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r®
FR-7 /FR-5
Owner’s Manual
Page 2
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-7b and FR-5b is covered by U.S. Patent No. 6.946.594.
NEUTRAL
LIVE
Page 3
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FR-7 /FR-5
Owner’s Manual
ENGLISH ENGLISH
Thank you for purchasing the Roland FR-7b/FR-5b V-Accordion. The FR-7b/FR-5b 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-7b/FR-5b is probably that it allows you to
change sounds without changing instruments. Apart from the financial benefit (the FR-7b/FR-5b 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-7b/FR-5b 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-7b/FR-5b. 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.
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FR-7b/FR-5b
|
V-Accordion
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Page 5
Contents
1. Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
2. Important notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
3. Panel descriptions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
4. Setting up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
5. About the FBC-7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35
6. Editing sounds. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
7. MIDI functions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .82
8. Miscellaneous functions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
9. MIDI implementation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108
10. Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .112
11. Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .113
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-7b/FR-5b’s sections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Using the orchestral sounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Other practical functions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Using the FBC-7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Charging the battery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Selecting parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Setting parameter values. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
1. TUNING parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
2. TREBLE EDIT parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
3. BASS EDIT parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
4. FREE BASS EDIT parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
5. ORC BASS EDIT parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
6. ORCH. EDIT parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
7. ORC CHD EDIT parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
8. ORC FBS EDIT parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
9. SET COMMON parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
10. SYSTEM parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
11. UTILITY parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
About MIDI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Global MIDI parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
MIDI parameters for the various sections/parts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Archiving your settings via MIDI (Bulk Dump). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Saving settings using the WRITE function . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Restoring the factory defaults . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Troubleshooting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Specifications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Parameter list. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Factory Sets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Demo Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106
MIDI Implementation Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
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Page 6
FR-7b/FR-5b
Features
| Features
V-Accordion
1. Features
Stand-alone electronic instrument
Though the FR-7b/FR-5b is a fully electronic instrument, you do not need to connect the FR-7b to an
amplifier in order to produce sounds. Its onboard
amplification system is powerful enough for small
venues, restaurants, etc. (The FR-5b has no internal
amplification.)
Furthermore, the FR-7b 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-5b.)
Sophisticated MIDI control
The FR-7b/FR-5b 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.
PBM (Physical Behavior Modeling)
The FR-7b/FR-5b 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-7b/FR-5b 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 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-7b/FR-5b 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.
Page 7
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-7b/FR-5b 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-7b/FR-5b 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-5b or FR-7b 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-7b/FR-5b 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-7b/FR-5b 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-7b/FR-5b
or FBC-7.
....................................................................................................................................
• Protect the FR-7b/FR-5b 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-7b/FR-5b 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
Page 8
FR-7b/FR-5b
Features
| Using the unit safely
• Do not force the FBC-7’s power 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.
• Before using the FBC-7 in a foreign country, consult with
your retailer, the nearest Roland Service Center or an
authorized Roland distributor, as listed on the “Information” page.
• The FR-7b/FR-5b or FBC-7 should be located so that its
location or position does not interfere with its proper
ventilation.
...................................................................................................................................
• Always grasp only the plug on the power-supply cord
when plugging into or unplugging from, an outlet or this
unit.
...................................................................................................................................
• Try to prevent cords and cables from becoming entangled. Also, all cords and cables should be placed out of
the reach of children.
...................................................................................................................................
• Never climb on top of, nor place heavy objects on the
FR-7b/FR-5b or FBC-7.
V-Accordion
...................................................................................................................................
• 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-7b/FR-5b, 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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Page 9
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-7b/FR-5b 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-7b/FR-5b 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-7b/FR-5b near devices that produce a strong
magnetic field (e.g., loudspeakers).
• Install the FR-7b/FR-5b 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 buttons. This can be
the cause of malfunction, such as 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-7b/FR-5b 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-7b/FR-5b’s Bulk Dump function (see p. 92).
• 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-7b/FR-5b.
• 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-7b) or optional
(FR-5b) 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-7b/FR-5b’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-7b/FR-5b’s battery, please
read page 36.
Charging
Use (discharging)
: 0~40°C.
: 0~50°C,
Storage
:
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Page 10
FR-7b/FR-5b
Important notes
•
Do not connect the battery directly to a power outlet or
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.
• If a newly purchased battery exhibits rust, generates heat or seems
abnormal in any other way, do not use it. Take it back to your
Roland dealer.
• Be sure to fully deplete a battery before recharging it for the first
time.
• Keep the battery out of reach of babies or small children. Ensure
that babies or small children cannot remove a battery from the
FBC-7 while it is being charged.
• Be sure to carefully instruct any person on the proper way of handling a battery.
• Never dispose of the battery in a fire. Never heat it. Doing so may
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.
• Do not charge or use the battery with the positive (+) and negative (–) 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.
• Do not remove the outer tube from a battery or damage it.
• Do no strike or drop the battery. Strong impact can cause leakage
of battery fluid, heat generation, bursting or fire.
• Never try to connect two batteries in parallel as this may cause
leakage of battery fluid, heat generation, bursting or fire.
• Do not alter or remove protective mechanisms or other parts.
Never disassemble the battery.
• The positive (+) terminal section of the battery is equipped with a
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.
• Do not overcharge the battery by exceeding the predetermined
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.
• If the battery is not fully charged after the predetermined charging period has elapsed, stop the charging process. Prolonged
charging could result in leakage of battery fluid, heat generation,
bursting or fire.
• If any fluid from a battery comes in contact with the eyes, flush
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.
• If skin or clothing comes in contact with any fluid from the battery, wash the area immediately with clean water from a tap. Battery fluid can cause skin damage.
• When a battery is no longer usable, dispose of it in accordance
with all applicable local laws and regulations.
• If the battery leaks fluid, changes color or shape or changes in any
other way, do not use it, otherwise it may cause heat generation,
bursting or fire.
V-Accordion
| Important notes
Strap holder precaution
• Never unscrew the strap holder rings to avoid damaging the
FR-7b/FR-5b’s plastic housing, which eventually compromises
overall stability and safety.
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A
C
E
F
G
3. Panel descriptions
Treble control panel
DATA /
ENTER
JUMP
UP
MENU
EXIT
DOWN
WRITE
VOLUME
BALANCE
TREBLE
BASS
SET
DEMO
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. 74).
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-7b/FR-5b). 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. 39).
D
MENU/WRITE button
This button allows you to select the FR-7b/FR-5b’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.
B
B
1
BRASS
EXT.SEQUENCER
D
2 3 4 5 6 7 8 9 10 11 12
SAX
WIND
HARMON
VIOLIN
FLUTE
BAG PIPE
JAZZ ORG
SEND PC
H
V-Accordion
Panel descriptions
I
J
14
13
BLUES ORG
SCAT VOICE
ORCH LINK
BASS LINK
BALANCE knob
F
MANDOLIN
LOW
AC GUITAR
HIGH
AC PIANO
DUAL
CANCEL
SOLO
ORCHESTRA
MODE
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. 47)
or select an Orchestra mode (see p. 26). By holding
down [ORCHESTRA] while pressing register [8], you
select the “Send PC” function (page 86).
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SORDINA
ON
OFF
POWER
DELAY
K
CHORUS
L
REVERB
M
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Page 12
FR-7b/FR-5b 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-7b/FR-5b is automatically switched off after 10
minutes of inaction to save battery power. This can be
changed, however (see p. 73).
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-7b/FR-5b contains three digital effects that
can be used simultaneously. This knob is used to set
the level of the Delay (echo) effect (see p. 67).
L
CHORUS knob
Use this knob to set the level of the Chorus effect
(see p. 65).
M
REVERB knob
Use this knob to set the level of the Reverb effect (see
p. 64).
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
P
ORCH FREE BS/ORCH CHORD registers
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 pages 29 and 30 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-7b/FR-5b provides several systems for
this mode (see p. 71). Press the first three registers
again simultaneously to return to normal bass mode.
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Page 13
Display and master bar
S
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.
If pressed gently, the Master bar
R
generates aftertouch messages
for the Treble section.
S
Display
The display keeps you informed
about the FR-7b/FR-5b’s status.
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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-7b/FR-5b without using the supplied battery. In most instances, this may be unnecessary, because the supplied battery (FR-7b) lasts up to
8 hours.
Note: See also “Connecting the FBC-7” on p. 35 for details
about maximizing the life span of the battery.
If you connect the 19-pin cable, be sure to never
place the FR-7b/FR-5b 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-7b/FR-5b with care
and pay special attention to the cable slack to avoid
damaging or bending the 19-pin cable.
• If you place the FR-7b/FR-5b 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. 35).
• To use the FR-7b/FR-5b 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-7b/FR-5b’s output
is stereo. If you only use one jack (connected to the
“L” or “R” socket), the FR-7b/FR-5b’s output is mono.
Note: If you don’t want to use a wireless system, consider connecting the FR-7b/FR-5b to the FBC-7 when you need to connect it to an external amplifier.
Note: On the FR-7b, 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-7b,
connecting a pair of headphones mutes the internal
speakers.
V
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Page 14
FR-7b/FR-5b 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-7b/
FR-5b) 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-7b/FR-5b to
external MIDI gear (see p. 82).
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. 35).
F
TO FR7/5 V-ACCORDION socket
Use the supplied 19-pin cable to connect this socket
to your FR-7b/FR-5b (see p. 35).
Note: See also “Using the FBC-7” on p. 35 for additional functions of the FBC-7.
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Page 15
V-Accordion
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Setting up
4. Setting up
Connections
The FR-7b can be used without any connections to either an amplification system or the FBC-7 power supply/battery
charger unit. An FR-5b without an optional battery needs to be connected to the supplied FBC-7, however.
Connecting the FR-7b/FR-5b to the supplied FBC-7
If you do not have a battery (FR-5b) or prefer
not to use it (FR-7b), you need to connect the
V-Accordion to the FBC-7 using the supplied
cable. That cable powers the FR-7b/FR-5b,
transmits pedal messages and sends the
FR-7b/FR-5b’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-7b/FR-5b to an
external amplifier. Connect the FR-7b/FR-5b
as shown in the illustration.
Note: This connection is required if you wish to take
advantage of the FR-7b/FR-5b’s MIDI functions (see
p. 82).
The FR-7b/FR-5b’s sounds have been
arranged in such a way as to provide a nat-
ural 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:
T
. This setting can be changed,
B/C
however (see p. 73).
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-7b) and
need to connect the FR-7b/FR-5b
to a PA system or mixer, we recommend using a wireless system to
avoid having to use excessively
long signal cables.
The FR-7b is equipped with an
internal speaker system and thus
does not need to be connected to
an amplifier at all. The FR-5b, 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-7b, connecting headphones switches off the internal speakers.
Note: The FR-7b/FR-5b’s OUTPUT sockets are also available if you connect the FR-7b/FR-5b 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
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Page 16
FR-7b/FR-5b 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-7b or
that you purchased from your Roland dealer. Using other batteries can severely damage the FR-7b/FR-5b 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-7b only)
(1) Press the FR-7b’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-7b/FR-5b’s [POWER] button again so
that it goes dark.
If you are using the FBC-7
If the FR-7b/FR-5b is powered by the supplied FBC-7
unit, proceed as follows:
(1) Connect the FR-7b/FR-5b 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. 101).
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-5b 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-7b/FR-5b.
(1) Turn down the output volume of the receiving
audio device.
You can also simply switch it off.
(2) Connect the FR-7b/FR-5b’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-7b/FR-5b’s [POWER] button (it lights)
to switch it on.
The icon informs you that the FR-7b/FR-5b 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 101.
(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-7b/FR-5b’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-7b/FR-5b 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
Page 17
V-Accordion
Listening to the demo songs
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(6) Press the FR-7b/FR-5b’s [POWER] button (it lights)
to switch it on.
The icon in the display means that the FR-7b/
FR-5b 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-7b/FR-5b’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-7b/FR-5b.
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-7b/FR-5b 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).
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Page 18
FR-7b/FR-5b V-Accordion
Setting up | First steps
First steps
The sections of your FR-7b/FR-5b
Before showing you how to use the FR-7b/FR-5b, let’s briefly look
at the various “sections” of your instrument, as that will help you
understand how your V-Accordion works.
The FR-7b/FR-5b 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-7b/FR-5b 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-7b/FR-5b’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
(*) The layout of the Treble buttons can be changed. See p. 74.
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-7b/FR-5b and the SET ([1], [2]) footswitches on the FBC-7 (if it is connected to the FR-7b/
FR-5b).
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 92).
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
Page 19
Selecting Easy or Full mode
At first, the FR-7b/FR-5b 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-7b/FR-5b’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-7b/FR-5b, you need
to select “Full” mode:
(1) Switch on the FR-7b/FR-5b.
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-7b/FR-5b. 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-7b/FR-5b (or change the settings again).
(11) Press the [EXIT÷JUMP] button to return to the Main
page.
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FR-7b/FR-5b 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-7b/FR-5b 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-7b/FR-5b, 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-7b/FR-5b 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 47).
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
buttons play 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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V-Accordion
Touring the FR-7b/FR-5b’s sections
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Touring the FR-7b/FR-5b’s sections
It’s time we put the FR-7b/FR-5b 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 92 Treble buttons.
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: The layout of the Treble buttons
can be changed. See “10.15 Treble
Mode” on p. 74.
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-7b/FR-5b (if necessary) and switch
it on.
See pages 15 and 16.
(2) Grab the FR-7b/FR-5b, press a Treble register and
start playing on the Treble buttons.
Though the FR-7b/FR-5b 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-7b/FR-5b 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.
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+'
Black dots mean that the Cassotto function (see
p. 46) 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:
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FR-7b/FR-5b V-Accordion
Setting up | Touring the FR-7b/FR-5b’s sections
(4) If you think the sound is too loud or too soft, you
can change the setting of the [VOLUME] knob.
(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:
(6) Use the SET [√][®] buttons to select another Set and
again play a few notes.
■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-7b/FR-5b 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. To do so, gently press the
Master bar.
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.
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V-Accordion
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Bass section
■Using the FR-7b/FR-5b’s digital effects
While playing on the Treble buttons, 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-7b/FR-5b 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.
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-7b/FR-5b 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. 70.
ORCH FREE BS
ORCH CHORD
Chord buttons*
FREE BASS
Bass
buttons
Note: The settings of these knobs apply to all sections and all
Sets.
After familiarizing yourself with the FR-7b/FR-5b’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 47, 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.
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-7b/FR-5b (if necessary) and switch
it on.
See pages 15 and 16.
(2) Grab the FR-7b/FR-5b, press a register and start
playing on the Bass (button) keyboard.
Though the FR-7b/FR-5b 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.
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Page 24
FR-7b/FR-5b V-Accordion
Setting up | Touring the FR-7b/FR-5b’s sections
(3) Press another register to change the sound.
ORCH BASS
ORCH FREE BS
ORCH CHORD
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.
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-7b/FR-5b 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 71 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
ORCH FREE BS
ORCH CHORD
FREE BASS
The display now briefly responds with:
(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.
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 72 where
the high range is indicated by means of black buttons, and the low range by means of white buttons.
Note: See page 71 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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Page 25
V-Accordion
Using the orchestral sounds
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■Using the FR-7b/FR-5b’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-7b/FR-5b contains 3 digital effects that apply
to all sections. See page 23 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.
Using the orchestral sounds
Your FR-7b/FR-5b 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-7b/FR-5b. See page 82 for details.
Let us first look at how to use the on-board orchestral sounds, however.
The FR-7b/FR-5b’s Orchestra functionality actually
comprises four sections: one for the Treble buttons
(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.
• “CANCEL” means that the Orchestra part is not active.
When you play on the Treble buttons, 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 buttons are 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):
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).
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.
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FR-7b/FR-5b V-Accordion
Setting up | Using the orchestral sounds
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-7b/FR-5b automatically recalls the “B” sound (“Pizzicato”). This “configuration” is retained until you switch the FR-7b/FR-5b
off. If you need the 5A “Violin” sound at this stage,
press register [5] once more.
The display briefly confirms your selection and shows
both the name of the sound you selected and the
number of the register you pressed:
Note: This aftertouch effect applies to all notes that are
sounding simultaneously. All notes are bent by the same
amount. (MIDI buffs call this “channel aftertouch”.)
■About the ‘HighLand’ and ‘Zampogna’ sounds
Your FR-7b/FR-5b 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-7b/FR-5b,
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.
E4
E4
Sound the drone notes.
Note: This example is based on the “C-Griff Europe” setting
(see “10.15 Treble Mode” on p. 74). The “E4” note is always the
highest drone note. Depending on the selected mode, that
note may be assigned to different buttons, however.
Here is how the drone function works:
• If you press a single gray button (see the illustration),
only that note is held. You can release that button
immediately after playing the note – it will be held
indefinitely.
• If you press two (or more) buttons simultaneously,
those notes are held (the drone function is polyphonic).
• To switch off the currently sounding drone note(s),
either press another button key in the gray area
(switch to another drone note) or press the button(s)
of the sounding drone notes again to stop the drone.
Note: This drone system is only available for the “HighLand”
and “Zampogna” sounds.
(3) Play a few notes using the Treble buttons.
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 buttons. You can, however, vary its
volume and timbre by pressing/pulling the bellows harder and
softer (like on a “real” accordion).
You can use the Master bar to simulate an after-
touch effect: play a note, and keep holding the corresponding button while you gently press the Master
bar. 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, the
Master bar can be used to switch between the fast
and slow Rotary effect speeds.
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26
■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 68).
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.
Page 27
V-Accordion
Orchestral sounds for the Treble section
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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 button while pressing
another (lower) button 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
Played by the accordion
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. 48). 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.
(6) Press the Master bar that protrudes from under-
neath the Treble keyboard to switch the Orchestra
part on or off.
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.
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.
■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:
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FR-7b/FR-5b V-Accordion
Setting up | Using the orchestral sounds
(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 95.
(9) Return to the Main page by pressing [EXIT÷JUMP].
(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. 74.
Note: The numbers shown in the illustration above do not
appear on the registers themselves. They have been added for
your reference.
■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-7b/FR-5b
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]
ORCH FREE BS
ORCH CHORD
The display now briefly responds with:
FREE BASS
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V-Accordion
Orchestral sounds for the Chord section
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■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:
(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 95.
(5) Return to the Main page by pressing [EXIT÷JUMP].
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 labeled
“ORCH CHORD”.
ORCH BASS
[7] [6] [5] [4] [3] [2] [1]
ORCH FREE BS
ORCH CHORD
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
■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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FR-7b/FR-5b V-Accordion
Setting up | Using the orchestral sounds
■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 95.
(5) Return to the Main page by pressing [EXIT÷JUMP].
(2) Simultaneously press the three registers labeled
“ORCH FREE BS”.
ORCH BASS
[7] [6] [5] [4] [3] [2] [1]
ORCH FREE BS
ORCH CHORD
FREE BASS
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.
■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.
■Switching off the ORCH CHORD part
(6) Press the three ORCH CHORD 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]
ORCH FREE BS
ORCH CHORD
FREE BASS
This is not necessary if you are already in Free Bass
mode.
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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.
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You can save the new value (and the remaining
changes you make). See page 95.
(6) Return to the Main page by pressing [EXIT÷JUMP].
■Switching off the ORCH FREE BS part
(7) Press the three ORCH FREE BS registers again to
return to the normal Free Bass mode.
(Press them yet again to leave Free Bass mode and
return to Bass mode.)
Orchestral sounds for the Free Bass section
V-Accordion
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FR-7b/FR-5b V-Accordion
Setting up | Other practical functions
Other practical functions
Let us now have a look at the first “purely electronic” functions of your FR-7b/FR-5b.
Your FR-7b/FR-5b is what we call a “virtual instrument”.
Though its physical appearance is similar to that of its
acoustic ancestor, it is based on an altogether different
concept (technology) – and it can do a lot more. In this
section, we will look at functions that may be new to
you but may come in handy once you know what they
do and how they work.
General remark
The functions discussed here can be selected via the
front panel, because we figured that you might need
them more often than the other parameters.
