7/FR-5 off. If
you need the 5A “Violin” sound at this stage, press
register [5] once more.
25
FR-7/FR-5 V-Accordion
Setting up | Using the orchestral sounds
The display briefly confirms your selection and shows
both the name of the sound you selected and the
number of the register you pressed:
(3) Play a few notes on the Treble keyboard.
The Treble keyboard is velocity sensitive. The volume
and timbre of the notes played by the Orchestra part
depend on how hard/fast you press the treble keys
(for sounds 11, 12 or 13).
Note: The Treble accordion does not respond to velocity information generated by the keyboard. You can, however, vary its
volume and timbre by pressing/pulling the bellows harder and
softer (like on a “real” accordion).
The Treble keyboard also generates aftertouch messages. “Aftertouch” refers to the fact that you press a
key even further down after playing a note. For some
orchestral sounds (guitar, flute, etc.) as well as for the
Treble accordion section, this effect allows you to
bend the pitch down (temporarily lower the note). If
you select an organ sound, aftertouch can be used to
switch between the fast and slow Rotary effect
speeds.
Note: This aftertouch effect applies to all notes that are
sounding simultaneously. If you play a chord and then only
press down one key of the chord’s constituent notes, all notes
are bent by the same amount. (MIDI buffs call this “channel
aftertouch”.)
■About the ‘HighLand’ and ‘Zampogna’ sounds
Your FR-7/FR-5 contains two bagpipe-instrument
sounds, one called “HighLand”, the other called
“Zampogna”. The instruments on which those sounds
are based use one or several drone notes over which
the melody is played.
To recreate the same sensation on the FR-7/FR-5, the
lowest octave on the Treble keyboard is assigned to
the drone notes when you select one of these
sounds:
Can be used to play the melody.
• To switch off the currently sounding drone note(s),
either press another key in the gray area (switch to
another drone note) or press the key(s) of the sounding drone notes again to stop the drone.
■Selecting the Orchestra mode
Depending on the settings of the Set you selected,
the Orchestra part may sound together with the Treble accordion section. That’s because there are four
ways in which the Orchestra section can be combined
with the Treble accordion section.
If the Orchestra part is off (set to CANCEL), the Master bar always recalls the Treble register selected
with “Master Bar Recall” (page 67).
After selecting one of the modes (DUAL, HIGH, LOW,
or SOLO) and switching on the Orchestra part (CANCEL off), the Master bar allows you to switch the
Orchestra part on and off. In SOLO mode, this means
that you alternate between the Treble and Orchestra
parts.
SOLO [14]: When you switch on the Orchestra section
(see step (2) above), you only hear the orchestral
instrument sound. Press [CANCEL] to return to the
Treble accordion sound.
DUAL [13]: The orchestral
sound is added to the Treble
accordion, so that each note
you play sounds like an accordion, with the selected instrument playing in unison.
Just as a reminder: here, both the ORCH and TREBLE
fields contain a keyboard icon to indicate that they
sound simultaneously.
HIGH [12]: Now it becomes a little more complicated
– but very interesting indeed. If you select this mode
and play just one note, it is sounded by the orchestral
sound. If you keep holding that key while pressing
another (lower) key to its left, the upper note is
played by the orchestral sound. Lower notes, however, are played by the Treble accordion sound. This is
perfect for situations where you need to play chords
and a solo line using different sounds. Something like
this:
Played by the Orchestra sound
Sound the drone notes.
Here is how the drone function works:
• If you press a single gray key (see the illustration),
only that note is held. You can release the key immediately after playing the note – it will be held indefinitely.
• If you press two (or more) keys simultaneously, those
notes are held (the drone function is polyphonic).
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26
Played by the accordion
V-Accordion
Orchestral sounds for the Treble section
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LOW [11]: This is the opposite of HIGH and can be
used in situations where the melody (or counter-melody) lies above the notes you wish to hold.