The changes you make here are not saved automatically. That’s because these shortcuts are mainly
intended for temporary adjustments. If you want to
keep them forever (or until you change them again),
you must save them (see p. 95).
The functions discussed here can also be set using the
FR-7b/FR-5b’s MENU.
Pitch-related functions
■Transpose
The FR-7b/FR-5b contains a Transpose function that
allows you to change the key of the music you are
playing. The advantage of this system is that you can
play a song in E major (for example), while using the
fingering of the C major scale (for example). This may
come in handy when you are used to playing a given
song in one key and suddenly need to play it in a different key.
Let’s look at an example:
(1) While the Main page is displayed, press the [UP]
button once.
(2) Use the [DATA÷ENTER] knob to select the key your
music should sound in.
The note indication (“C#” in the example above)
always refers to the C key, which may make it difficult for you to transpose to F# (for example) while
playing in Bb. We therefore recommend you use the
value as your main guide, because it represents the
interval. This can be calculated as follows:
• In what key do you want to play? (This is your “0”
value.)
Example→ C major
• What key does the song use?
Example→ E major
• How many semitones do you need to “shift” the
notes?
Example→ [C#, D, Eb, E]= 4 up, so “4”.
(3) Press [EXIT÷JUMP] to return to the Main page.
This is what you play…
Transpose
…and this is how it sounds.
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■Musette Detune
This parameter already hints at the power of the
FR-7b/FR-5b’s virtual technology… You probably
know that an accordion’s 8’ Treble register may consist of 2 or even 3 reeds that are usually tuned apart
to provide a richer sound (accordionists call it the
“musette effect”). One reed is tuned slightly above,
the other slightly below the correct pitch, and the
third (if available) is tuned “properly”.
Tuning reeds is a specialist job and usually not performed by accordion players themselves.
On the FR-7b/FR-5b, however, “tuning” the “reeds”
(that do not really exist) is a matter of turning the
[DATA÷ENTER] knob.
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V-Accordion
Pitch-related functions
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(1) While the Main page is displayed, press the [UP]
button twice.
(2) Use the [DATA÷ENTER] knob to select the a differ-
ent tuning for the Treble reeds.
The possibilities are: Off (no detune), Dry, Classic, FFolk, American L, American_H, North Eur, German L,
D-Folk L, Italian L, German H, Alpine, Italian H, D-Folk
H, French, Scottish.
(3) Press [EXIT÷JUMP] to return to the Main page.
■Scale (Tuning)
Almost each music culture has its own accordion
variety. Arabic, Indonesian and other musical cultures
do not use the equal temperament that is favored in
Europe, the Americas, etc.
The FR-7b/FR-5b also features a “Scale” parameter
that allows you to select the tuning system that best
fits the music you want to play. If the tuning system
you need is not among the factory settings, you can
program it yourself (see p. 42) and then select it here.
Note: See “1.1 Master Tune” on p. 42 for how to change the
FR-7b/FR-5b’s reference pitch (i.e. “really” tune it).
(1) While the Main page is displayed, press the [UP]
button three times.
Arabic 1 & 2: As the name implies, these two settings refer to Arabic tuning systems. Select “1” to
lower the E and B notes by a quarter tone (–50 cents).
“2” represents a scale where the E and A are tuned
down a quarter tone.
Just Major: This is a classical (western) tuning that
resolved the ambiguity of fifths and thirds. Quite
beautiful sonorities are produced with chords, but
the scale is unbalanced, so it is not well-suited for
melodies.
Just Minor: This is a Just scale for pieces in minor
keys.
Pythagorean: This system was invented in ancient
Greece. It resolves the ambiguity of fourths and
fifths. Though thirds are somewhat imperfect, melodies sound clearer.
Mean-Tone: A temperament that adds some compromises to the Just temperament and facilitates
transposition.
Werckmeister: A combination of the Mean Tone and
Pythagorean temperaments, this tuning allows for
playing in any key.
Kirnberger: As a result of improvements made to the
Mean Tone and Just temperaments, it is relatively
tolerant towards transposition and can be used to
play in all keys.
Except for “Equal”, you also need to specify the root/
fundamental (“C” for major and “A” for minor)
according to the key of the song to be played.
(3) Press the [DATA÷ENTER] knob to activate the “KEY”
field (so that it is displayed in reverse).
(4) Turn the [DATA÷ENTER] knob to select the desired
root note (C~B).
(5) Press [EXIT÷JUMP] to return to the Main page.
(2) Use the [DATA÷ENTER] knob to select the a differ-
ent tuning system.
The possibilities are:
Equal (Off): This tuning divides each octave into 12
equal steps (intervals).
User 1~3: These settings refer to the tuning systems
programmed by yourself (or someone else). See
“1.4 Scale Edit” on p. 42 for details.
■Noise Edit (Valve & Button)
You will probably agree that electronic sounds must
not only reproduce the basic timbre of an existing
sound, but also the original instrument’s behavior
and typical “noises” in order to be perceived as
authentic. In the case of a guitar that would be the
sliding noise of the fingers. An accordion, on the
other hand, produces mechanical valve and button
noises (clicks) that cannot be suppressed on an
acoustic instrument.
On the FR-7b/FR-5b, the volume of those noises can
be changed if you think they are too prominent or
too soft. Note that the parameters on this Jump page
belong to two different MENU sections and can be
found on separate pages: “Valve Level” is a Treble
parameter, “Button Level” is a Bass/Free Bass parameter.
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FR-7b/FR-5b V-Accordion
Setting up | Other practical functions
(1) While the Main page is displayed, press the [UP]
button four times.
(2) Press the [DATA÷ENTER] knob to select either “Valve
Level” or “Button Level”, depending on which
parameter you want to set.
(3) Turn the [DATA÷ENTER] knob (or use the [UP]/
[DOWN] buttons) to select the desired noise level
(Off, –40~“Std”~+40).
A negative (–) value decreases the level of the
selected noise parameter, a positive (+) value
increases it. Select “Std” to return to the factory
value, and “Off” if you do not need the noise in question.
(4) Press [EXIT÷JUMP] to return to the Main page.
Volume-related functions
The remaining “shortcuts” allow you to quickly change
the balance of the orchestral sections. Use the [DOWN]
button to select them.
■Orchestra Volume, Orc. Bass Volume, Orc. Chord
Volume, Orc. FBass Volume
These parameters allow you to set the volume of the
Treble, Bass Orchestra, Orchestra Chord, and Orchestra Free Bass sections relative to the associated
accordion part. See pages 27, 29, 30, and 30 for
details.
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V-Accordion
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About the FBC-7
5. About the FBC-7
Your FR-7b/FR-5b comes with an FBC-7 footswitch unit that doubles as power supply for your V-Accordion and also
allows you to recharge a battery. If you purchased an FR-5b, you must connect it to the FBC-7 (or purchase an optional
battery). FR-7b users, on the other hand, can also play their instrument without connecting it to the FBC-7.
Using the FBC-7
When do you need the FBC-7?
• If you own an FR-5b and did not purchase an
optional battery, you always need the FBC-7.
• If you want to select registers and Sets using the SET
and REGISTER footswitches.
• If you want to use the SUSTAIN footswitch and possibly also an optional expression pedal.
• If you want to take advantage of the FR-7b/FR-5b’s
MIDI functionality. This may include starting and
stopping an external arranger module, selecting others Style divisions, etc.
• If you do not own an optional wireless system and do
not want to use excessively long audio cables that
run from the FR-7b/FR-5b to your amplifier or mixing
console.
• If you need to recharge the (optional) battery.
Connecting the FBC-7
See page 16 for how to connect the FR-7b/FR-5b to the
FBC-7, and the FBC-7 to a wall outlet that matches its
voltage.
The 19-pin cable can only be connected in one way, so
you can’t go wrong. Just be sure to align the protrusions on the jack with the corresponding holes on the
FBC-7’s and FR-7b/FR-5b’s socket:
Turn the ring to lock the jack
and secure the connection
Holes Protrusions
Using the footswitches
The FBC-7 has five footswitches that grant you even
more flexibility:
Use the SET switches ([1] and [2]) to select Sets. The [1]
switch allows you to select the preceding Set (e.g. Set
18 if you are currently using Set 19), while the [2]
switch is used to select the next Set (e.g. 20 if you are
currently using Set 19).
If you press [2] again after selecting Set 40, the FR-7b/
FR-5b jumps to Set 1. Likewise, if you press [1] after
selecting Set 1, the FR-7b/FR-5b jumps to Set 40.
The REGISTER switches ([3] and [4]) allow you to select
Treble registers [1]~[14]. They work the same way as the
SET footswitches: [3] selects the preceding register,
while [4] selects the next one. These footswitches are
most effective when you combine them with the Link
function (see p. 47), because that allows you to reconfigure the Bass/Free Bass and Orchestra sections simply
by selecting another Treble register.
The SUSTAIN footswitch allows you to hold the notes
of orchestral sounds if that section is on. It also transmits CC64 messages via MIDI. If you assign it to another
section (page 69), it only transmits MIDI messages on
the channel of the selected section (Treble, Bass,
Orchestra Bass, Chord, Orchestra Chord, and/or Orchestra Free Bass). Its main use is to generate legato notes
for piano and similar sounds like on an acoustic or digital piano. Notes whose keys are pressed when you press
the footswitch will be held until you release the SUSTAIN footswitch.
Connecting an optional expression pedal
You can also connect an optional EV-5 or EV-8 expression pedal to the EXPRESSION PEDAL jack. That pedal
applies to the Treble Orchestra part only (again for the
piano, mandolin and guitar sounds; these, by the way,
are the only sounds whose expression cannot be controlled via the bellows). It allows you to create swell
effects in much the same way as an organ or guitar
player does.
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FR-7b/FR-5b V-Accordion
About the FBC-7 | Charging the battery
The reason why the Treble and Bass sections do not
respond to this pedal is that you can control their volume via the strength with which you press and pull the
bellows (like on any accordion).
Roland
The expression pedal can be used to fade the Orchestra
part in and out, which is probably most effective in
DUAL mode (see p. 26). When the expression pedal is all
the way up (heel down), the Orchestra part does not
sound. Press the expression pedal down (toe down) to
increase the Orchestra section’s volume.
Note: The expression pedal can also transmit CC11 messages via
MIDI. See page 91.
Charging the battery
The FR-7b comes with one Ni-Mh battery that can recharged when it is depleted. Such a battery is optional for the
FR-5b. If you decide to purchase one (to play with a wireless system and no cables on stage), you should also read the
following.
General remarks about the battery About the BATTERY CHARGER and EXTERNAL
• Be sure to dispose of used batteries in accordance
with local regulations.
• First, read the precautions on page 9 and following.
• The FR-7b’s battery is fully charged (and installed in
the FR-7b’s battery compartment). It can be used
right away.
• Be sure to fully deplete the battery (wait until the
FR-7b/FR-5b goes off) before recharging it for the
first time. It would actually be a good idea to repeat
this the first three times to avoid the dreaded “memory effect”.
• A fully charged battery should last about 8 hours
(continuous use).
• When the battery is fully drained, the following message appears and the FR-7b/FR-5b goes off:
Note: The FR-7b/FR-5b contains an energy saving function
that switches off the instrument when it is left unattended for
more than 10 minutes. You may therefore have to switch it on
again from time to time. You can specify how long the FR-7b/
FR-5b should wait before powering off automatically. See
“10.8 Auto Power OFF” on p. 73.
• Never try to insert other batteries into the FR-7b/
FR-5b than the one it came with (or suitable replacement batteries purchased from your Roland dealer).
Only use “BP-24-45” batteries, part no. K2568101.
Warning: The battery body may become hot during
and after charge. Handle it with care to avoid burns.
BATTERY CHARGER indicators
The FBC-7 has two buttons ([BATTERY¥CHARGER] and
[EXTERNAL¥BATTERY¥CHARGER]) that light or flash in
various ways to indicate the current status. Here is how
to “decode” those indications:
• Lights red: The battery is being charged. Depending
on the button that lights, this refers to the battery in
the FR-7b/FR-5b (BATTERY) or the battery attached
to the FBC-7 (EXTERNAL BATTERY).
• Lights green: The battery is fully charged and can be
used again.
• Flashes yellow right away: The charging operation
cannot be started because the ambient temperature
lies outside the 0°~40°C range. This is nothing to
worry about: just take the FBC-7 to a place where the
ambient temperature is acceptable, wait a little, and
repeat the charging operation.
• Flashes yellow after a while: If the indicator first
lights red and then starts flashing yellow after a
while, the battery is overheating. Disconnect the
FR-7b/FR-5b (or the battery) from the FBC-7 and use
the battery until it is depleted. Then, recharge it.
• Flashes red: The battery cannot be fully recharged,
i.e. it takes more time than expected to reach full
charge. If this happens once, wait at least half an
hour, then try charging it again.
If the button again flashes red, the battery may have
reached the end of its life cycle. Replace it with a new
one if the button keeps flashing red.
Recharging the battery without removing it from
the FR-7b/FR-5b
There is no need to remove the battery from the FR-7b/
FR-5b in order to recharge it. Recharging the battery
takes ±3~5 hours and is therefore not something you
should do a few minutes before you intend to use the
FR-7b/FR-5b.
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V-Accordion
Recharging the battery on the FBC-7
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(1) Connect the FR-7b/FR-5b to the FBC-7 using the
supplied 19-pin cable.
(2) Connect the FBC-7 to a suitable wall outlet.
(3) Switch on the FBC-7 by pressing its [POWER¥ON]
button (its red POWER ON indicator lights).
(4) Press the [BATTERY¥CHARGER] button on the
FBC-7.
The [BATTERY¥CHARGER] button now lights red.
(5) Wait until the [BATTERY¥CHARGER] button lights
green, then switch off the FBC-7 and disconnect
the 19-pin cable from both the FBC-7 and the
FR-7b/FR-5b.
Disconnecting the FR-7b/FR-5b is only necessary if
you do not want to use the FBC-7 during your next
performance.
Note: You can use the FR-7b/FR-5b while its battery is being
recharged, provided you leave the V-Accordion connected to
the FBC-7.
(4) Use the coin to loosen the two screws of the com-
partment cover.
(5) Remove the cover from the FR-7b/FR-5b’s battery
compartment.
Note: While the compartment cover is open, the FR-7b/FR-5b
cannot be switched on.
(6) Pull the battery strip so that the battery protrudes
a little from the battery case, and then remove the
connector and take the battery out of the battery
case.
Recharging the battery on the FBC-7
The battery installed in the FR-7b/FR-5b’s compartment
can also be removed and recharged on the FBC-7 itself.
That is more tedious, though, and does not speed up
the recharging procedure.
The main use for the method described below is therefore to recharge a spare battery (which is optional)
while using the battery inside the FR-7b/FR-5b. If that
is what you want to use the connector on the FBC-7
for, skip to step (7) below.
Warning: Before removing the battery, be sure to
power off the FR-7b/FR-5b (the blue indicator must
be dark).
(1) Switch off the FR-7b/FR-5b.
(2) Prepare a coin.
(3) Remove the cushion located between the Treble
keyboard and the bellows.
The battery is connected to the FR-7b/FR-5b by
means of a cable. You need to disconnect the cable
from the battery by pressing the clip on the connector before fully removing the battery.
Note: Please pull the strip installed on the battery and take the
battery out.
(7) Slide the FBC-7’s EXTERNAL BATTERY CHARGER
cover to the right and remove it:
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FR-7b/FR-5b V-Accordion
About the FBC-7 | Charging the battery
That portion on the FBC-7 now looks as follows (note
the connector):
(8) Connect the battery’s cable to the charger’s socket.
(9) Slide the battery into the holder on the FBC-7.
Battery
■Using the recharged battery
(15) Switch off the FR-7b (or FR-5b).
(16) Prepare a coin.
(17) Remove the cushion located between the Treble
keyboard and the bellows.
(18) Use the coin to loosen the two screws of the com-
partment cover.
(10) Connect the FBC-7 to a suitable wall outlet.
(11) Switch on the FBC-7 by pressing its [POWER¥ON]
button (its red POWER ON indicator lights).
(12) Press the [EXTERNAL¥BATTERY¥CHARGER] button
on the FBC-7.
The button now lights red.
(13) Wait until the [EXTERNAL¥BATTERY¥CHARGER] but-
ton lights green, then switch off the FBC-7 and
disconnect the cable from the socket on the FBC-7
and from the battery.
You can leave the battery where it is until you actually need it.
Note: You can use the FR-7b/FR-5b while the battery is being
recharged externally.
(14) Reinstall the cover on the EXTERNAL BATTERY
RECHARGER compartment and slide it to the left
until it clicks into place.
Note: While the compartment cover is open, the FR-7b/FR-5b
cannot be switched on.
(19) Remove the depleted battery and disconnect its
cable.
(20) Connect the cable to the new battery and insert
the charged battery into the FR-7b/FR-5b’s compartment.
(21) Close the FR-7b/FR-5b’s battery compartment and
re-install the cushion.
Note: Be sure to tighten the two screws all the way to establish firm contact between the compartment cover and the
instrument. Otherwise, you won’t be able to use your FR-7b/
FR-5b.
If the battery fails to last 8 hours (or slightly less)
The FR-7b’s battery (and an optional battery for the
FR-5b) can be recharged about 300 times before it
needs to be replaced with a new one. Note that it is
normal for the battery to last increasingly shorter as
time goes by. At the end of its life cycle, it may only last
one hour, for example. But that is a gradual process.
Note: If the red indicator goes off while the battery is being
recharged, this means that there has been a power failure and
that the battery has probably only been partially recharged. In
that case, you need to recharge it again.
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V-Accordion
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Editing sounds
6. Editing sounds
Almost all sound aspects of your FR-7b/FR-5b can be changed (“edited”) to your liking. On p. 32 we already showed you
how to quickly edit the most important aspects of a sound. All changes you make are temporary. If you want to preserve
them, you need to use the WRITE function.
Selecting parameters
■Easy and Full modes
Be aware that the availability of a parameter may depend on the display mode that is currently selected (page 19). If
you can’t seem to find the parameter you need, switch to “Full” mode.
■Important note
Before changing your settings, be sure to select the Set the changes should apply to using the SET buttons (or the SET
footswitches on the FBC-7). That will help you avoid a lot of confusion at a later stage.
Selecting parameters using the Jump function
The FR-7b/FR-5b’s parameters can be selected like on a
mobile phone (by entering their numbers) or using the
Menu structure. Let us first look at using the mobile
phone approach:
(1) Switch on the FR-7b/FR-5b.
See “Switching the power on and off” on p. 16. The
display now looks more or less as follows:
(2) In the descriptions below, locate the parameter
you wish to edit and look at its number.
(3) Press and hold the [EXIT÷JUMP] button until the
display looks as follows:
(4) Press a register [1]~[12] to specify the parameter
group.
The menu contains the following function groups:
Group Explanation
1 TUNING* Parameters related to the overall pitch
of your FR-7b/FR-5b. The Treble, Bass/
Free Bass and Orchestra groups contain additional pitch parameters that
only apply to those sections.
2 TREBLE EDIT Parameters for the Treble section
(including MIDI parameters).
3 BASS EDIT Parameters for the Bass section
(including MIDI parameters).
4 FREE BASS
EDIT
5 ORC BASS
EDIT
6 ORCHESTRA
EDIT
7 ORC CHORD
EDIT
8 ORC FREEBS
EDIT
9 SET
COMMON
10 SYSTEM* Parameters that apply to all sections
11 UTILITY Parameters for checking the battery,
12 MIDI* MIDI channels, MIDI remote control.
Parameters for the Free Bass section
(including MIDI parameters).
Parameters for the Orchestra Bass section (including MIDI parameters).
Parameters for the Treble Orchestra
section (including MIDI parameters).
Parameters for the Orchestra Chord
section (including MIDI parameters).
Parameters for the Orchestra Free Bass
section (including MIDI parameters).
General Set parameters (effects types,
name, Master bar function).
(and hence to the entire FR-7b/FR-5b).
copying and archiving settings. This
group also contains a function for
restoring some or all factory Sets.
Parameter groups with an asterisk (*) are not saved
along with the Set parameters. They are global
parameters that can be saved to a special memory.