Played by the accordion
Played by the Orchestra sound
(4) While holding down the [ORCHESTRA] register,
press [11], [12], [13] or [14] to select the desired
mode.
(6) Press the Master bar that protrudes from under-
neath the Treble keyboard to switch the Orchestra
part on or off.
The display now looks as follows (same system for the
HIGH and LOW modes):
Note which field contains a keyboard icon, then press
the Master bar again and look at the display. Play a
few notes to understand what happens.
The display briefly confirms your selection (only one
of the following messages is actually displayed):
(5) Again play a few notes and listen to the result.
Note: The Orchestra mode setting can be saved to a Set (see
p. 47). The saved mode is recalled when you activate the
Orchestra part.
■Quickly adding and muting the orchestral sound
After activating the Orchestra section and selecting a
mode, you can play certain phrases using the accordion sound and then add the selected orchestral
sound to it when you repeat such a phrase.
The following switches the Orchestra part on and off
in DUAL, HIGH or LOW mode. The Treble accordion
part goes on sounding, however.
■Setting the volume of the (Treble) orchestral
sound
There may be times (in DUAL, HIGH or LOW mode)
when the ORCHESTRA sound is too loud or too soft
with respect to the Treble accordion sound. In that
case, you can change its volume:
(7) Press the [DOWN] button once.
(8) Use the [DATA÷ENTER] knob to set the desired
value.
This is actually a balance parameter with a setting
range of “Off”, –40~“Std”~+40. “Std” means that the
Orchestra part uses its “normal” volume. Negative
values (–) make the Orchestra part softer, while positive values (+) make it louder.
You can save the new value (and the remaining
changes you make). See page 92.
(9) Return to the Main page by pressing [EXIT÷JUMP].
27
FR-7/FR-5 V-Accordion
Setting up | Using the orchestral sounds
■Switching off the Orchestra part
To return to a state where only the Treble accordion
section sounds:
(10) Press the [CANCEL] register. Now, the FR-7/FR-5 is
a normal accordion again.
To activate the Orchestra part again, repeat steps (1)
and (2) on page 25.
Orchestral sounds for the Bass section
The orchestral bass part can be used instead of the Bass
section (thus replacing the accordion sound played by
the bass rows of the button keyboard). There are no
clever modes (DUAL, SOLO, etc.) here.
Furthermore, the ORCH BASS part does what its name
implies: it only applies to the bass rows (the ones
closest to the bellows) and has no effect on the chord
buttons.
(1) Simultaneously press the three registers labeled
“ORCH BASS”.
ORCH BASS
[7] [6] [5] [4] [3] [2] [1]
The display now briefly responds with:
FREE BASS
■Setting the volume of the Bass Orchestra sound
There may be times when the Orchestra Bass sound is
too loud or too soft with respect to the Bass/Free
Bass accordion sound. In that case, you can change
its volume:
(3) Press the [DOWN] button twice.
The display now responds with:
(2) Use the Bass registers to select the desired sound.
Orchestra Bass sounds
1 Acoustic 5 Picked
2* Bowed* 6* Tuba*
3 Fingered 7 Tuba Mix
4 Fretless
Note: The dynamics of sounds marked with an asterisk (*) can
only be controlled by bellows movements. Those sounds are
not velocity sensitive. For the other sounds, see also
“10.12 Orch. Bs&Ch Touch” on p. 72.
Note: The numbers shown in the illustration above do not
appear on the registers themselves. They have been added for
your reference.
(4) Use the [DATA÷ENTER] knob to set the desired
value.
This is actually a balance parameter with a setting
range of “Off”, –40~“Std”~+40. “Std” means that the
Orchestra Bass part uses its “normal” volume. Negative values (–) make the Orchestra Bass part softer,
while positive values (+) make it louder.
You can save the new value (and the remaining
changes you make). See page 92.
(5) Return to the Main page by pressing [EXIT÷JUMP].
■Switching off the Orchestra Bass part
(6) Press the three ORCH BASS registers again to
return to the normal Bass mode.