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FR-7b/FR-5b V-Accordion
Editing sounds | Selecting parameters
(5) Press a register [1]~[14] to specify a parameter
within the selected group.
See the table on page 41. Press the [ORCHESTRA]
register to select parameter “15” (only available for
groups “2” and “10”).
You can only select sections that are active (and thus
sound when you play on the Treble or Bass keyboard).
If you select a function of a section that is currently
off, the display tells you that its parameters cannot
be changed. In that case, switch the section on and
try again – or select another group.
(The message above means that the Orchestra section
is not active and therefore cannot be edited.)
(6) Proceed with “Setting parameter values” on p. 41.
(7) Press [EXIT÷JUMP] several times to return to the
main page.
Selecting parameters via the menu
A second way of selecting parameters goes like this:
(1) Press the [MENU] button.
(2) Use the [DATA÷ENTER] knob or the [UP]/[DOWN]
buttons to select one of the function groups.
See the previous page for a list with short explanations.
(3) Press the [DATA÷ENTER] knob to enter that group.
The display now responds with (this depends on the
function group you selected):
You can only select sections that are active (and thus
sound when you play on the Treble or Bass keyboard).
If you select a function of a section that is currently
off, the display tells you that its parameters cannot
be changed. In that case, switch the section on and
try again – or select another group.
(The message above means that the Orchestra section
is not active and therefore cannot be edited.)
(4) Use the [DATA÷ENTER] knob or the [UP]/[DOWN]
buttons to select the parameter you wish to edit.
(5) Proceed with “Setting parameter values”.
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Page 41
V-Accordion
2
2
2
2
2
2
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Setting parameter values
(6) Press the [EXIT÷JUMP] button once to return to the
function group (“TUNING” in our example) and
again to return to the Main page.
Setting parameter values
(1) Select the parameter you wish to edit (see above).
(2) Press the [DATA÷ENTER] knob to activate that
The various groups contain the following parameters (entries in italics are not available in “Easy”
mode).
1. TUNING
1.1 Master Tune
1.2 Transpose
1.3 Scale
1.4 Scale Edit
1.5 Scale Assign
2. TREBLE EDIT
.1 Reed Type
.2 Register
.3 Reed Volume
2.4 Treble Octave
.5 Valve Noise
2.6 Musette Detune
.7 Bellows Detune
2.8 Reverb Send
2.9 Chorus Send
2.10 Delay Send
2.11 Aftertouch Pitch
2.12 Bass Link
2.13 Orchestra Link
2.14 Orchestra Chord Link
.15 Treble MIDI TX
3. BASS EDIT
3.1 Reed Type
3.2 Register
3.3 Reed Volume
3.4 Button Noise
3.5 Reed Growl
3.6 Bellows Detune
3.7 Reverb Send
3.8 Chorus Send
3.9 Delay Send
3.10 Bass MIDI TX
3.11 Chord MIDI TX
4. FREE BASS EDIT
4.1 Reed Type
4.2 Register
4.3 Reed Volume
4.4 Button Noise
4.5 Reed Growl
4.6 Bellows Detune
4.7 Reverb Send
4.8 Chorus Send
4.9 Delay Send
4.10 Free Bass MIDI TX
5. ORC BASS EDIT
5.1 Lowest Note
5.2 Orc Bass Release Time
5.3 Orc Bass Volume
5.4 Reverb Send
5.5 Chorus Send
5.6 Delay Send
5.7 Orc Bass MIDI TX
6. ORCH. EDIT
6.1 Orchestra Octave
6.2 Orchestra Volume
6.3 Bellows Detune
6.4 Reverb Send
6.5 Chorus Send
6.6 Delay Send
6.7 Aftertouch Pitch
6.8 Orchestra MIDI TX
. . . . . . . . . . . p. 42
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7. ORC CHD EDIT
7.1 Orc Chord Volume
7.2 Reverb Send
7.3 Chorus Send
7.4 Delay Send
7.5 Orc Chord MIDI TX
8. ORC FBS EDIT
8.1 Orc FreeBs Volume
8.2 Reverb Send
8.3 Chorus Send
8.4 Delay Send
8.5 Orc FreeBs MIDI TX
9. SET COMMON
9.1 Reverb Macro Type
9.2 Reverb Parameters
9.3 Chorus Macro Type
9.4 Chorus Parameters
9.5 Delay Macro Type
9.6 Delay Parameters
9.7 Name
. . . . . . . . . . . . . . . . p. 68
9.8 Master Bar Recall
9.9 Icon
. . . . . . . . . . . . . . . . . p. 68
10. SYSTEM
10.1 LCD Contrast
10.2 Parameter Access
10.3 Bellows Curve
10.4 Pedal Controller
10.5 Bass & Chord Mode
10.6 Free Bass Mode
10.7 Stereo Width
10.8 Auto Power OFF
10.9 Startup
10.10 Startup Name
10.11 Orchestra Touch
10.12 Orch. Bs&Ch Touch
10.13 Start/Stop MIDI TX
10.14 Treble Release T.
10.15 Treble Mode
11. UTILITY
11.1 Battery Status
11.2 Copy ALL Effects
11.3 Copy Reverb
11.4 Copy Chorus
11.5 Copy Delay
11.6 Copy SET
11.7 Bulk Dump ALL
11.8 Bulk Dump SET
11.9 Restore SET
11.10 Treble Reg. on
current Set
11.11 Bass Reg. on
current Set
11.12 FreeBass Reg. on
current Set
12. MIDI
12.1 RealTime RX-TX
12.2 Ext. Seq. Playback
12.3 Bellows TX Resolution
12.4 Bank for ‘Send PC’
. . . . . p. 60
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. p. 88
. . . . p. 86
parameter for editing.
Notice how the display changes: the arrows are
replaced by an EDIT message and the parameter
value is displayed on a dark background.
If a display page contains two (or three) adjustable
parameters, you may have to press [DATA÷ENTER]
again to activate the desired parameter for editing.
Here is an example:
(3) Use the [DATA÷ENTER] knob or the [UP]/[DOWN]
buttons to change the value.
(4) Press the [EXIT÷JUMP] button once to return to the
function group.
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FR-7b/FR-5b V-Accordion
Editing sounds | 1. TUNING parameters
1. TUNING parameters
The parameters of the TUNING group apply to the entire FR-7b/FR-5b and are not saved to a Set. You
can save most of them to the FR-7b/FR-5b’s Global memory, however. See pages 39 and 41 for how to
select and adjust the parameters.
Press [UP] and [DOWN] simultaneously to select the value that is indicated as “Default setting”.
Saving your changes
Any changes you make can be saved using the WRITE
function. Though there is no need to save your changes
right after performing them, please bear in mind that
they will be lost when you switch off the FR-7b/FR-5b.
Changes you want the FR-7b/FR-5b to remember must
be saved as soon as possible. Here is how:
(1) Press and hold the [MENU÷WRITE] button until the
following page appears:
(2) Rotate the [DATA÷ENTER] knob (or use the [UP]/
[DOWN] buttons) to select “Global”.
(3) Press the [DATA÷ENTER] knob to confirm your
selection.
1.1 Master Tune
(415.3~466.2, Default setting:
440.0) This parameter allows
you to change the FR-7b/
FR-5b’s overall tuning, which
may be necessary when you play
with acoustic instruments that cannot be tuned easily
or if you use a CD or cassette tape as accompaniment.
The factory default, “440.0Hz”, represents the reference
pitch used by all electronic musical instruments.
1.2 Transpose
(F# –6, G –5, Ab –4, A –3, Bb –2,
B –1, C 0, C# 1, D2, Eb 3, E 4,
F 5) This parameter allows you
to transpose all sections of the
FR-7b/FR-5b. See page 32 for
details.
1.3 Scale
This page contains two parameters. The first one allows you to
select the tuning system and the
second one to specify the fundamental/root of the key you want
to play in. This was already discussed on page 33.
Type: Equal (Off), User 1, User 2, User 3, Arabic1,
Arabic2, Just Major, Just Minor, Pythagorean, MeanTone, Werckmeister, Kirnberger
Key: C, C#, D, Eb, E, F, F#, G, Ab, A, Bb, B
Note: The GLOBAL page shows all parameters that are saved to
the Global memory (there is only one such memory).
(4) 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-7b/FR-5b (or change the settings again).
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1.4 Scale Edit
Here comes a display page with
three selectable and adjustable
parameters. You may have
noticed that there are three
“User” scales. They refer to tuning systems you can program yourself. Obviously, you
only need to do this if none of the factory scales corresponds to the system you would like to use (a gamelan
tuning, for example).
As this is a rather complex matter, the procedure for
programming your tuning is a little different from the
adjustment of other parameters:
• After selecting this page, pressing [DATA÷ENTER] will
do nothing.
• Instead, you need to press the [MENU÷WRITE] button
to jump to the following page:
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V-Accordion
1.5 Scale Assign
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• Use the [DATA÷ENTER] knob or the [UP]/[DOWN] but-
tons to select the User memory that should contain
your customized tuning system.
• Press [MENU÷WRITE] again to jump to the following
page.
(–64~63, Default setting: 0 for all notes) These
parameters allow you to stray away from the usual
semitone-interval scale (used in western music) by
changing the pitch of the notes so as to accommodate other musical cultures.
You will notice that every note can be selected only
once. That is because the value you specify applies to
all notes of the same name. If you change the tuning
of the “C”, that value will be added to or subtracted
from all Cs (C1, C2, C3, etc.). Most of the time, you
will probably select the value “50” or “–50” as they
correspond exactly to half a semitone up or down
(quarter tone). Other settings may also be interesting,
though.
• Press the [DATA÷ENTER] knob to select either the note
(left field) or the tuning value (right field) and change
the entry using the [DATA÷ENTER] knob or the [UP]/
[DOWN] buttons.
• Press the [MENU÷WRITE] button to memorize your
new tuning (or [EXIT÷JUMP] to return to the previous
settings, in which case your changes are lost). If you
press [MENU÷WRITE], the display briefly shows a confirmation:
1.5 Scale Assign
(Treble, Orchestra, Treble&Orchestra, Bass&Chord,
ALL, Default setting: Treble&Orchestra) This parameter
allows you to specify which
section should be affected by the tuning system you
select on the “1.3 Scale” page. It is perfectly possible
to select a single section (e.g. only the Treble accordion).
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FR-7b/FR-5b V-Accordion
Editing sounds | 2. TREBLE EDIT parameters
2. TREBLE EDIT parameters
The parameters of the TREBLE EDIT group apply to the Treble section and are saved to the selected Set.
They allow you to build your own (virtual) accordion. After setting these parameters, you probably also
need to adjust the BASS EDIT or FREE BS EDIT parameters (which are also saved to the Set). See pages
39 and 41 for how to select and adjust the parameters.
Press [UP] and [DOWN] simultaneously to select the value that is indicated as “Default setting”.
Introduction
While familiarizing yourself with and using the following parameters, try to think of yourself as an accordion
manufacturer. The first parameters in this group indeed
rely on the power of Roland’s “virtual” technology
(called “PBM” or “Physical Behavior Modeling”) and are
in fact a warehouse with all kinds of accordion components from which you can build your personal accordion or to customize an existing “model”.
Though experimenting with the available options may
teach you a lot about usable sound combinations,
always start out by asking yourself questions like: “Does
it sound OK?”, “Does it make sense for a Cajun accordion to use a Bandoneon valve noise?”, etc.
Another piece of advice is the following: after spending
two hours programming a new register, save it, take a
break, then listen to it again (or even wait until the next
day). Also try it in combination with the other registers/
sections and even instruments (if you play in a band).
Important note
All changes you make here apply to the last Treble register you selected. So be sure to press the register ([1]~
[14]) whose settings you wish to change before selecting and editing any of the TREBLE EDIT parameters. You
can, however, decide to save your settings to a different
register (see below) if you realize that you’ve been editing the wrong one.
(2) Press the [DATA÷ENTER] knob to confirm your
selection.
(3) Use the [DATA÷ENTER] knob or the [UP]/[DOWN]
buttons to specify what you want to save:
Current: The register you are currently editing.
Currnt +
SCom:
ALL All registers. This is probably the safest
(4) Press the [DATA÷ENTER] knob to confirm your
selection.
Depending on what you chose in step (3) above, the
display now looks as follows:
If you selected “Current” or
“Curnt+SCom”
The register you are currently editing as
well as the Set Common settings
(page 64).
bet, because it ensures that no Treble register will be forgotten. (It is perfectly possible to edit several registers without saving them.)
If you selected “ALL”
Saving your changes
Any changes you make can be saved using the WRITE
function. Though there is no need to save your changes
right after performing them, please bear in mind that
they will be lost in the following cases:
• When you select another Set
• When you switch off the FR-7b/FR-5b
Changes you want the FR-7b/FR-5b to remember must
be saved as soon as possible. Here is how:
(1) Press and hold the [MENU÷WRITE] button until the
following page appears:
This is the page we need, so you don’t need to scroll
through the available options.
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→ Skip to step (7)
(5) Enter a name for the register you are about to
save.
This is only necessary if you don’t agree with the
name that appears in the display.
• Select the character position (indicated by a dark
square) by pressing [UP] (previous character), [DOWN]
(next character) or the [DATA÷ENTER] knob (next
character).
• Turn the [DATA÷ENTER] knob to select the desired
character.
• Press [UP] and [DOWN] simultaneously to erase the
currently selected character (it will become a space).
Example: To replace the “s” in “Celeste” with a space
(“Cele te”), position the cursor on the “s” and simultaneously press [UP]/[DOWN].
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V-Accordion
2.1 Reed Type
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• To insert a space before the currently selected character and push all subsequent characters one position to the right, select the character that should follow the space, then press and hold [UP]. Example: To
insert a space before the “s” in “Celeste” (creating the
name “Cele ste”), position the cursor on the “s” and
hold down [UP] for a while.
Note: If the name already contains 8 characters (“Bandoneo”),
the last character is erased (example: “Band one”).
• To delete the character indicated by the cursor and
move subsequent characters one position to the left,
select it (example: “Celeste”) and press and hold
[DOWN] (“Celete”).
(6) Press the [MENU÷WRITE] button to jump to the fol-
lowing page:
If you selected “Current”
(7) Use the [DATA÷ENTER] knob or the [UP]/[DOWN]
buttons to select the Set that should contain your
changed version(s).
Change this setting only if you do not want to save
your settings to the current Set.
(8) (Only for “Current”:)
Press the [DATA÷ENTER] knob to select “REGISTER”,
then turn it to select the number of the register
where you want to save your edited version (1~14).
(9) Press the [MENU÷WRITE] button to save your
changes. The display briefly shows a confirmation:
(10) Press the [EXIT÷JUMP] button to return to the Main
page.
Note: See pages 39 and 41 for how to select and adjust the
parameters below.
desired footage(s). Here, you specify how each reed
(that can be assigned to a register) should sound. This
allows for complex combinations like the following:
Bandoneon
Classic
Cajun
F-Folk
Steierische
TexMex
Triktixa
<16> <8> <8–> <8+> <4> <5-1/3> <2-2/3>
We’ll let you decide whether such a combination really
makes sense, but it is possible… For each of the 14 Treble registers, that is.
• If necessary, press the [DATA÷ENTER] knob to select
the “FOOT” parameter, then rotate the [DATA÷ENTER]
knob to select the reed you wish to assign another
sound to.
The options are: ALL, 16, 8, 8–, 8+, 4, 5-1/3, 2-2/3
• Press the [DATA÷ENTER] knob to select the “TYPE”
parameter, then rotate the [DATA÷ENTER] knob to
select a type (“instrument”).
The TYPE options are: Bandoneon, I-Folk, I-Folk2,
Classic, Cajun, Jazz, F-Folk, D-Folk, Organetto, F-Folk2,
Classic2, Studio, Tradition, Steierische, OldItaly,
TexMex, Trikitixa.
To save time while changing the TYPE for one or several reeds, you could proceed as follows: suppose all
reeds are currently set to the “wrong” TYPE and you
want to use 16’, 8’ and 4’ as “Bandoneon”. In that
case, set FOOT to “ALL” and TYPE to “Bandoneon”.
Next, use STATUS on the “Register” page to switch off
the reeds you do not need.
Note: Whenever you select “ALL” and set a different reed type,
the “Valve Noise” setting is automatically adapted to the reed
type you select here. You may have to change it afterwards if
you wish to use a different noise type.
2.1 Reed Type
This parameter allows you to do
two things that are impossible
with an acoustic accordion: you
can (a) transform the selected
register into a different instrument and (b) assign different sounds to each footage
the register plays.
Note: Each FOOT can be assigned one TYPE (combinations like
“16= Bandoneon, 16= TexMex, 16= Organetto” are impossible).
A register, as you may know, may contain several reeds
tuned to different pitches (“feet”), so that you hear the
16’, 8’ and 4’ reeds when you select it, for example. The
“Register” parameter below allows you to select the
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FR-7b/FR-5b V-Accordion
Editing sounds | 2. TREBLE EDIT parameters
2.2 Register
The parameters on this page are
used in combination with the
settings above. Here, you decide
which feet should be audible
and how they should be played.
It is therefore on this page that you specify whether the
sounds you selected above will indeed be used.
Here comes another illustration:
Bandoneon
Classic
Cajun
F-Folk
Steierische
TexMex
<16> <8> <8–> <8+> <4> <5-1/3> <2-2/3>
On Off Off
In our example, only 16’, 8’+ and 5-1/3’ are used. 8’+ is
slightly softer than then other two reeds, because the
Cassotto function is on. “Cassotto” is similar to the
“Sordina” function discussed on page 22, but it only
muffles the reed/footage in question (making the
sound darker). The SORDINA switch, on the other hand,
applies to all accordion sounds of the Treble section.
• If necessary, press the [DATA÷ENTER] knob to select
the “FOOT” parameter, then rotate the [DATA÷ENTER]
knob to select the reed you wish to assign another
sound to.
The options are: 16, 8, 8–, 8+, 4, 5-1/3, 2-2/3
• Press the [DATA÷ENTER] knob to select the “STATUS”
parameter, then rotate the [DATA÷ENTER] knob to
specify whether the selected reed should sound and
whether it should be muffled.
The STATUS options are: Off (no sound), On (sounds),
On-Cassotto (muffled sound).
On-
Cassotto
Off On Off
Triktixa
2.3 Reed Volume
(Off, –40~“Std”~40, Default setting: Std) Here comes the last
parameter that can be set for
each reed/footage individually.
It allows you to create the
desired “mix” (volume balance) for the active reeds (see
the “2.2 Register” page).
This is a relative parameter, which means that its value
is added to or subtracted from the standard value
(“Std”). As a rule, it would be wise to decide which reed
is most important and set its Volume parameter to
“Std”. Then reduce or increase the volume of the “ancillary” reeds to create the desired balance.
• Press the [DATA÷ENTER] knob to select the “FOOT”
parameter, then rotate the [DATA÷ENTER] knob to
select the reed whose volume you want to set.
The options are: ALL (all reeds simultaneously), 16’, 8’,
8’–, 8’+, 4’, 5-1/3’, 2-2/3’
• Press the [DATA÷ENTER] knob to select the “LEVEL”
parameter, then rotate the [DATA÷ENTER] knob to set
the volume.
Note: The overall volume of the Treble section (all registers) can
be changed using the [BALANCE] knob.
2.4 Treble Octave
(–1, 0, 1, Default setting: 0) This
parameter allows you to transpose the selected register one
octave up (“1”) or down (“–1”).
This can be used for two purposes: to quickly correct the pitch that results from the
active reeds (see above) or to avoid overlaps of the
selected register when using a Treble Orchestra sound.
(The Orchestra section also provides an Octave parameter.)
2.5 Valve Noise
Here comes a more elaborate
version of the Noise parameter
discussed on page 33, because it
allows you not only to set the
level of the “typical” valve
noises, but also to specify what kind of instrument
should generate the noise. Though you are free to
experiment with any noise type you like, using the noise
related to the selected instrument (see “Reed Type”) is
usually more realistic.
There is only one TYPE for the entire register (i.e. all 7
reeds). The options are: Bandoneon, I-Folk, I-Folk2, Classic, Cajun, Jazz, F-Folk, D-Folk, Organetto, F-Folk2,
Classic2, Studio, Tradition, Steierische, OldItaly, TexMex,
Trikitixa.
Use the LEVEL parameter to specify how prominent the
noise should be (Off, –40~“Std”~40, Default setting:
Std).
Note: Whenever you select “ALL” for “2.1 Reed Type” and set a
different reed type, this noise setting is automatically adapted to
the reed type. It would therefore be a good idea to first select the
reed type and only then change the noise type.
2.6 Musette Detune
This parameter allows you to
choose the system used for
detuning the 8’ reeds. See
page 32 for details. The options
are: Off, Dry, Classic, F-Folk,
American_L, American_H, North_Eur, German_L,
D-Folk_L, Italian_L, German_H, Alpine, Italian_H,
D-Folk_H, French, Scottish.
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V-Accordion
2.7 Bellows Detune
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2.7 Bellows Detune
(Off, Low, Standard, High,
Default setting: Standard) This
parameter further adds to the
realism of the sounds emulated
by your FR-7b/FR-5b. Here, you
can specify how strongly the pitch of the simulated
Treble reed(s) changes when you open or close the bellows faster than usual.
If the “Standard” setting seems too mild, try “High”. If it
is too strong, use “Low”. If you don’t want any detuning
effect, select “Off”. The most convincing setting usually
depends on the selected instrument(s) (see “2.1 Reed
Type”).
2.8 Reverb Send, 2.9 Chorus Send,
2.10 Delay Send
(0~127 for all three) Use these
parameters to set the Reverb, Chorus
or Delay send level (how much effect
should be applied to the Treble section). The higher the value you set,
the more the Treble section is processed by the effect in question.
It works much the same way as a
cathedral: the louder you sing, the
more reverb (chorus or delay) you
hear. In the case of the cathedral, singing louder means
that you increase the effect send level, i.e. the level of
the signal (your voice) that will be processed by the
acoustic environment.
The other sections (Bass, Free Bass, etc.) have the same
parameters, so that you can create a sound image with
various “levels” (foreground, background).
The effects themselves can be edited on separate pages
(see p. 65).
Bass). There are other parameters that allow you to
associate a Treble Orchestra and/or Chord/Free Bass
Orchestra sounds with the currently selected accordion
register (see below).
The options for the parameters on this page are:
• BASS: No Link, Bass 1~7, Free 1~7 (This selection also
influences the options for the “2.14 Orchestra Chord
Link” parameter.)
• ORC.BASS: No Link, Acoustic, Bowed, Fingered, Fretless, Picked, Tuba, Tuba Mix
If you define a “Free” register, the Bass section automatically switches to Free Bass mode when you press
the Treble register while the Bass Link function is
active. (If you define a “Bass” register, the Bass section switches from Free Bass to Bass mode at that
time, if necessary.)
If you also define an ORC.BASS sound (other than
“No Link”), the Bass section automatically activates
the Orchestra Bass part when you press the Treble
register while the Bass Link function is active.
Select “No Link” if there should be no connection
between the currently selected Treble register and
the Bass or Orchestra Bass section.
Note that this automatic link is not activated when
you define it on this page – it is merely enabled and
“pre-set”. To activate the Bass Link function, press
and hold down the [ORCHESTRA] register and press
[9]:
2.11 Aftertouch Pitch
(Off, 1/4 Down, 1/2 Down, 1/4
Up, 1/2 Up, Default setting: Off)
As stated earlier, the FR-7b/
FR-5b’s Master bar also generates aftertouch messages when
pressed gently. This effect allows you to bend the pitch
down (temporarily lower the note) by a quarter (“1/4
Down”) or a semi-tone (“1/2 Down”). Select “1/4 Up” or
“1/2 Up” to bend the notes up a quarter or a semi-tone.
Select “Off” to switch off the Master bar’s aftertouch
recognition.
Note: This aftertouch effect applies to all notes that are sounding simultaneously. (MIDI buffs call this “channel aftertouch”.)
2.12 Bass Link
Here are two parameters that
allow you specify which Bass
and/or Orchestra Bass register/
sound are selected whenever
you press the Treble register you
are currently editing. That way, you only need to press
one register instead of at least two (one Treble, one
Note: Simply activating the link does nothing at all (i.e. the
Bass/Free Bass/Orchestra Bass/Orchestra Chord/Orchestra Free
Bass register does not change right away). You need to select
another Treble register whose Bass Link function is on for the
link to work.
Repeat this procedure to defeat the Bass Link function if you no longer need it.
On the Main page, links are indicated as follows:
Note: You can specify that this function should be activated
automatically each time you switch the FR-7b/FR-5b on. See
“10.9 Startup” on p. 73.
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FR-7b/FR-5b V-Accordion
Editing sounds | 2. TREBLE EDIT parameters
2.13 Orchestra Link
This function allows you to
associate an orchestral sound
with the Treble register you are
currently editing and to specify
which mode should be used. See
also “Selecting the Orchestra mode” on p. 26 for an
explanation of the available modes.
The options for these parameters are:
• REGISTER: No Link, 1A Trombone, 1B Trumpet,
2A TenorSax, 2B AltoSax, 3A Clarinet, 3B Oboe,
4A Harmonica, 4B MuteHarm, 5A Violin, 5B Pizzicato,
6A Flute, 6B PanFlute, 7A HighLand, 7B Zampogna,
8A PercOrgan, 8B JazzOrgan, 9A RotOrgan,
9B TremOrg, 10 ScatVoice, 11 Mandolin, 12 AcGuitar,
13 AcPiano
• MODE: ----, Solo, Dual, Low, High, Solo M, Dual M,
Low M, High M
Select “No Link” if there should be no connection
between the currently selected Treble register and
the Orchestra Treble section.
“––” means that the currently selected mode does
not change. So if LOW mode is selected when you
press this register, the orchestral sound you select
here can be played in LOW mode.
The “M” options work more or less the same. There is
one major difference, however: they do not switch on
the Orchestra part if it is currently off (while the
options without the “M” do). So if you set MODE to
“Dual M” and then select this register, the orchestral
sound (assigned to “REGISTER”) changes, and so does
the MODE setting – but the Orchestra part is not
switched on (if it is off).
Note that this automatic link is not activated when
you define it on this page – it is merely enabled and
“pre-set”. To activate the Orchestra Link function, you
need to press and hold down the [ORCHESTRA] regis-
ter and press [10]:
On the main page, links are indicated as follows:
Note: You can specify that this function should be activated
automatically each time you switch the FR-7b/FR-5b on. See
“10.9 Startup” on p. 73.
2.14 Orchestra Chord Link
This parameter that allows you
to specify which Orchestra
Chord or Orchestra Free Bass
sound is selected whenever you
press the Treble register you are
currently editing. That way, you only need to press one
register instead of at least two (one Treble, one Bass).
The Orchestra Chord and Orchestra Free Bass sections
are mutually exclusive (there are no chord buttons in
Free Bass mode).
• CHORD-FREEBS:
No Link, CHD-Trombone, CHD-TenorSax, CHD-Clarinet, CHD-TremOrg, CHD-Voice, CHD-AcGuitar,
CHD-AcPiano
FBS-Trombone, FBS-Clarinet, FBS-Oboe, FBS-Flute,
FBS-PercOrgan, FBS-AcGuitar, FBS-AcPiano
The options depend on the “2.12 Bass Link” setting,
because the Orchestra Chord and Orchestra Free Bass
sections are not always available:
“2.12 Bass Link”
setting
No Link No Link, CHD-Trombone, CHD-TenorSax,
Bass 1~7 No Link, CHD-Trombone, CHD-TenorSax,
Free 1~7 No Link, FBS-Trombone, FBS-Clarinet,
Possibilities for “2.14 Orchestra Chord Link”
CHD-Clarinet, CHD-TremOrg, CHD-Voice,
CHD-AcGuitar, CHD-AcPiano,
FBS-Trombone, FBS-Clarinet, FBS-Oboe,
FBS-Flute, FBS-PercOrgan,
FBS-AcGuitar, FBS-AcPiano
CHD-Clarinet, CHD-TremOrg, CHD-Voice,
CHD-AcGuitar, CHD-AcPiano
FBS-Oboe, FBS-Flute, FBS-PercOrgan,
FBS-AcGuitar, FBS-AcPiano
Note: Simply activating the link does nothing at all (i.e. the
orchestral sound does not change right away). You need to
select another Treble register whose Orchestra Link function is
on for the link to work.
Repeat this procedure to defeat the Orchestra Link
function if you no longer need it (or assign “CANCEL”
to another Treble register and press it).
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48
“Bass” and “Free Bass” are two different modes. In
“Free Bass” mode, all bass buttons play bass accordion
sounds, so that the “CHD” options here wouldn’t
make sense. That is why you cannot even select them.
Similarly, when “Bass” mode is activated (by selecting
one of the seven Bass registers for “2.12 Bass Link”),
the Orchestra Free Bass sounds cannot be used. That
is why you cannot even select them here.
Conversely, since the “2.12 Bass Link” determines
what’s possible or not, changing its setting may correct your “2.14 Orchestra Chord Link” setting. Here’s
an example:
Suppose you first set “2.14 Orchestra Chord Link” to
“FBS-Flute” (while “2.12 Bass Link” is set to “No Link”).
You then change your mind and set “2.12 Bass Link”
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V-Accordion
2.15 Treble MIDI TX
r
to “Bass 6”. This means that “FBS-Flute” is no longer
supported (because it’s a Free Bass orchestral sound
that is not available in Bass mode). The FR-7b/FR-5b
therefore changes “2.14 Orchestra Chord Link” to “No
Link”.
For this reason, we recommend that you first set
2.12 Bass Link “BASS” (if you need it), and only then
“2.14 Orchestra Chord Link”.
Note: The 2.12 Bass Link “ORC.BASS” setting does not influence the options available for 2.14 Orchestra Chord Link.
Note that this automatic link is not activated when
you define it on this page – it is merely enabled and
“pre-set”. To activate the Bass Link function (which
also applies to the Orchestra Chord or Orchestra Free
Bass sections), you need to press and hold down the
[ORCHESTRA] register and press [9]:
2.15 Treble MIDI TX
This page contains a series of
MIDI parameters for the
selected register you need to set
one by one. See page 89 for
details about the MIDI parameters. These parameters are saved along with all other
Set parameters, which allows you to use different MIDI
settings for each Set – and even each register within a
Set.
Note: Simply activating the link does nothing at all (i.e. the
Orchestra Chord or Orchestra Free Bass sound does not change
right away). You need to select another Treble register whose
Bass Link function is on for the link to work.
Note: The Orchestra Chord and Orchestra Free Bass Link functions need to bee activated/deactivated using the “Bass Link”
procedure. There is no separate switching function for the
Orchestra Chord or Orchestra Free Bass section.
Repeat this procedure to defeat the Bass Link function if you no longer need it (or assign “CANCEL” to
another Treble register and press it).
On the main page, links are indicated as follows:
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FR-7b/FR-5b V-Accordion
Editing sounds | 3. BASS EDIT parameters
3. BASS EDIT parameters
The parameters of the BASS EDIT group apply to the Bass section (bass and chord notes) and are saved
to the selected Set. They allow you to build your own (virtual) accordion. After setting these parameters, you probably also need to adjust the TREBLE EDIT or FREE BS EDIT parameters (which are also
saved to the Set). See pages 39 and 41 for how to select and adjust the parameters.
Press [UP] and [DOWN] simultaneously to select the value that is indicated as “Default setting”. See also “Introduction”
on p. 44 for some general hints.
Important note
All changes you make here apply to the last Bass register you selected. So be sure to press the register whose
settings you wish to change before selecting and editing any of the BASS EDIT parameters. You can, however,
decide to save your settings to a different register (see
below) if you realize that you’ve been editing the wrong
one.
Saving your changes
Any changes you make can be saved using the WRITE
function. Though there is no need to save your changes
right after performing them, please bear in mind that
they will be lost in the following cases:
• When you select another Set
• When you switch off the FR-7b/FR-5b
Changes you want the FR-7b/FR-5b to remember must
be saved as soon as possible. Here is how:
(1) Press and hold the [MENU÷WRITE] button until the
following page appears:
(2) Rotate the [DATA÷ENTER] knob (or use the [UP]/
[DOWN] buttons) to select “Bass”.
(4) Use the [DATA÷ENTER] knob or the [UP]/[DOWN]
buttons to specify what you want to save:
Current: The register you are currently editing.
Currnt +
SCom:
ALL All registers. This is probably the safest
(5) Press the [DATA÷ENTER] knob to confirm your
selection.
Depending on what you chose in step (3) above, the
display now looks as follows:
If you selected “Current” or
“Curnt+SCom”
(6) Enter a name for the register you are about to
save.
See p. 44 for details. Changing the name is only necessary if you don’t agree with the name that appears
in the display.
(7) Press the [MENU÷WRITE] button to jump to the fol-
lowing page:
The register you are currently editing as
well as the Set Common settings
(page 64).
bet, because it ensures that no Bass register will be forgotten. (It is perfectly possible to edit several registers without saving
them.)
If you selected “ALL”
→ Skip to step (8)
If you selected “Current” or “Curnt+SCom”
(3) Press the [DATA÷ENTER] knob to confirm your
selection.
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50
(8) Use the [DATA÷ENTER] knob or the [UP]/[DOWN]
buttons to select the Set that should contain your
changed version(s).
Change this setting only if you do not want to save
your settings to the current Set.
(9) (Only for “Current”:)
Press the [DATA÷ENTER] knob to select “REGISTER”,
then turn it to select the number of the register
where you want to save your edited version (1~7).
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V-Accordion
3.1 Reed Type
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(10) Press the [MENU÷WRITE] button to save your
changes. The display briefly shows a confirmation:
(11) Press the [EXIT÷JUMP] button to return to the Main
page.
Note: See pages 39 and 41 for how to select and adjust the
parameters below.
3.1 Reed Type
This parameter allows you to
transform the selected register
into a different instrument, and
assign different sounds to each
reed the register plays. See
“2.1 Reed Type” on p. 45 for a discussion of the possibilities and the aspects you need to pay attention to. Bear
in mind, however, that the parameter on this page
applies to the selected Bass register.
• If necessary, press the [DATA÷ENTER] knob to select
the “FOOT” parameter, then rotate the [DATA÷ENTER]
knob to select the reed you wish to assign another
sound to.
The options are: ALL, 16’, 8’, 8’-4’, 4’, 2’
• Press the [DATA÷ENTER] knob to select the “TYPE”
parameter, then rotate the [DATA÷ENTER] knob to
select a type (“instrument”).
The TYPE options are: Bandoneon, I-Folk, I-Folk2,
Classic, Cajun, Jazz, F-Folk, D-Folk, Organetto, F-Folk2,
Classic2, Studio, Tradition, Steierische, Trikitixa
To save time while changing the TYPE of one or several reeds, you could proceed as follows: suppose all
reeds are currently set to the wrong TYPE and you
want to use 16’, 8’ and 4’ as “Bandoneon”. In that
case, set FOOT to “ALL” and TYPE to “Bandoneon”.
Next, use STATUS on the “Register” page to switch off
the reeds you do not need.
3.2 Register
The parameters on this page are
used in combination with the
parameters above. Here, you
decide which reeds should be
audible and how they should be
played. It is therefore on this page that you specify
whether the sounds you selected above will be used.
• If necessary, press the [DATA÷ENTER] knob to select
the “FOOT” parameter, then rotate the [DATA÷ENTER]
knob to select the desired reed.
The options are: 16’, 8’, 8’-4’, 4’, 2’
• Press the [DATA÷ENTER] knob to select the “STATUS”
parameter, then rotate the [DATA÷ENTER] knob to
specify whether the selected reed should sound and
whether you can or cannot use it to play chords.
The STATUS options are: Off, Bass, Chord,
Bass&Chord. The available options depend on the
selected footage, however:
16 8 8-4 4 2
Off yes yes yes yes yes
Chord no no yes yes yes
Bass yes yes no no no
Bass&Chord no no yes yes yes
Note: You cannot assign “Bass&Chord” to “8-4”, or “Chord” to
“2”. All reeds (16 & 8 for the bass, 8-4, 4 & 2 for the chords)
must use the same assignment. If you select “Bass&Chord” for
“4” and then set “2” to “Chord”, “4” automatically switches to
“Chord” (the last selection you make is adopted by all reeds of
the same “yes” group). You can, however, select “Off” for each
reed individually.
Note: Whenever you select “ALL” and set a different reed type,
the “3.4 Button Noise” and “3.5 Reed Growl” settings are automatically adapted to the reed type you select here. You may
have to change those settings afterwards if you wish to use
different noise type.
3.3 Reed Volume
(Off, –40~“Std”~40, Default setting: Std) This is the last parameter that can be set for each
reed individually. It allows you
to create the desired “mix” (volume balance) for the active reeds (see the “Register”
page).
This is a relative parameter, which means that its value
is added to or subtracted from the standard value
(“Std”). As a rule, it would be wise to decide which reed
is most important and set its Volume parameter to
“Std”. Then reduce or increase the volume of the “ancillary” reeds to create the desired balance.
• Press the [DATA÷ENTER] knob to select the “FOOT”
parameter, then rotate the [DATA÷ENTER] knob to
select the reed whose volume you want to set.
The options are: ALL (all reeds simultaneously), 16’, 8’,
8’-4’, 4’, 2’
• Press the [DATA÷ENTER] knob to select the “LEVEL”
parameter, then rotate the [DATA÷ENTER] knob to set
the volume.
Note: The overall volume of the Bass section (all registers) can be
changed using the [BALANCE] knob.
3.4 Button Noise
The bass section of almost all
accordion instruments can be
played via buttons. Such buttons produce a typical noise
when pressed. On this page, you
can specify the instrument whose button noises should
be used when you select this register while playing.
(Note that other Bass registers can be assigned different noises.)
There is only one TYPE for the entire register (i.e. all 5
reeds). The options are: Bandoneon, I-Folk, I-Folk2, Classic, Cajun, Jazz, F-Folk, D-Folk, Organetto, F-Folk2,
Classic2, Studio, Tradition, Steierische, Trikitixa.
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FR-7b/FR-5b V-Accordion
Editing sounds | 3. BASS EDIT parameters
Use the LEVEL parameter to specify how prominent the
noise should be (“Off”, –40~“Std”~40, Default setting:
Std).
Note: Whenever you select “ALL” for “Reed Type” and set a different reed type, this noise setting is automatically adapted to the
reed type. It would therefore be a good idea to first select the
reed type and only then change the noise type.
3.5 Reed Growl
This parameter allows you to
simulate the typical noise a bass
reed makes just before it stops
vibrating altogether (a kind of
“musical flatulence” if you will).
Each instrument of the accordion family produces its
own typical growl. The growl that matches the sound
selected with “Reed Type” probably yields the most realistic effect – but feel free to select another one if you
like it better.
• If necessary, press the [DATA÷ENTER] knob to select
the “TYPE” parameter, then rotate the [DATA÷ENTER]
knob to select one of the available instrument types:
Bandoneon, I-Folk, I-Folk2, Classic, Cajun, Jazz, F-Folk,
D-Folk, Organetto, F-Folk2, Classic2, Studio, Tradition,
Steierische, Trikitixa
• Press the [DATA÷ENTER] knob to select the “LEVEL”
parameter, then rotate the [DATA÷ENTER] knob to set
the volume of the Reed Growl sound (Off, –40~
“Std”~40).
Note: Whenever you select “ALL” for “Reed Type” and set a different reed type, this growl setting is automatically adapted to
the reed type. It would therefore be a good idea to first select
the reed type and only then change the growl type.
The other sections (Treble, Free Bass, etc.) have the same
parameters, so that you can create a sound image with
various “levels” (foreground, background).
The effects themselves can be edited on separate pages
(see p. 65).
3.10 Bass MIDI TX, 3.11 Chord MIDI TX
These pages contain a series of
MIDI parameters for the
selected register you need to set
one by one. One page allows
you to specify which MIDI messages the bass notes (i.e. the two
or three button rows closest to
the bellows) should transmit,
the other does the same for the
chords (the remaining buttons in the Bass section).