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28
V-Accordion
Orchestral sounds for the Chord section
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Orchestral sounds for the Chord section
The Orchestra Chord part can replace the accordion
sound played by the chord rows of the bass keyboard.
There are no clever modes (DUAL, SOLO, etc.) here.
The ORCH CHORD part does what its name implies: it
only applies to the chord rows and has no effect on
the bass rows. The ORCH CHORD part is not available in
Free Bass mode (because there are no chord buttons in
that mode).
(1) Simultaneously press the three registers in the
middle.
ORCH BASS
[7] [6] [5] [4] [3] [2] [1]
The display now briefly responds with:
(2) Use the Bass registers to select the desired sound.
ORCH CHORD sounds
1* Trombone 5* Voice
2* Tenor Sax 6 Ac Guitar
3* Clarinet 7 Ac Piano
4* Trem Organ
Note: The dynamics of sounds marked with an asterisk (*) can
only be controlled by bellows movements. Those sounds are
not velocity sensitive.
FREE BASS
■Setting the volume of the ORCH CHORD sound
There may be times when the orchestral chord sound
is too loud or too soft with respect to the other available sections. In that case, you can change its volume:
(3) Press the [DOWN] button three times.
The display now responds with:
(4) Use the [DATA÷ENTER] knob to set the desired
value.
This is actually a balance parameter with a setting
range of “Off”, –40~“Std”~+40. “Std” means that the
Orchestra Chord part uses its “normal” volume. Negative values (–) make the Orchestra Chord part softer,
while positive values (+) make it louder.
You can save the new value (and the remaining
changes you make). See page 92.
(5) Return to the Main page by pressing [EXIT÷JUMP].
■Switching off the ORCH CHORD part
(6) Press the three central registers again to return to
the normal (accordion) chord mode.
Orchestral sounds for the Free Bass section
The orchestral Free Bass part can replace the accordion
sound played by the button keyboard while Free Bass
mode is active. In that case, all bass buttons play bass
notes – no chords. There are no clever modes (DUAL,
SOLO, etc.) here.
(1) Simultaneously press the three registers labeled
“FREE BASS” to switch to the accordion mode of
the same name.
ORCH BASS
[7] [6] [5] [4] [3] [2] [1]
This is not necessary if you are already in Free Bass
mode.
FREE BASS
29
FR-7/FR-5 V-Accordion
Setting up | Using the orchestral sounds
(2) Simultaneously press the three registers in the
moddle.
ORCH BASS
[7] [6] [5] [4] [3] [2] [1]
The display now briefly responds with:
(3) Use the Bass registers to select the desired sound.
ORCH FREE BS sounds
1* Trombone 5* Perc Organ
2* Clarinet 6 Ac Guitar
3* Oboe 7 Ac Piano
4* Flute
Note: The dynamics of sounds marked with an asterisk (*) can
only be controlled by bellows movements. Those sounds are
not velocity sensitive.
Note: The numbers shown in the illustration above do not
appear on the registers themselves. They have been added for
your reference.
FREE BASS
You can save the new value (and the remaining
changes you make). See page 92.
(6) Return to the Main page by pressing [EXIT÷JUMP].
■Switching off the ORCH FREE BS part
(7) Press the three central registers again to return to
the normal Free Bass mode.
(Press them yet again to leave Free Bass mode and
return to Bass mode.)
■Setting the volume of the ORCH FREE BS sound
There may be times when the orchestral Free Bass
sound is too loud or too soft with respect to the Treble accordion and/or orchestral sound. In that case,
you can change its volume:
(4) Press the [DOWN] button four times.
The display now responds with:
(5) Use the [DATA÷ENTER] knob to set the desired
value.
This is actually a balance parameter with a setting
range of “Off”, –40~“Std”~+40. “Std” means that the
Orchestra Free Bass part uses its “normal” volume.
Negative values (–) make the Orchestra Free Bass part
softer, while positive values (+) make it louder.
r
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