See page 89 for details about the MIDI parameters.
These parameters are saved along with all other Set
parameters, which allows you to use different MIDI settings for each Set – and even each register within a Set.
3.6 Bellows Detune
(Off, Low, Standard, High,
Default setting: Standard) This
parameter further adds to the
realism of the sounds emulated
by your FR-7b/FR-5b. Here, you
can specify how strongly the pitch of the simulated
Bass reed(s) changes when you open or close the bellows faster than usual.
If the “Standard” setting seems too mild, try “High”. If it
is too strong, use “Low”. If you do not want any detuning effect, select “Off”. The most convincing setting
usually depends on the selected instrument(s) (see
“Reed Type”).
3.7 Reverb Send, 3.8 Chorus Send,
3.9 Delay Send
(0~127 for all three) Use these
parameters to set the Reverb, Chorus
or Delay send level (how much effect
should be applied to the Bass section).
The higher the value you set, the
more the Bass section will be processed by the effect in question.
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V-Accordion
4. FREE BASS EDIT parameters
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4. FREE BASS EDIT parameters
The parameters of the FREE BS EDIT group apply to the Bass section when it is used in Free Bass mode
(see p. 24) and are saved to the selected Set. They allow you to build your own (virtual) accordion. After
setting these parameters, you probably also need to adjust the TREBLE EDIT parameters (which are also
saved to a Set). See pages 39 and 41 for how to select and adjust the parameters.
Press [UP] and [DOWN] simultaneously to select the value that is indicated as “Default setting”. See also “Introduction”
on p. 44 for some general hints.
Important notes
• All changes you make here apply to the last Free Bass
register you selected. So be sure to press the register
whose settings you wish to change before selecting
and editing any of the FREE BS EDIT parameters. You
can, however, decide to save your settings to a different register (see below) if you realize that you’ve
been editing the wrong one.
• See page 71 for how to select the note system for
Free Bass mode. That setting is shared by all Sets.
Saving your changes
Any changes you make can be saved using the WRITE
function. Though there is no need to save your changes
right after performing them, please bear in mind that
they will be lost in the following cases:
• When you select another Set
• When you switch off the FR-7b/FR-5b
Changes you want the FR-7b/FR-5b to remember must
be saved as soon as possible. Here is how:
(1) Press and hold the [MENU÷WRITE] button until the
following page appears:
(2) Rotate the [DATA÷ENTER] knob (or use the [UP]/
[DOWN] buttons) to select “Free Bass”.
(4) Use the [DATA÷ENTER] knob or the [UP]/[DOWN]
buttons to specify what you want to save:
Current: The register you are currently editing.
Currnt +
SCom:
ALL All registers. This is probably the safest
(5) Press the [DATA÷ENTER] knob to confirm your
selection.
Depending on what you chose in step (3) above, the
display now looks as follows:
If you selected “Current” or
“Curnt+SCom”
(6) Enter a name for the register you are about to
save.
See p. 44 for details. Changing the name is only necessary if you don’t agree with the name that appears
in the display.
(7) Press the [MENU÷WRITE] button to jump to the fol-
lowing page:
The register you are currently editing as
well as the Set Common settings
(page 64).
bet, because it ensures that no Free Bass
register will be forgotten. (It is perfectly
possible to edit several registers without
saving them.)
If you selected “ALL”
→ Skip to step (8)
If you selected “Current” or “Curnt+SCom”
(3) Press the [DATA÷ENTER] knob to confirm your
selection.
(8) Use the [DATA÷ENTER] knob or the [UP]/[DOWN]
buttons to select the Set that should contain your
changed version(s).
Change this setting only if you do not want to save
your settings to the current Set.
(9) (Only for “Current”:)
Press the [DATA÷ENTER] knob to select “REGISTER”,
then turn it to select the number of the register
where you want to save your edited version (1~7).
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Editing sounds | 4. FREE BASS EDIT parameters
(10) Press the [MENU÷WRITE] button to save your
changes. The display briefly shows a confirmation:
(11) Press the [EXIT÷JUMP] button to return to the Main
page.
Note: See pages 39 and 41 for how to select and adjust the
parameters below.
4.1 Reed Type
This parameter allows you to
transform the selected register
into a different instrument and
assign different sounds to each
footage the register plays.
Note: You will notice that there are fewer options here than for
the Bass section. That’s because you cannot play chords in Free
Bass mode.
• If necessary, press the [DATA÷ENTER] knob to select
the “FOOT” parameter, then rotate the [DATA÷ENTER]
knob to select the reed you wish to assign another
sound to. The options are: ALL, 16’, 8’
• Press the [DATA÷ENTER] knob to select the “TYPE”
parameter, then rotate the [DATA÷ENTER] knob to
select a type (“instrument”).
The TYPE options are: Bandoneon, I-Folk, I-Folk2,
Classic, Cajun, Jazz, F-Folk, D-Folk, Organetto, F-Folk2,
Classic2, Studio, Tradition, Steierische, Trikitixa
Note: Whenever you select “ALL” and set a different reed type,
the “4.4 Button Noise” and “4.5 Reed Growl” settings are automatically adapted to the reed type you select here. You may
have to change those settings afterwards if you wish to use
different noise type.
4.2 Register
The parameters on this page are
used in combination with the
parameters above. Here, you
decide which reeds should be
audible and how they should be
played. It is therefore on this page that you specify
whether the sounds you selected above will be used.
• If necessary, press the [DATA÷ENTER] knob to select
the “FOOT” parameter, then rotate the [DATA÷ENTER]
knob to select the reed you wish to assign another
sound to. The options are: ALL, 16’, 8’
• Press the [DATA÷ENTER] knob to select the “STATUS”
parameter, then rotate the [DATA÷ENTER] knob to
specify whether the selected reed should sound and
which buttons can be used to play it.
The STATUS options are: Off (no sound), Low (the
lower half), High (upper half), Whole (all buttons).
These options allow you to program what keyboard
players would call a “split”. You can create several
nifty combinations, like “High” for 8’ and “Low” for
16’ (or vice versa) or “Whole” for 16’ (all buttons) and
“High” for 8’ (only the upper three rows).
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Note: Assigning the same partial STATUS (“High” or “Low”) to
both reeds is a bit odd, because it leaves you with only half the
number of active bass buttons. But it is possible…
4.3 Reed Volume
(Off, –40~“Std”~40, Default setting: Std) This is the last parameter that can be set for each
reed individually. It allows you
to create the desired “mix” (volume balance) for the active reeds.
This is a relative parameter, which means that its value
is added to, or subtracted from the standard value
(“Std”). As a rule, it would be wise to decide which reed
is most important and set its Volume parameter to
“Std”. Then reduce or increase the volume of the “ancillary” reed to create the desired balance.
• Press the [DATA÷ENTER] knob to select the “FOOT”
parameter, then rotate the [DATA÷ENTER] knob to
select the reed whose volume you want to set.
The options are: ALL (both reeds simultaneously), 16’,
8’
• Press the [DATA÷ENTER] knob to select the “LEVEL”
parameter, then rotate the [DATA÷ENTER] knob to set
the volume.
Note: The overall volume of the Free Bass section (all registers)
can be changed using the [BALANCE] knob.
4.4 Button Noise
The bass section of almost all
accordion instruments can be
played via buttons. Such buttons produce a typical noise
when pressed. On this page, you
can select the instrument whose button noises should
be used when you select this register. (Note that other
Free Bass registers can be assigned different noises.)
Notice that there is only one TYPE for the entire register. The options are: Bandoneon, I-Folk, I-Folk2, Classic,
Cajun, Jazz, F-Folk, D-Folk, Organetto, F-Folk2, Classic2,
Studio, Tradition, Steierische, Trikitixa
Use the LEVEL parameter to specify how prominent the
noise should be (Off, –40~“Std”~40, Default setting:
Std).
Note: Whenever you select “ALL” for “Reed Type” and set a different reed type, this noise setting is automatically adapted to the
reed type. It would therefore be a good idea to first select the
reed type and only then change the noise type.
4.5 Reed Growl
This parameter allows you to
simulate the typical noise a bass
reed makes just before it stops
vibrating altogether. Each
instrument of the accordion
family produces its own typical growl. The growl that
matches the sound selected with “Reed Type” probably
yields the most realistic effect – but feel free to select
another one if you like it better.
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V-Accordion
4.6 Bellows Detune
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• If necessary, press the [DATA÷ENTER] knob to select
the “TYPE” parameter, then rotate the [DATA÷ENTER]
knob to select one of the available instrument types:
Bandoneon, I-Folk, I-Folk2, Classic, Cajun, Jazz, F-Folk,
D-Folk, Organetto, F-Folk2, Classic2, Studio, Tradition,
Steierische, Trikitixa
• Press the [DATA÷ENTER] knob to select the “LEVEL”
parameter, then rotate the [DATA÷ENTER] knob to set
the volume of the Reed Growl parameter (Off, –40~
“Std”~40).
Note: Whenever you select “ALL” for “Reed Type” and set a different reed type, this growl setting is automatically adapted to
the reed type. It would therefore be a good idea to first select
the reed type and only then change the growl type.
4.6 Bellows Detune
(Off, Low, Standard, High,
Default setting: Standard) This
parameter further adds to the
realism of the sounds emulated
by your FR-7b/FR-5b. Here, you
can specify how strongly the pitch of the simulated
Free Bass reed(s) changes when you open or close the
bellows faster than usual.
If the “Standard” setting seems too mild, try “High”. If it
is too strong, use “Low”. If you do not want any detuning effect, select “Off”. The most convincing setting
usually depends on the selected instrument(s) (see
“Reed Type”).
4.10 Free Bass MIDI TX
This page contains a series of
MIDI parameters for the
selected register you need to set
one by one.
See page 89 for details about
the MIDI parameters. These parameters are saved along
with all other Set parameters, which allows you to use
different MIDI settings for each Set – and even each
register within a Set.
4.7 Reverb Send, 4.8 Chorus Send,
4.9 Delay Send
(0~127 for all three) Use these
parameters to set the Reverb, Chorus
or Delay send level (how much effect
should be applied to the Free Bass
section). The higher the value you set,
the more the Free Bass section will be
processed by the effect in question.
The other sections (Treble, Bass, etc.)
have the same parameters, so that
you can create a sound image with
various “levels” (foreground, background).
The effects themselves can be edited on separate pages
(see p. 65).
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FR-7b/FR-5b V-Accordion
Editing sounds | 5. ORC BASS EDIT parameters
5. ORC BASS EDIT parameters
The parameters of the ORC.BASS EDIT group allow you to edit the Orchestra Bass section. See page 28
for details about the Orchestra Bass section. See pages 39 and 41 for how to select and adjust the
parameters.
Press [UP] and [DOWN] simultaneously to select the value that is indicated as “Default setting”.
Important note
The selection of Orchestra Bass sounds can be automated on the “2.12 Bass Link” page (page 47) – for each
Treble register.
Saving your changes
Depending on what you chose in step (3) above, the
display now looks as follows:
If you selected “Current” or
“Curnt+SCom”
If you selected “ALL”
Any changes you make can be saved using the WRITE
function. Though there is no need to save your changes
right after performing them, please bear in mind that
they will be lost in the following cases:
• When you select another Set
• When you switch off the FR-7b/FR-5b
Changes you want the FR-7b/FR-5b to remember must
be saved as soon as possible. Here is how:
(1) Press and hold the [MENU÷WRITE] button until the
following page appears:
(2) Rotate the [DATA÷ENTER] knob (or use the [UP]/
[DOWN] buttons) to select “Orch. Bass”.
(3) Press the [DATA÷ENTER] knob to confirm your
selection.
(4) Use the [DATA÷ENTER] knob or the [UP]/[DOWN]
buttons to specify what you want to save:
Current: The register you are currently editing.
Currnt +
SCom:
ALL All registers. This is probably the safest
(5) Press the [DATA÷ENTER] knob to confirm your
selection.
The register you are currently editing as
well as the Set Common settings
(page 64).
bet, because it ensures that no Orchestra
Bass register will be forgotten. (It is perfectly possible to edit several registers
without saving them.)
(You cannot select a different register,
or change the name of the current
one.)
(6) Use the [DATA÷ENTER] knob or the [UP]/[DOWN]
buttons to select the Set that should contain your
changed version(s).
Change this setting only if you do not want to save
your settings to the current Set.
(7) Press the [MENU÷WRITE] button to save your
changes. The display briefly shows a confirmation:
(8) Press the [EXIT÷JUMP] button to return to the Main
page.
Note: See pages 39 and 41 for how to select and adjust the
parameters below.
5.1 Lowest Note
This parameter allows you to
specify the lowest note the
selected sound can play. If you
have ever worked with a Roland
arranger module, you may be
familiar with the term “Wrap”. That is precisely what
this parameter does.
The Orchestra Bass sounds (like the orchestral sounds of
the Treble section) are PCM waveforms (samples) of
acoustic instruments. Each acoustic instrument has a
set range: it cannot sound notes below or above that
range. A normally tuned 4-string bass guitar allows you
to play a low E, but not the D below it, for instance:
Samples (PCM waveforms), on the other hand, can
lower the pitch of a recorded sound almost indefinitely.
But that doesn’t sound very natural. The “Lowest Note”
parameter allows you to specify the lowest pitch the
sample can use. If you nevertheless play a lower note
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5.2 Orc Bass Release Time
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on the button keyboard, it will be sounded one octave
above the corresponding pitch – and sound natural.
Here is an example:
If this is what you play on the button keyboard…
…after choosing…
…these notes are transposed 1 octave up.
The Orchestra Bass sound therefore sometimes changes
octaves. For some songs, the default setting (E 28) may
yield odd results, especially if you need to play walking
bass lines, etc. In that case, you can change the “Lowest
Note” setting to achieve a satisfactory result.
The options are: E 28, F 29, F# 30, G 31, Ab 32, A 33,
Bb 34, B 35, C 36; Default setting: E 28. (The figures
refer to the MIDI note numbers – each MIDI note has its
own “address”.)
Lowest Note= E (28)
5.2 Orc Bass Release Time
(0~63, Default setting: 0) This
parameter allows you change
the way in which a note stops
when you release the corresponding button. Though all
Orchestra Bass sounds have been prepared in such a
way as to decay naturally when a button is released,
there may be situations where the end of the notes is
too sudden for comfort.
In that case, you can increase this value. “0” means that
you agree with the preprogrammed Release value. All
other values cause the notes to linger increasingly
longer.
The effects themselves can be edited on separate pages
(see p. 65).
5.7 Orc Bass MIDI TX
This page contains a series of
MIDI parameters for the Orchestra Bass part you need to set
one by one.
See page 89 for details about
the MIDI parameters. These parameters are saved along
with all other Set parameters, which allows you to use
different MIDI settings for each Set.
5.3 Orc Bass Volume
(Off, –40~“Std”~40, Default setting: Std) This parameter allows
you to set the level of the
Orchestra Bass part. See also
page 29.
5.4 Reverb Send, 5.5 Chorus Send,
5.6 Delay Send
(0~127 for all three) Use these
parameters to set the Reverb, Chorus
or Delay send level (how much effect
should be applied to the Orchestra
Bass section). The higher the value
you set, the more the Orchestra Bass
section will be processed by the effect
in question.
The other sections (Treble, Bass, etc.)
have the same parameters, so that
you can create a sound image with various “levels”
(foreground, background). Do note, however, that
reverb or delay effects are hardly ever used for bass
sounds.
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FR-7b/FR-5b V-Accordion
Editing sounds | 6. ORCH. EDIT parameters
6. ORCH. EDIT parameters
The parameters of the ORCH. EDIT group apply to the Treble Orchestra section. See page 25 for details
about the Orchestra section. You may remember that it contains 22 sounds (because some registers
provide access to an “A” and a “B” sound). See pages 39 and 41 for how to select and adjust the
parameters.
Press [UP] and [DOWN] simultaneously to select the value that is indicated as “Default setting”.
Important note
The selection of orchestral sounds and modes can be
automated using the “2.13 Orchestra Link” parameter
(page 48) – for each Treble register.
Saving your changes
Depending on what you chose in step (3) above, the
display now looks as follows:
If you selected “Current” or
“Curnt+SCom”
If you selected “ALL”
Any changes you make can be saved using the WRITE
function. Though there is no need to save your changes
right after performing them, please bear in mind that
they will be lost in the following cases:
• When you select another Set
• When you switch off the FR-7b/FR-5b
Changes you want the FR-7b/FR-5b to remember must
be saved as soon as possible. Here is how:
(1) Press and hold the [MENU÷WRITE] button until the
following page appears:
(2) Rotate the [DATA÷ENTER] knob (or use the [UP]/
[DOWN] buttons) to select “Orchestra”.
(3) Press the [DATA÷ENTER] knob to confirm your
selection.
(You cannot select a different register,
or change the name of the current
one.)
(6) Use the [DATA÷ENTER] knob or the [UP]/[DOWN]
buttons to select the Set that should contain your
changed version(s).
Change this setting only if you do not want to save
your settings to the current Set.
(7) Press the [MENU÷WRITE] button to save your
changes. The display briefly shows a confirmation:
(8) Press the [EXIT÷JUMP] button to return to the Main
page.
Note: See pages 39 and 41 for how to select and adjust the
parameters below.
6.1 Orchestra Octave
(–1~0~1, Default setting: 0) This
parameter allows you to transpose the Orchestra section (i.e.
the currently selected orchestral
sound) up or down.
This can be interesting when you are using the Orchestra part in Dual mode (page 26) and want it to sound
above or below the selected Treble accordion register.
(4) Use the [DATA÷ENTER] knob or the [UP]/[DOWN]
buttons to specify what you want to save:
Current: The register you are currently editing.
Currnt +
SCom:
ALL All registers. This is probably the safest
(5) Press the [DATA÷ENTER] knob to confirm your
selection.
The register you are currently editing as
well as the Set Common settings
(page 64).
bet, because it ensures that no Orchestra
register will be forgotten. (It is perfectly
possible to edit several registers without
saving them.)
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6.2 Orchestra Volume
(Off, –40~“Std”~40, Default setting: Std) This parameter allows
you to create the desired “mix”
(volume balance) between the
Treble accordion and the
Orchestra section.
This is a relative parameter, which means that its value
is added to or subtracted from the standard value
(“Std”).
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V-Accordion
6.3 Bellows Detune
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6.3 Bellows Detune
(Off, Low, Standard, High,
Default setting: Standard) This
parameter allows you to specify
how strongly the orchestral
sound’s pitch should be influenced by opening and closing the bellows faster than
usual. This may further add to the realism of sounds like
1A~4B, 6A, 6B and 10~12.
If the “Standard” setting seems too mild, try “High”. If it
is too strong, use “Low”. If you do not want any detuning effect, select “Off”. The most convincing setting
usually depends on the selected sound.
6.4 Reverb Send, 6.5 Chorus Send,
6.6 Delay Send
(0~127 for all three) Use these
parameters to set the Reverb, Chorus
or Delay send level (how much effect
should be applied to the Orchestra
section). The higher the value you set,
the more the Orchestra section will be
processed by the effect in question.
It works much the same way as a
cathedral: the louder you sing, the
more reverb (chorus or delay) you
hear. In the case of the cathedral, singing louder means
that you increase the effect send level, i.e. the level of
the signal (your voice) that will be processed by the
acoustic environment.
The other sections (Bass, Free Bass, etc.) have the same
parameters, so that you can create a sound image with
various “levels” (foreground, background).
The effects themselves can be edited on separate pages
(see p. 65).
Note: For organ sounds (8A PercOrgan, 8B JazzOrgan,
9A RotOrgan and 9B Trem Org), aftertouch allows you to alternate between the fast and slow speeds of the Rotary effect. (That
effect is automatically assigned to an organ sound when you
select it.) The speed switching function cannot be deactivated.
You can, however, also add pitch control to this switching function, and so control two functions via the aftertouch.
6.8 Orchestra MIDI TX
This page contains a series of
MIDI parameters for the Orchestra section you need to set one
by one. See page 89 for details
about the MIDI parameters.
These parameters are saved along with all other Set
parameters, which allows you to use different MIDI settings for each Set.
6.7 Aftertouch Pitch
(Off, 1/4 Down, 1/2 Down, 1/4
Up, 1/2 Up, Default setting: Off)
The FR-7b/FR-5b’s Master bar
also generates aftertouch messages when pressed gently. This
effect allows you to bend the pitch down (temporarily
lower the note) by a quarter (“1/4 Down”) or a semitone (“1/2 Down”). Select “1/4 Up” or “1/2 Up” to bend
the notes up a quarter or a semi-tone. Select “Off” to
switch off the Orchestra section’s aftertouch recognition.
The Treble section also contains this parameter. You are
thus free to decide whether both the accordion and the
orchestral sounds should be affected by aftertouch
messages or only one of them.
Note: This aftertouch effect applies to all orchestral notes that
are sounding simultaneously. (MIDI buffs call this “channel aftertouch”.)
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Editing sounds | 7. ORC CHD EDIT parameters
7. ORC CHD EDIT parameters
The parameters of the ORC CHORD EDIT group apply to the chord button rows of the Bass section. As
stated earlier, the FR-7b/FR-5b allows you to play and accordion sound with the bass rows and an
orchestral sound with the chord rows of the bass keyboard (and vice versa). See page 29 for details
about the Orchestra Chord section. (You can also combine the Orchestra Chord section with the
Orchestra Bass section if you like.) See pages 39 and 41 for how to select and adjust the parameters.
Press [UP] and [DOWN] simultaneously to select the value that is indicated as “Default setting”.
Important note
The selection of Orchestra Chord can be automated
using the “2.14 Orchestra Chord Link” parameter
(page 48) – for each Treble register.
Saving your changes
Any changes you make can be saved using the WRITE
function. Though there is no need to save your changes
right after performing them, please bear in mind that
they will be lost in the following cases:
• When you select another Set
• When you switch off the FR-7b/FR-5b
Changes you want the FR-7b/FR-5b to remember must
be saved as soon as possible. Here is how:
(1) Press and hold the [MENU÷WRITE] button until the
following page appears:
(2) Rotate the [DATA÷ENTER] knob (or use the [UP]/
[DOWN] buttons) to select “Orc. Chord”.
(5) Press the [DATA÷ENTER] knob to confirm your
selection.
Depending on what you chose in step (3) above, the
display now looks as follows:
If you selected “Current” or
“Curnt+SCom”
(You cannot select a different register,
or change the name of the current
one.)
(6) Use the [DATA÷ENTER] knob or the [UP]/[DOWN]
buttons to select the Set that should contain your
changed version(s).
Change this setting only if you do not want to save
your settings to the current Set.
(7) Press the [MENU÷WRITE] button to save your
changes. The display briefly shows a confirmation:
(8) Press the [EXIT÷JUMP] button to return to the Main
page.
Note: See pages 39 and 41 for how to select and adjust the
parameters below.
If you selected “ALL”
(3) Press the [DATA÷ENTER] knob to confirm your
selection.
(4) Use the [DATA÷ENTER] knob or the [UP]/[DOWN]
buttons to specify what you want to save:
Current: The register you are currently editing.
Currnt +
SCom:
ALL All registers. This is probably the safest
The register you are currently editing as
well as the Set Common settings
(page 64).
bet, because it ensures that no Orchestra
Chord register will be forgotten. (It is perfectly possible to edit several registers
without saving them.)
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60
7.1 Orc Chord Volume
(Off, –40~“Std”~40, Default setting: Std) This parameter allows
you to create the desired “mix”
(volume balance) between the
Orchestra Chord section and the
other active sections.
This is a relative parameter, which means that its value
is added to or subtracted from the standard value
(“Std”).
Page 61
7.2 Reverb Send, 7.3 Chorus Send,
7.4 Delay Send
(0~127 for all three) Use these
parameters to set the Reverb, Chorus
or Delay send level (how much effect
should be applied to the Orchestra
Chord section). The higher the value
you set, the more the Orchestra section will be processed by the effect in
question.
It works much the same way as a
cathedral: the louder you sing, the
more reverb (chorus or delay) you hear. In the case of
the cathedral, singing louder means that you increase
the effect send level, i.e. the level of the signal (your
voice) that will be processed by the acoustic environment.
The other sections (Bass, Free Bass, etc.) have the same
parameters, so that you can create a sound image with
various “levels” (foreground, background).
The effects themselves can be edited on separate pages
(see p. 65).
7.2 Reverb Send, 7.3 Chorus Send, 7.4 Delay Send
V-Accordion
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7.5 Orc Chord MIDI TX
This page contains a series of
MIDI parameters for the Orchestra section you need to set one
by one. See page 89 for details
about the MIDI parameters.
These parameters are saved along with all other Set
parameters, which allows you to use different MIDI settings for each Set.
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Editing sounds | 8. ORC FBS EDIT parameters
8. ORC FBS EDIT parameters
The parameters of the ORC FBS EDIT group apply to the Bass buttons while Free Bass mode is active.
See page 30 for details about the Orchestra Free Bass section. This section is not available while Bass
mode is active. See pages 39 and 41 for how to select and adjust the parameters.
Press [UP] and [DOWN] simultaneously to select the value that is indicated as “Default setting”.
Important note
The selection of Orchestra Free Bass can be automated
using the “2.14 Orchestra Chord Link” parameter
(page 48) – for each Treble register.
Saving your changes
Depending on what you chose in step (3) above, the
display now looks as follows:
If you selected “Current” or
“Curnt+SCom”
If you selected “ALL”
Any changes you make can be saved using the WRITE
function. Though there is no need to save your changes
right after performing them, please bear in mind that
they will be lost in the following cases:
• When you select another Set
• When you switch off the FR-7b/FR-5b
Changes you want the FR-7b/FR-5b to remember must
be saved as soon as possible. Here is how:
(1) Press and hold the [MENU÷WRITE] button until the
following page appears:
(2) Rotate the [DATA÷ENTER] knob (or use the [UP]/
[DOWN] buttons) to select “Orc. FreeBs”.
(3) Press the [DATA÷ENTER] knob to confirm your
selection.
(4) Use the [DATA÷ENTER] knob or the [UP]/[DOWN]
buttons to specify what you want to save:
Current: The register you are currently editing.
Currnt +
SCom:
ALL All registers. This is probably the safest
(5) Press the [DATA÷ENTER] knob to confirm your
selection.
The register you are currently editing as
well as the Set Common settings
(page 64).
bet, because it ensures that no Orchestra
Free Bass register will be forgotten. (It is
perfectly possible to edit several registers
without saving them.)
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(You cannot select a different register,
or change the name of the current
one.)
(6) Use the [DATA÷ENTER] knob or the [UP]/[DOWN]
buttons to select the Set that should contain your
changed version(s).
Change this setting only if you do not want to save
your settings to the current Set.
(7) Press the [MENU÷WRITE] button to save your
changes. The display briefly shows a confirmation:
(8) Press the [EXIT÷JUMP] button to return to the Main
page.
Note: See pages 39 and 41 for how to select and adjust the
parameters below.
8.1 Orc FreeBs Volume
(Off, –40~“Std”~40, Default setting: Std) This parameter allows
you to create the desired “mix”
(volume balance) between the
Orchestra Free Bass section and
the other active sections.
This is a relative parameter, which means that its value
is added to or subtracted from the standard value
(“Std”).
8.2 Reverb Send, 8.3 Chorus Send,
8.4 Delay Send
(0~127 for all three) Use these
parameters to set the Reverb, Chorus
or Delay send level (how much effect
should be applied to the Orchestra
Free Bass section). The higher the
value you set, the more the Orchestra
section will be processed by the effect
in question.
The other sections (Bass, Free Bass,
etc.) have the same parameters, so
that you can create a sound image with various “levels”
(foreground, background).
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The effects themselves can be edited on separate pages
(see p. 65).
8.5 Orc FreeBs MIDI TX
This page contains a series of
MIDI parameters for the Orchestra section you need to set one
by one. See page 89 for details
about the MIDI parameters.
These parameters are saved along with all other Set
parameters, which allows you to use different MIDI settings for each Set.
V-Accordion
8.5 Orc FreeBs MIDI TX
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FR-7b/FR-5b V-Accordion
Editing sounds | 9. SET COMMON parameters
9. SET COMMON parameters
The SET COMMON group contains parameters that apply to all sections, but only within the framework
of the currently selected Set, most notably the parameters that specify the sound/character of the
Reverb, Chorus and Delay effects.
Important note
Never switch off the FR-7b/FR-5b or select another Set
before saving the settings you wish to keep, because
doing so will erase your changes.
Be aware that the save function explained below only
saves the SET COMMON parameters. It does not save
the settings of the various sections and/or registers.
Saving your changes
Any changes you make can be saved using the WRITE
function. Though there is no need to save your changes
right after performing them, please bear in mind that
they will be lost in the following cases:
• When you select another Set
• When you switch off the FR-7b/FR-5b
Changes you want the FR-7b/FR-5b to remember must
be saved as soon as possible. Here is how:
(1) Press and hold the [MENU÷WRITE] button until the
following page appears:
(5) Press the [MENU÷WRITE] button to save your
changes. The display briefly shows a confirmation:
(6) Press the [EXIT÷JUMP] button to return to the Main
page.
Note: See pages 39 and 41 for how to select and adjust the
parameters below.
About the effects parameters
The settings you perform here apply to all sections that
use the effect in question. Especially for the reverb and
chorus effects, it is therefore wise to work with universally usable settings. Try to consider these two as “general” effects that will be used by several parts at once.
The delay effect, on the other hand, is probably only
useful when applied to one part (because too many
repeated sounds clutter up the sound image).
The connection of the sections with the effects processors is as follows:
(2) Rotate the [DATA÷ENTER] knob (or use the [UP]/
[DOWN] buttons) to select “Set Common”.
(3) Press the [DATA÷ENTER] knob to confirm your
selection.
(4) If necessary, select another Set by turning the
[DATA÷ENTER] knob.
For your reference (and to avoid overwriting the
wrong SET COMMON settings), the display also shows
the name of the target Set memory (below the
arrow).
Level
Level
Level
L
R
Section
(e.g. Treble)
Chorus
Send
Volume
Reverb
Send
Delay
Send
STEREO OUTPUT
Chorus
Reverb
Delay
sockets
9.1 Reverb Macro Type
This is where you specify what
kind of effect the Reverb processor should generate and how
loud it should be.
Note: You can also copy the Reverb
(or even all effects) settings from another Set. See page 77.
(1) If necessary, press the [DATA÷ENTER] knob to select
the “TYPE” parameter, then rotate the
[DATA÷ENTER] knob to select an effect type.
The TYPE parameter on this page is a “Macro” function, i.e. it recalls suitable preset values for all Reverb
parameters (Pre-LPF~RevPre DlyTm) on the “Reverb
Parameters” page. The Macro therefore also selects a
“Character”. In many instances, editing only the
parameters on this page is enough.
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9.2 Reverb Parameters
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The available options are:
Room1,
Room2,
Room3
Hall1, Hall2 These types simulate the reverberation of
Plate This effect type simulates a plate Reverb
Delay This is a conventional delay that produces
Panning Dly This is a special delay in which the
Note: Seeing that a delay effect usually only works for one
part, we recommend using the dedicated Delay processor for
echo effects. That way, the reverb effect can be used to
“deepen” the sound field.
These types simulate the reverberation of
a room. They provide a well-defined spacious reverberation.
a concert hall with a deeper reverberation than the Room Reverbs.
(a studio device using a metal plate to
simulate natural reverb).
echo effects.
delayed sounds move left and right. It is
effective when you are listening in stereo.
(2) Press the [DATA÷ENTER] knob to select the “LEVEL”
parameter, then rotate the [DATA÷ENTER] knob to
set the Reverb processor’s output volume (0~127).
The important thing to remember here is that the
overall reverb volume depends on three things: the
Send level of the various sections, the output level of
the Reverb processor and the setting of the [REVERB]
knob.
If one of them is set to “0”, there will be no reverb. If
the Send level of a section (Orchestra, for example) is
set to “0”, only the selected sound will have no
reverb. Other sections (whose Send value is different
from “0”), however, can still be processed by the
Reverb effect. If the LEVEL parameter on this page is
set to “0”, the Reverb processor is effectively off for
all sections.
9.2 Reverb Parameters
This page contains several
parameters that need to be
selected using the TYPE entry.
Be sure to first select the
parameter you want to change
and then set its value.
(1) If necessary, press the [DATA÷ENTER] knob to select
the “TYPE” parameter, then rotate the
[DATA÷ENTER] knob to select a parameter.
■ Character (0~7)—Character only specifies the Reverb
type you need (see the table above). It does not load preset
values for the Pre-LPF~RevPreDlyTm parameters. Selecting
another Character thus does not reset the other parameter
values to their factory settings. A Macro, on the other
hand, calls up a Reverb type and suitable settings for that
effect.
■ Pre-LPF (0~7)—A low-pass filter can be applied to the
high-frequency range before the signals coming from the
various sections are processed by the reverb. Higher values
make the Send signals darker, which results in a mellower
reverberation. Note that this parameter only applies to the
signals that are sent to the Reverb processor. It does not
alter the sound of the active sections.
■ Time (0~127)—This parameter sets the duration of the
reverb effect. Higher values result in longer reverberation.
■ Level (0~127)—This parameter sets the output volume
of the Reverb processor. It is linked to its namesake on the
“Reverb Macro Type” page. Higher values result in louder
reverberation.
■ Dly Fback (0~127)—This parameter is only available
when you set Character to “6” or “7”. It specifies the number of echoes: higher values result in more repetitions.
■ Pre-Dly T. (0~127)—This parameter sets the time inter-
val between the original (“dry”) signal and the onset of the
selected reverb effect. Higher values result in a longer predelay time, simulating a larger reverberant space.
(2) Press the [DATA÷ENTER] knob to select the “VALUE”
parameter, then rotate the [DATA÷ENTER] knob to
set the parameter value (see the indications
between brackets).
If you change one of the above parameter values, an
“(E)” appears next to the “TYPE” name to signal that
you are no longer using the presets of the macro in
question.
If you then select another TYPE, however, your
changes are lost and replaced by the settings of the
newly selected macro.
Note: Simultaneously press the [UP] and [DOWN] buttons to
recall the factory setting for the currently active parameter.
9.3 Chorus Macro Type
Chorus broadens the spatial
image of the sound, adding
richness. You can choose from 8
types of chorus. The “Macro”
label still does what its name
implies. Be aware, however, that there is no “Character”
parameter on page “9.4”.
Note: You can also copy the Chorus (or even all effects) settings
from another Set. See page 77.
(1) If necessary, press the [DATA÷ENTER] knob to select
the “TYPE” parameter, then rotate the
[DATA÷ENTER] knob to select an effect type.
The TYPE parameter on this page is a “Macro” function, i.e. it recalls suitable preset values for all Chorus
parameters on the “Chorus Parameters” page. In
many instances, editing only the parameters on this
page is enough.
The available options are:
Chorus 1~4 These are conventional Chorus effects
that add spaciousness and depth to the
sound.
FBack Chr This is a Chorus with a Flanger-like effect
and a soft sound.
Flanger This is an effect that sounds somewhat
like a jet airplane taking off or landing.
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Editing sounds | 9. SET COMMON parameters
Short Delay This is a delay with a short Delay time.
ShortDly FB This is a short delay with many repeats.
Note: Seeing that a delay effect usually only works for one
part, we recommend using the dedicated Delay processor for
echo effects. That way, the chorus effect can be used to widen
the stereo image.
(2) Press the [DATA÷ENTER] knob to select the “LEVEL”
parameter, then rotate the [DATA÷ENTER] knob to
set the Chorus processor’s output volume (0~127).
The important thing to remember here is that the
overall chorus volume depends on three things: the
Send level of the various sections, the output level of
the Chorus processor and the setting of the
[CHORUS] knob.
If one of them is set to “0”, there will be no chorus. If
the Send level of a section (the BASS section, for
example) is set to “0”, only that section will have no
chorus. Other sections (whose Send value is different
from “0”), however, can still be processed by the Chorus effect. If the LEVEL parameter on this page is set
to “0”, the Chorus processor is effectively off for all
sections.
9.4 Chorus Parameters
This page contains several
parameters that need to be
selected using the TYPE entry.
Be sure to first select the
parameter you want to change
and then set its value.
(1) If necessary, press the [DATA÷ENTER] knob to select
the “TYPE” parameter, then rotate the
[DATA÷ENTER] knob to select a parameter.
■ Pre-LPF (0~7)—A low-pass filter can be applied to the
high-frequency range before the signals coming from the
various sections are processed by the chorus. Higher values
make the Send signals darker, resulting in a mellower chorus sound. Note that this parameter only applies to the signals that are sent to the Chorus processor. It does not alter
the sound of the active sections.
■ Level (0~127)—This parameter sets the output volume
of the Chorus processor. It is linked to its namesake on the
“Chorus Macro Type” page. Higher values result in a more
prominent Chorus effect.
■ Feedback (0~127)—This parameter sets the level at
which the Chorus sound is re-input (fed back) into the
Chorus. By using Feedback, a denser Chorus sound can be
created. Higher values result in a greater feedback level.
■ Delay (0~127)—This parameter sets the delay of the
Chorus effect. Higher values will cause greater deviation in
pitch of the chorus sound.
■ Rate (0~127)—This parameter sets the speed (fre-
quency) at which the chorus sound is modulated. Higher
values result in faster modulation.
■ Depth (0~127)—This parameter sets the depth at which
the chorus sound is modulated. Higher values result in a
more pronounced modulation.
■ Chr® Rev (0~127)—This parameter sets the amount of
chorus sound that is sent to the Reverb processor. The
value “127” effectively allows you to connect the Chorus
and Reverb effects in series (Chorus before Reverb). If you
do not want the chorus signal to be processed by the
Reverb effect, set this value to “0”.
Level
Level
Level
L
R
Section
(e.g. Treble)
Chorus
Send
Volume
Reverb
Send
Delay
Send
Chorus
Reverb
Delay
STEREO OUTPUT
sockets
■ Chr®Dly (0~127)—This parameter sets the amount of
chorus sound that is sent to the Delay processor. Higher
values result in more sound being sent. The value “127”
effectively allows you to connect the Chorus and Delay
effects in series (Chorus before Delay). If you do not want
the chorus signal to be processed by the Delay effect, set
this value to “0”.
Level
Level
Level
L
R
Section
(e.g. Treble)
Chorus
Send
Volume
Reverb
Send
Delay
Send
Chorus
Reverb
Delay
STEREO OUTPUT
sockets
(2) Press the [DATA÷ENTER] knob to select the “VALUE”
parameter, then rotate the [DATA÷ENTER] knob to
set the value (see the indications between brackets
above).
If you change one of the above parameter values, an
“(E)” appears next to the “TYPE” name to signal that
you are no longer using the presets of the macro in
question.
If you then select another TYPE, however, your
changes are lost and replaced by the settings of the
newly selected macro.
Note: Simultaneously press the [UP] and [DOWN] buttons to
recall the factory setting for the currently active parameter.
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9.5 Delay Macro Type
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9.5 Delay Macro Type
A delay effect creates echoes. It
can also broaden a sound by
adding a slightly delayed copy
to the original sound (a technique often used for rock-’n’roll songs and in Karaoke bars). The “Macro” label still
does what its name implies. Be aware, however, that
there is no “Character” parameter on page “9.6”.
Note: You can also copy the Delay (or even all effects) settings
from another Set. See page 77.
(1) If necessary, press the [DATA÷ENTER] knob to select
the “TYPE” parameter, then rotate the
[DATA÷ENTER] knob to select an effect type.
The TYPE parameter on this page is a “Macro” function, i.e. it recalls suitable preset values for all Delay
parameters on the “Delay Parameters” page. In many
instances, editing only the parameters on this page is
enough.
The available options are:
Delay 1~3 These are conventional Delays. 1, 2 and 3
have progressively longer delay times.
Delay 4 This is an effect with a rather short delay
time (a kind of “slap back” effect).
Pan Delay
1~3
Pan
Delay 4
Delay®
Rev
Pan
Repeat
(2) Press the [DATA÷ENTER] knob to select the “LEVEL”
parameter, then rotate the [DATA÷ENTER] knob to
set the Delay processor’s output volume (0~127).
The overall delay volume depends on three things:
the Send level of the various sections, the output
level of the Delay processor and the setting of the
[DELAY] knob.
If one of them is set to “0”, there will be no delay
effect. If the Send level of a section (the Treble section, for example) is set to “0”, the sound of that section is not repeated. Other sections (whose Send
value is different from “0”), however, can still be processed by the Delay effect. If the LEVEL parameter on
this page is set to “0”, the Delay processor is effectively off for all sections. This parameter is connected
to the [DELAY] knob.
The repetitions move between left and
right. This is effective when listening in stereo. 1, 2 and 3 have progressively longer
delay times.
This is a rather short delay with the echoes
moving between left and right. It is effective when listening in stereo (a kind of stereo “slap back” effect).
Reverb is added to the Delay sound which
moves between left and right. It is effective
when listening in stereo.
The delay signal moves between the left
and right channels, yet the stereo position
is different from the effects listed above. It
is effective when listening in stereo.
9.6 Delay Parameters
This page contains several
parameters that need to be
selected using the TYPE entry.
Be sure to first select the
parameter you want to change
and then set its value.
(1) If necessary, press the [DATA÷ENTER] knob to select
the “TYPE” parameter, then rotate the
[DATA÷ENTER] knob to select a parameter.
■ Pre-LPF (0~7)—A low-pass filter can be applied to the
high-frequency range before the signals coming from the
various sections are processed by the Delay processor.
Higher values make the Send signals darker, resulting in a
mellower delay sound. Note that this parameter only
applies to the signals that are sent to the Delay processor.
It does not alter the sound of the active sections.
■ Level (0~127)—This parameter sets the overall volume
of the three delay lines (center, left and right). Higher values result in a louder delay effect.
■ Time C (0.1~1000)—The Delay effect of the FR-7b/
FR-5b allows you to set three delay times: center (C), left (L)
and right (R). “Time C” sets the delay time of the Delay
located at the center.
■ Time L/R (4%~500%)—These parameters sets the delay
time of the left- or right-channel delay line as a percentage
of the central Delay. The value “100%” means that the left
or right delay repeats at the same speed as the center delay
(see above).
■ Level C/L/R (0~127)—These parameters set the volume
of the central, left and right delays individually, allowing
you to create the desired “mix”.
■ Feedback (–64~0~+63)—This parameter specifies the
number of times the delay will repeat. If you select “0”, the
delay will not repeat. Higher values result in more repetitions. With negative (–) values, the center delay will be fed
back with inverted phase. This is especially effective for
small “Time C” values.
■ Dly®Rev (0~127)—This parameter sets the amount of
delay sound that is sent to the Reverb. Higher values mean
that the echoes will be more prominent in the reverb signal. Be careful not to overdo this effect because it tends to
blur the sound image.
Chorus
Reverb
Delay
STEREO OUTPUT
sockets
Section
(e.g. Treble)
Chorus
Send
Volume
Reverb
Send
Delay
Send
If you change one of the above parameter values, an
“(E)” appears next to the “TYPE” name to signal that
you are no longer using the presets of the macro in
question.
If you then select another TYPE, however, your
changes are lost and replaced by the settings of the
newly selected macro.
Level
Level
Level
L
R
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Editing sounds | 10. SYSTEM parameters
9.7 Name
This function allows you to
name the selected Set (8 characters). It would be a good idea
to use the name of the instrument you “built” using the TREBLE, BASS, FREE BASS, etc., group parameters – or the
name of the Song you wish to use this Set for.
(1) Select the character position (indicated by a dark
square) by pressing [UP] (previous character),
[DOWN] (next character) or the [DATA÷ENTER] knob
(next character).
(2) Turn the [DATA÷ENTER] knob to select the desired
character.
• Press [UP] and [DOWN] simultaneously to erase the
currently selected character (it will become a space).
Example: To replace the period (“.”) in “Fr.Folk” with a
space (“Fr Folk”), position the cursor on the “.” and
simultaneously press [UP]/[DOWN].
• To insert a space before the currently selected character and push all subsequent characters one position to the right, select the character that should follow the space, then press and hold [UP]. Example: To
insert a space after the “.” in “Fr.Folk” (creating the
name “Fr. Folk”), position the cursor on the second “F”
and hold down [UP] for a while.
Note: If the name already contains 8 characters (“Bandoneo”),
the last character is erased (example: “Band one”).
• To delete the character indicated by the cursor and
move subsequent characters one position to the left,
select it (example: “Fr.Folk”) and press and hold
[DOWN] (“FrFolk”).
9.8 Master Bar Recall
This parameter allows you to
choose the Treble register (1~
14) that can be activated by
pressing the Master bar. Note
that this is only possible while
the Treble section is in Solo mode (page 26) or while the
Orchestra part is set to “CANCEL”.
In all other cases (Dual, High, Low modes), the Master
bar is indeed used to mute the Orchestra part. And in
Solo mode, the first press allows you to return from the
Orchestra (if it’s on) to the Treble section.
Note: If you also take advantage of the Treble register’s “Link”
functions (see p. 47), this “Recall” parameter actually allows you
to reconfigure your entire FR-7b/FR-5b simply by pressing the
Master bar.
9.9 Icon
This parameter allows you to
assign an icon to your Set,
which is displayed above its
name on the Main page. In most
cases, you will probably choose
a picture that somehow illustrates the contents of your
settings, but that is entirely up to you. The FR-7b/FR-5b
contains 40 preset icons (stored in its internal memory).
10. SYSTEM parameters
The SYSTEM group contains parameters that are related to all Sets and all sections: they apply to the
FR-7b/FR-5b as a whole. See pages 39 and 41 for how to select and adjust the parameters.
Press [UP] and [DOWN] simultaneously to select the value that is indicated as “Default setting”.
Saving your changes
Any changes you make can be saved using the WRITE
function.
(1) Press and hold the [MENU÷WRITE] button until the
following page appears:
(2) Rotate the [DATA÷ENTER] knob (or use the [UP]/
[DOWN] buttons) to select “Global”.
(3) 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).
(4) 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-7b/FR-5b (or change the settings again).
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10.1 LCD Contrast
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10.1 LCD Contrast
(1~7, Default setting: 5) The
information in the LCD display
may be difficult to view after
turning on your FR-7b/FR-5b or
after extended use. Your viewing angle and the current lighting conditions can also
affect the appearance of the display.
In such cases, use this parameter to adjust the contrast.
The smaller the value, the darker the “background”
becomes.
10.2 Parameter Access
This function was already discussed on page 19: it allows you
to specify how many MENU
parameters should be accessible.
“Full” mode is ideal for in-depth
programming of your FR-7b/FR-5b. “Easy” mode
appears a sensible choice for quick adjustments during
a concert, performance, etc.
Note that the FR-7b/FR-5b also provides functions you
can set without even entering its MENU structure (see
p. 32). They have the advantage that you do not need
to specify whether or not to save them (so that you
won’t have to keep your audience waiting). If you do
want to save those settings, press the [WRITE] button.
refers to a normal response (or so we believe). “Heavy”
provides a greater variety of nuances and “X-Heavy” is
even more detailed. It would be a good idea to select
each curve without the “Fixed” addition, play a few
notes, select the next curve, etc. until you find the
response that feels just right.
10.4 Pedal Controller
This page allows you to assign
functions to the FBC-7’s footswitches. As you will notice
below, there are also functions
for remotely controlling external instruments, like an arranger module or any other
sequencer that understands the messages transmitted
by the FBC-7.
Note: The assignments you program here are only meaningful if
you connect the FR-7b/FR-5b to the supplied FBC-7.
(1) If necessary, press the [DATA÷ENTER] knob to select
the “SWITCH” parameter, then rotate the
[DATA÷ENTER] knob to select the footswitch on the
FBC-7 whose function you wish you define.
10.3 Bellows Curve
(Fixed Low, Fixed Med, Fixed
High, X-Light, Light, Standard,
Heavy, X-Heavy) This parameter
allows you to specify how the
FR-7b/FR-5b should react to the
bellows’ movements. You may remember that there are
several functions that can be controlled via the
strength/speed with which you push or pull the bellows
(2.7 Bellows Detune, 3.6 Bellows Detune, 3.5 Reed
Growl, 4.6 Bellows Detune, 6.3 Bellows Detune).
If you think those parameters do not respond the way
you would like them to, try another curve that better
“translates” your movements.
There are three “Fixed” curves that always use the same
value, no matter how hard or lightly you push/pull the
bellows (no dynamic control). “Low” means that a low
value is used, “Med” represents a medium value and
“High” a high value. These three options also mean that
you do not need to move the bellows in order to hear
the notes you play.
Note: By selecting a “Fixed” option here, you effectively switch
off the bellows sensor. This also means that any setting that
includes “Bellows” for “10.11 Orchestra Touch” or “10.12 Orch.
Bs&Ch Touch” no longer works, because the FR-7b/FR-5b no
longer “listens” to the bellows’ movements. Moreover, “Fixed
L+Bellows”, “Fixed M+Bellows”, or “Fixed H+Bellows” is deactivated altogether (even the “Fixed” part is ignored).
The remaining settings do depend on the strength with
which you push/pull the bellows, but in different ways:
“Light” means that you do not need to push/pull hard
to achieve a meaningful effect. “X-Light” requires even
less strength (the “X” stands for “extra”). “Standard”
(2) Press the [DATA÷ENTER] knob to select the
“ASSIGN” parameter, then rotate the [DATA÷ENTER]
knob to select one of the following functions:
■ Set Up/Set Down—The footswitch allows you to select
the next (Down) or previous (Up) Set memory. After selecting Set 01 (or 40), pressing the footswitch again takes you
to Set 40 (or 01). These are the default functions of footswitches [1] and [2].
Note: There is also a function that allows you to assign a specific Set number to a footswitch (see “Set 1~40” below).
■ Regist Up/Regist Dwn—The selected footswitch allows
you to select the next (Down) or previous (Up) Treble register. If you combine this with the “2.12 Bass Link” and
“2.13 Orchestra Link” parameters, this allows you to reconfigure almost all sections simply by pressing this footswitch.
Note: There is also a function that allows you to assign a specific register number to a footswitch (see “Register 1~14”
below).
■ Treble Sust—The footswitch can be used to hold the Tre-
ble notes (accordion) transmitted via MIDI whose keys you
are holding down when you press the footswitch. You can
then release the keys – the notes go on sounding until you
release the footswitch. This is for MIDI control only.
■ Bass Sust—The footswitch can be used to hold the bass
notes of the Bass section transmitted via MIDI (but not the
chords). This is for MIDI control only.
■ Chord Sust—The footswitch can be used to hold the
chord notes of the Bass section transmitted via MIDI (but
not the bass notes). This is for MIDI control only.
■ Orch Sust—The footswitch can be used to hold the
orchestral notes of the Treble section. This also applies to
the note messages transmitted via MIDI. At the same time,
the internal orchestral notes are held (if that section is on).
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■ Orch Bs Sust—The footswitch can be used to hold the
orchestral notes of the Bass section that are transmitted
via MIDI. This is for MIDI control only.
■ OrchFB Sust—The footswitch can be used to hold the
orchestral notes of the Free Bass section that are transmitted via MIDI. This is for MIDI control only.
■ OrchCh Sust—The footswitch can be used to hold the
orchestral notes of the chord section that are transmitted
via MIDI. This is for MIDI control only.
■ Orch On/Off—The footswitch can be used to switch the
Orchestra Treble section on and off. This has no effect on
the Orchestra’s mode setting, nor can you specify which
orchestral sound should be used. (You can, however, use
“2.13 Orchestra Link” for that.)
■ Start/Stop—This setting only makes sense if you connect
the FBC-7’s MIDI OUT socket to the MIDI IN socket of an
external sequencer, arranger module, drum machine or
DisCover 5M. Pressing the footswitch once will cause the
external device to start playback. Obviously, you need to
load the desired song, select a Music Style, etc., beforehand. Press the footswitch again to stop playback.
■ Intro—This setting only makes sense if you connect the
FBC-7’s MIDI OUT socket to the MIDI IN socket of an
arranger module. In this case, the footswitch can be used
to select the “Intro” pattern of the active Music Style.
Note: Arranger instruments of other manufacturers may not
understand this message. If in doubt, see their MIDI implementation section for details. The MIDI message transmitted by this
footswitch is PC83 (program change) on MIDI channel 10.
■ Fill Up—This setting only makes sense if you connect the
FBC-7’s MIDI OUT socket to the MIDI IN socket of an
arranger module. In this case, the footswitch can be used
to select a fill-in pattern of the active Music Style that
selects a more richly orchestrated accompaniment pattern
upon completion.
Depending on the arranger instrument you’re controlling,
you could use this footswitch up to three times to jump to
the most complex level. If you then press the footswitch
again, however, nothing happens. You thus cannot cycle
back to the lowest level (which is called “Original” on older
Roland arranger instruments).
Note: Some arranger instruments provide only two accompaniment levels.
Note: Arranger instruments of other manufacturers may not
understand this message. The MIDI message transmitted by
this footswitch is PC81 (program change) on MIDI channel 10.
■ Fill Down—This setting only makes sense if you connect
the FBC-7’s MIDI OUT socket to the MIDI IN socket of an
arranger module. In this case, the footswitch can be used
to select a fill-in pattern of the active Music Style that
selects a more scarcely orchestrated accompaniment pattern upon completion.
Certain arranger instruments provide four accompaniment
levels, so that you could use this footswitch up to three
times to return to the most fundamental level (please see
the manual of the arranger instrument you’re controlling
to find out how many levels it provides). If you then press
the footswitch again, however, nothing happens. You thus
cannot cycle back to the highest level (which is called
“Variation” on older Roland arranger instruments).
Note: Some arranger instruments provide only two accompaniment levels.
Note: Arranger instruments of other manufacturers may not
understand this message. The MIDI message transmitted by
this footswitch is PC82 (program change) on MIDI channel 10.
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■ Ending—This setting only makes sense if you connect
the FBC-7’s MIDI OUT socket to the MIDI IN socket of an
arranger module. The footswitch can be used to select the
“Ending” pattern of the active Music Style.
Note: Arranger instruments of other manufacturers may not
understand this message. If in doubt, see their MIDI implementation section for details. The MIDI message transmitted by this
footswitch is PC84 (program change) on MIDI channel 10.
■ Set 1~40—The selected footswitch can be used to recall
the specified Set (i.e. the Set whose number you choose).
Consider using “Set Up/Set Down” if you prefer to cycle
through all available Sets.
■ Register 1~14—The footswitch can be used to recall the
selected Treble register. That is why you must specify a
number here. Consider using “Regist Up/Regist Dwn” if you
prefer to cycle through all available registers.
10.5 Bass & Chord Mode
(Default setting: 2 Bs Rows) This
parameter allows you to specify
the number of button rows for
playing bass notes. The default
is 2 bass rows and 4 chord rows.
By selecting “3 Bs Rows”, you thus gain 20 bass buttons
(an entire row) and lose the “dim” chord buttons – but
that may just be more convenient for you. See also the
illustration on page 71.
There are four “3 Bs Rows” options: “A-7th” and
“B-7th” mean that the 6th chord row plays seventh
chords (“7”) that don’t contain the fifth. In the case of a
C7 chord, you therefore hear C-E-Bb (but not the G).
“A-7th” and “B-7th” differ in the arrangement of the
bass notes (see the illustration on page 71).
The “Bx-7th” option reverses the “B-7th” settings (from
right to left), so that the C3 note shifts from 9th to
12th position.
The “A-5dim” and “B-5dim” options mean that those
seventh chords don’t contain the root note. A C7 chord
is then sounded with the notes E-G-Bb (but not the C).
“A-5dim” and “B-5dim” differ in the arrangement of the
bass notes (see the illustration on page 71).
Note: The FR-7b/FR-5b is supplied with several reference caps
designed to help you locate the bass and chord buttons without
looking at them. See also page 23.
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10.6 Free Bass Mode
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10.5 Bass & Chord Mode
“7th”= 1-3-7; “5dim”= 3-5-7
ORCH BASS
ORCH BASS
ORCH FREE BS
ORCH CHORD
ORCH FREE BS
ORCH CHORD
FREE BASS
FREE BASS
A
B3
E3A3D3G3
ORCH BASS
ORCH FREE BS
ORCH CHORD
FREE BASS
B
B3E3A3D3G3
“7th”= 1-3-7; “5dim”= 3-5-7
ORCH BASS
Bx
“7th”= 1-3-7
10.6 Free Bass Mode
(Default setting: Minor 3rd) This
parameter allows you to choose
the note system used in Free
Bass mode. We already mentioned that there are a vast
number of accordion varieties. The same is true of Free
Bass systems.
ORCH FREE BS
ORCH CHORD
FREE BASS
E3Ab3 C#3 F#3 B3 E3 A3 D3 G3 C3 F3 Bb3 Eb3 Ab3 C#3 F#3 B3 A3 D3 G3
F3A3 D3 G3 C3 F3 Bb3 Eb3 Ab3 C#3 F#3 B3 E3 A3 D3 G3 C3 Bb3 Eb3 Ab3
C#3F3 Bb3 Eb3 Ab3 C#3 F#3 B3 E3 A3 D3 G3 C3 F3 Bb3 Eb3 Ab3 F#3 B3 E3
C#MFM BbM EbM AbM C#M F#M BM EM AM DM GM CM FM BbM EbM AbM F#M BM EM
C#mFm Bbm Ebm Abm C#m F#m Bm Em Am Dm Gm Cm Fm Bbm Ebm Abm F#m Bm Em
C#7F7 Bb7 Eb7 Ab7 C#7 F#7 B7 E7 A7 D7 G7 C7 F7 Bb7 Eb7 Ab7 F#7 B7 E7
Your FR-7b/FR-5b contains the 5 most popular ones
(see the illustration). Be aware that the system you
select here is only used when you activate the FR-7b/
FR-5b’s Free Bass mode. It is of no consequence for the
“regular” Bass mode. See the illustration on page 72 for
the note assignments.
Note: The FR-7b/FR-5b is supplied with several reference caps
designed to help you locate the bass buttons without looking at
them. See also page 23.
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10.6 Free Bass Mode
Ab2 Eb2 Bb2 F2 C3 G2 D3 A2 E2 B2 F#2 C#3 Ab2 Eb2 Bb2 F2 C3 G2 D3 A2
E2 B2 F#2 C#3 Ab2 Eb2 Bb2 F2 C3 G2 D3 A2 E2 B2 F#2 C#3 Ab2 Eb2 Bb2 F2
Ab2 Eb2 Bb2 F2 C3 G2 D3 A2 E2 B2 F#2 C#3 Ab2 Eb2 Bb2 F2 C3 G2 D3 A2
E2 B2 F#2 C#3 Ab2 Eb2 Bb2 F2 C3 G2 D3 A2 E2 B2 F#2 C#3 Ab2 Eb2 Bb2 F2
Fifth
Ab2 Eb2 Bb2 F2 C3 G2 D3 A2 E2 B2 F#2 C#3 Ab2 Eb2 Bb2 F2 C3 G2 D3 A2
E2 B2 F#2 C#3 Ab2 Eb2 Bb2 F2 C3 G2 D3 A2 E2 B2 F#2 C#3 Ab2 Eb2 Bb2 F2
ORCH BASS
ORCH BASS
ORCH BASS
ORCH FREE BS
ORCH CHORD
ORCH FREE BS
ORCH CHORD
ORCH FREE BS
ORCH CHORD
FREE BASS
FREE BASS
FREE BASS
ORCH BASS
Ab2 Eb2 Bb2 F2 C3 G2 D3 A2 E2 B2 F#2 C#3 Ab2 Eb2 Bb2 F2 C3 G2 D3 A2
E2 B2 F#2 C#3 Ab2 Eb2 Bb2 F2 C3 G2 D3 A2 E2 B2 F#2 C#3 Ab2 Eb2 Bb2 F2
ORCH BASS
ORCH FREE BS
ORCH CHORD
ORCH FREE BS
ORCH CHORD
FREE BASS
FREE BASS
Finnish
Ab2 Eb2 Bb2 F2 C3 G2 D3 A2 E2 B2 F#2 C#3 Ab2 Eb2 Bb2 F2 C3 G2 D3 A2
E2 B2 F#2 C#3 Ab2 Eb2 Bb2 F2 C3 G2 D3 A2 E2 B2 F#2 C#3 Ab2 Eb2 Bb2 F2
D7 B6 Ab6 F6 D6 B5 Ab5 F5 D5 B4 Ab4 F4 D4 B3 Ab3 F3 D3 B2 F2Ab2
C#7 Bb6 G6 E6 C#6 Bb5 G5 E5 C#5 Bb4 G4 E4 C#4 Bb3 G3 E3 C#3 Bb2 G2 E2
C7 A6 F#6 Eb6 C6 A5 F#5 Eb5 C5 A4 F#4 Eb4 C4 A3 F#3 Eb3 C3 A2 F#2 Eb2
Ab6 F6 D6 B5 Ab5 F5 D5 B4 Ab4 F4 D4 B3 Ab3 F3 D3 B2 Ab2 F2 D2
B6
(C3= note number 48)
Note: The note names on the bass buttons correspond to the MIDI note numbers. The note range of the Bass part is 1 octave.
Note: The actual sound range depends on the type of reed and footage.
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10.7 Stereo Width
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10.7 Stereo Width
(–1~–63, Full, Default setting:
–15) As stated on p. 15, much
care has been taken to provide a
natural stereo image for the
accordion sounds. If you think
the stereo image is too wide for comfort (or if you prefer to set the Pan controls on your mixing console differently), you can use this parameter to reduce the stereo image.
“Full” means that the original stereo image is used,
while “–63” corresponds to an extremely narrow stereo
image. All other values represent slight (or increasingly
drastic) reductions of the stereo width.
10.8 Auto Power OFF
(Disabled, 10 min, 15 min, 20
min, Default setting: 10 min)
This parameter allows you to
specify how long the FR-7b/
FR-5b should wait before deciding that you won’t be using it for a while. If you have
ever worked with a computer, you may remember that
a similar function is called “sleep”, “energy saver”, or the
like.
Obviously, this is meant to preserve battery power, and
so this function only applies when the FR-7b/FR-5b is
not connected to the FBC-7. To “wake” the FR-7b/FR-5b
after it has fallen asleep, press its [POWER] button.
Select “Disabled” to switch this function off.
Note: See p. 36 for how to recharge the battery.
10.9 Startup
This page contains several
parameters that allow you to
specify what the FR-7b/FR-5b
should do when you switch it
on.
Be sure to first select the parameter you want to
change and then set its value.
• If necessary, press the [DATA÷ENTER] knob to select
“TYPE”, then rotate the [DATA÷ENTER] knob to choose
the parameter you want to set. The possibilities are:
Parameter Settings Meaning
Set 1~40
Orchestral Link On, Off
Bass Link On, Off
Allows you to specify which Set
should be loaded at power-on.
Allow you to specify which Link
function (see p. 47) should be activated at power-on: Orchestral Link,
Orchestral Chord Link, Orchestra
Free Bass Link, and/or Bass Link.
10.10 Startup Name
Here comes a parameter that
may prove invaluable if you regularly play with other V-Accordion users. It allows you to enter
a short message (your name, for
example) that is displayed each time you switch the
FR-7b/FR-5b on. If you also own a cell phone, this
parameter probably sounds familiar.
See p. 44 for details about entering names. You can
enter up to 8 characters.
Here is what your message
could look like (it is displayed
during ±2 seconds each time
the FR-7b/FR-5b is switched
on):
10.11 Orchestra Touch
(Fixed Low, Fixed Med., Fixed
High, Low, Medium, High, Fixed
L+Bellows, Fixed M+Bellows,
Fixed H+Bellows, Bellows,
Default setting: Medium) This
parameter allows you to specify the velocity sensitivity
of the Treble buttons when they are used to play the
following orchestral sounds: AcPiano, AcGuitar, Mandolin.
There are three “Fixed” curves that always use the same
value, no matter how hard or lightly you press the buttons (no dynamic control). “Low” means that a low
value is used, “Med” represents a medium value and
“High” a high value.
“Low” means that even relatively light button presses
already allow you to play loud notes. “High” represents
the most responsive velocity curve that requires a considerable amount of strength for fortissimo notes, but it
also provides more expressive options.
“Fixed L+Bellows” and “Fixed H+Bellows” mean that the
selected orchestral sound uses fixed velocity values but
can also be controlled by the bellows movements.
“Bellows” means that the selected orchestral sound is
controlled by the bellows movements – not the velocity
values generated by the buttons.
Note: By selecting a “Fixed” option for “10.3 Bellows Curve” on
p. 69, you effectively switch off the bellows sensor. This also
means that any setting that includes “Bellows” no longer works,
because the FR-7b/FR-5b no longer “listens” to the bellows’
movements. Moreover, “Fixed L+Bellows”, “Fixed M+Bellows”, or
“Fixed H+Bellows” is deactivated altogether (even the “Fixed” part
is ignored).
• Press the [DATA÷ENTER] knob to select the “ASSIGN”
parameter, then rotate the [DATA÷ENTER] knob to
select the desired setting.
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Editing sounds | 10. SYSTEM parameters
10.12 Orch. Bs&Ch Touch
(Fixed Low, Fixed Med., Fixed
High, Low, Medium, High, Fixed
L+Bellows, Fixed M+Bellows.
Fixed H+Bellows, Bellows,
Default setting: Medium) This
parameter allows you to specify the velocity sensitivity
of the bass and chord buttons when they are used to
play one of the following orchestral sounds: AcPiano,
AcGuitar.
See above for an explanation of the various options.
Note: By selecting a “Fixed” option for “10.3 Bellows Curve” on
p. 69, you effectively switch off the bellows sensor. This also
means that any setting that includes “Bellows” no longer works,
because the FR-7b/FR-5b no longer “listens” to the bellows’
movements. Moreover, “Fixed L+Bellows”, “Fixed M+Bellows”, or
“Fixed H+Bellows” is deactivated altogether (even the “Fixed” part
is ignored).
10.13 Start/Stop MIDI TX
(Off, On, Default setting: Off)
This parameter allows you to
specify whether or not pressing
the [DATA÷ENTER] knob while
the Main page is displayed
sends a MIDI Start message the first time, and a MIDI
Stop message the second time.
This may come in handy when you use the FR-7b/FR-5b
with a MIDI sequencer, a drum machine, or a module
like the DisCover 5M. Note that this function is only
available if you connect the FR-7b/FR-5b to the FBC-7,
and the FBC-7’s MIDI OUT port to the MIDI IN socket of
your sequencer or module.
Here’s what happens if you select “On” and return to
the Main page: the first time you press the
[DATA÷ENTER] knob, the display briefly shows:
This means that a MIDI Start message was sent to the
external sequencer, etc.
The second time you press the [DATA÷ENTER] knob, the
display briefly shows:
Set this parameter to “Off” if you don’t want to use the
[DATA÷ENTER] knob for transmitting MIDI Start/Stop
messages.
Note: You can also assign the MIDI Start/Stop functionality to
one of the FBC-7’s foot switches. See “10.4 Pedal Controller” on
p. 69.
10.14 Treble Release T.
(–64~0~63, Default setting: 0)
Here is parameter that allows
you to shorten the Treble accordion sounds if you feel the virtual reeds linger a bit long after
you release a note button. To do so, select a negative
value. The term “Release” is taken from synthesizers and
refers to the speed at which the notes you play disappear when you release the keys.
Just think of the difference between a cymbal you hit
with and without muting (“choking”) it:
This is where you hit
the cymbal
Release T(ime)
The sound disappears
gradually.
This is where you hit
the cymbal
This is where you choke the
cymbal
Release
T(ime)
Short sound
Of course, the difference is far less dramatic here, but it
may just be what you are looking for. You can also
make the notes longer by selecting a positive value. “0”
means that the original realease time doesn’t change.
10.15 Treble Mode
(C-Griff Europe, C-Griff 2,
B-Griff Bajan, B-Griff Fin, DGriff 1, D Griff 2, Default setting: C–Griff Europe) Like for the
accordion instrument itself,
there are different varieties of chromatic instruments,
with different Treble button layouts. See the illustrations below.
Since your FR-7b/FR-5b is an electronic musical instrument, changing the note assignments to the button
keys is a matter of selecting the preset that best suits
your playing style. You’ll probably only change this setting once. But it’s nice to know that it exists in case you
let a fellow accordion player from another country play
your FR-7b/FR-5b.
Please look at the illustrations on the following pages
to identify the setting you need. Pay attention to the
note names (all Cs appear on a grey background) and
look at how they are arranged, then make your selection. The numbers next to the letters refer to the
octave. The numbers below the note names represent
the corresponding MIDI note numbers.
You may have noticed that the Treble buttons are colored white (for notes without alteration) and black
(notes with alteration, i.e. #/b). This coloring doesn’t
change when you select another system.
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10.15 Treble Mode
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(You can, however, unscrew the buttons and install the
in the right places so as to make the white and black
buttons correspond to the notes being played.)
10.15 Treble Mode (1/2)
C-Griff Europe C-Griff 2 B-Griff Bajan
The FR-7b/FR-5b is supplied with additional white and
black buttons that may come in handy. The white buttons come in two varieties: normal buttons and knurled
buttons. The latter are usually used to indicate the “C”
notes.
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Editing sounds | 11. UTILITY parameters
10.15 Treble Mode (2/2)
B-Griff Fin D-Griff 1 D-Griff 2
11. UTILITY parameters
The UTILITY group contains three kinds of parameters: those that keep you informed (to check the battery status), several parameters that allow you to copy settings and three parameters for archiving
your settings via MIDI. See pages 39 and 41 for how to select and adjust the parameters.
11.1 Battery Status
The FR-7b comes with a Ni-Mh
battery that allows you to use it
without connecting it to the
supplied FBC-7. The FR-5b provides the same battery compartment as the FR-7b, but the battery is an option. (As
long as you do not purchase such a battery, you need
to connect the FR-5b to the supplied FBC-7.)
Note: There is no “EDIT” page here, because there is no parameter
you can set.
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Depending on how the FR-7b/FR-5b is powered, the
display shows one of the following messages:
This message means that the
FR-7b/FR-5b is powered by the battery in its compartment. The battery icon shows how much power is
left.
It would be a good idea, however, to stop by this
page before you go on stage or start playing, because
what you see then might just convince you to use the
FBC-7.
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11.2 Copy ALL Effects
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This message means that the battery is being recharged by the
FBC-7. This is not performed auto-
matically. You need to connect the
FR-7b/FR-5b’s “TO FBC-7” socket to the “TO FR-7/
FR-5 V-ACCORDION” socket on the FBC-7 and press
the BATTERY CHARGER button (so that it lights). The
battery icon indicates the amount of energy already
available.
When the battery is fully charged, the display briefly
shows a “Recharge Complete” message.
While the FR-7b/FR-5b is connected to the FBC-7, the
latter supplies the power to your V-Accordion (the
battery in the FR-7b/FR-5b’s compartment is therefore bypassed). However, while the BATTERY
CHARGER button lights, the FR-7b/FR-5b cannot be
used, because the FBC-7 “concentrates” on recharging the FR-7b/FR-5b’s battery.
This message means that the
FR-7b/FR-5b contains a battery,
which is not used, because the
FR-7b/FR-5b is connected to the
FBC-7. The FBC-7 therefore supplies the power to
your V-Accordion. The battery icon nevertheless
informs you about the battery’s current charge.
This message means that the
FR-7b/FR-5b contains no battery. It
is connected to the FBC-7, however
(otherwise you would not be able
to switch it on). In the case of an FR-5b without an
optional battery, this is the only message you’ll ever
see.
The display confirms this operation:
11.3 Copy Reverb, 11.4 Copy Chorus,
11.5 Copy Delay
These three parameters allow you to
copy the Reverb, Chorus or Delay settings of another Set to the currently
selected Set. Unlike the “Copy ALL
Effects” parameter, which copies all
effects settings, these three parameters only import the selected processor’s settings. That way, you can use
the Reverb settings of Set 1, the Chorus settings of Set 10 and the Delay
settings of Set 28 in Set 5.
(1) After selecting the page that corresponds to the
effects processor whose settings you wish to copy,
press the [DATA÷ENTER] knob until the relevant
page appears:
11.2 Copy ALL Effects
This parameter allows you to
copy the settings of all three
effects processors from one Set
to another. This may help you
save time, because the effects
processors contain an impressive number of parameters. Careful: there are also parameters that allow you
to copy just the Reverb, Chorus or Delay settings. Do
not use this parameter if you only wish to reuse the
Reverb settings of another Set, for example.
(1) After selecting this page, press the [DATA÷ENTER]
knob until the following page appears:
(2) Use the [DATA÷ENTER] knob to select the Set whose
effects settings you wish to copy to the current
Set.
You can also select another memory for “TO” if you
want to copy the settings to another Set than the
one that is currently selected.
(3) Press [MENU÷WRITE] to copy the settings.
(2) Use the [DATA÷ENTER] knob to select the Set whose
effects settings you wish to copy to the current
Set.
You can also select another memory for “TO” if you
want to copy the settings to another Set than the
one that is currently selected.
(3) Press [MENU÷WRITE] to copy the settings.
The display confirms this operation:
11.6 Copy SET
This parameter allows you to
copy the settings of one Set to
another Set memory. It copies
everything related to a Set: the
Common parameters (including
the effects) as well as the parameters of the various
sections (Treble, Orchestra, Bass, etc.).
Warning: All settings of the target memory are overwritten. It might therefore be a good idea to archive
the target Set using “11.8 Bulk Dump SET” before proceeding.
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Editing sounds | 11. UTILITY parameters
(1) On the page shown above, press the [DATA÷ENTER]
button.
The display now changes to:
(2) Press the [DATA÷ENTER] knob to select the “FROM”
parameter, then turn it to select the Set whose settings you wish to copy.
By default, the FR-7b/FR-5b selects the number of
the Set you are currently using.
(3) Press the [DATA÷ENTER] knob to select the “TO”
parameter, then turn it to select the Set memory
to which the settings should be copied.
Carefully check whether you have selected the correct Set memory, then…
(4) Press [MENU÷WRITE] to copy the settings.
The display confirms this operation:
11.7 Bulk Dump ALL, 11.8 Bulk Dump SET
These two functions allow you to transmit all of the
FR-7b/FR-5b’s settings or just the settings of the currently selected Set to an external MIDI device (which
could be a second FR-7b/FR-5b). See page 92 for
details.
11.9 Restore SET
This function allows you to load
the settings of one of the preprogrammed Sets into the currently selected Set memory.
Warning: This command overwrites all settings of the current Set, i.e. the parameters
of the following sections: TREBLE EDIT, BASS EDIT, FREE
BASS EDIT, ORC BASS EDIT, ORCH. EDIT, ORC CHD EDIT,
ORC FBS EDIT and SET COMMON.
It may come in handy, though, if you want to return to
one of the factory Sets and use it as is, or as a starting
point for new edits.
(1) On the page shown above, press the [DATA÷ENTER]
button.
The display now changes to:
The display confirms this operation:
11.10 Treble Reg. on current Set
This is an environment in its
own right rather than a parameter. It allows you to set five
parameters for all Treble registers of the currently selected Set
simultaneously. This may help you save a lot of time,
especially for increasing or decreasing the volume of
some or all reeds, or for selecting a different noise type.
But be careful not to overuse this functionality.
Here’s how to take advantage of this environment:
(1) Select the Set whose Treble registers you want to
edit simultaneously.
(2) Select this parameter (“11.10 Treble Reg. on
current Set”).
See p. 39 for the two possible approaches (one via
the JUMP menu, the other using the registers).
(3) Turn the [DATA÷ENTER] knob to select the parame-
ter to be edited for all Treble registers.
The possibilities are:
Reed: Reed ALL, Reed 16’, Reed 8’, Reed 8'–, Reed 8'+,
Reed 4', Reed 5-1/3’, Reed 2-2/3’
Volume: Vol ALL, Vol 16’, Vol 8’, Vol 8'–, Vol 8'+,
Vol 4', Vol 5-1/3’, Vol 2-2/3’
Others: Noise, Noise Vol, Valve Vol, MusDetune
As you see, this step may involve two actions:
(a) You first need to decide which parameter type
you want to edit (“Reed”, “Vol”, “Noise”, “Noise Vol” or
“MusDetune”);
(b) Select the reeds your change should apply to (only
for “Reed” and “Vol”). Here’s an example: to set the
volume of all 5-1/3’ reeds (one per register) of the
current Set to “10”, turn the [DATA÷ENTER] knob until
“Vol 5-1/3’” is displayed, then proceed with the next
step.
■ Meaning of the warning that may appear—If you
select “Reed ALL” or “Vol ALL”, the following warning may
be displayed:
(2) Rotate the [DATA÷ENTER] knob to select the factory
Set you want to load.
(3) Press [MENU÷WRITE] to load the settings.
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78
This only occurs if the “VALUE” next to it is currently “---”,
which means that the reeds of your Set use different settings, which is very likely indeed. By proceeding with “ALL”,
you would assign them the same value – for all registers of
the current Set. Use the [UP]/[DOWN] buttons, or rotate the
[DATA÷ENTER] knob to select “YES” (set the same value for
all reeds) or “NO” (do not use the “ALL” setting), then press
the [DATA÷ENTER] knob.
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11.11 Bass Reg. on current Set
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Note: The “Vol” values you set here directly affect the volume
parameters of the respective edit modes. In other words:
selecting “5” here means that the corresponding reeds’ volume
is set to “5”.
(4) Press the [DATA÷ENTER] knob to select “VALUE”,
then rotate the [DATA÷ENTER] knob to select the
desired setting.
The possibilities depend on the choice you made in
step (3) above.
Parameter Setting range
Reed Bandoneon, I-Folk, I-Folk2, Classic, Cajun,
Jazz, F-Folk, D-Folk, Organetto, F-Folk2,
Classic2, Studio, Tradition, Steierische,
OldItaly, TexMex, Trikitixa
Vol Off, –40~Std~40
Bandoneon, I-Folk, I-Folk2, Classic, Cajun,
Noise
Noise Vol Off, –40~Std~40
Detune
Note: Reeds that are currently off (see “2.2 Register” on p. 46)
adopt the new setting but are not switched on by this operation.
Jazz, F-Folk, D-Folk, Organetto, F-Folk2,
Classic2, Studio, Tradition, Steierische,
OldItaly, TexMex, Trikitixa
Off, Dry, Classic, F-Folk, American_L,
American_H, North_Eur, German_L,
D-Folk_L, Italian_L, German_H, Alpine,
Italian_H, D-Folk_H, French, Scottish
(5) Press [EXIT÷JUMP] to return to the Main page and
try out all 14 Treble registers.
Note: Do not change Sets at this stage, because that would
erase the changes you have just made.
(6) If you like your new settings, save them:
• Press and hold the [MENU÷WRITE] button until the
following page appears:
• Press the [DATA÷ENTER] knob to confirm your selec-
tion.
• Use the [DATA÷ENTER] knob or the [UP]/[DOWN] but-
tons to select “ALL”.
• Press the [DATA÷ENTER] knob to confirm your selec-
tion.
The display now looks as follows:
• Use the [DATA÷ENTER] knob or the [UP]/[DOWN] but-
tons to select the Set that should contain your
changed version(s).
Change this setting only if you do not want to save
your settings to the current Set.
• Press the [MENU÷WRITE] button to save your
changes. The display briefly shows a confirmation:
• Press the [EXIT÷JUMP] button to return to the Main
page.
11.11 Bass Reg. on current Set
This is an environment in its
own right rather than a parameter. It allows you to set six
parameters for all Bass registers
of the currently selected Set
simultaneously. This may help you save a lot of time,
especially for increasing or decreasing the volume of
some or all reeds, or for selecting a different noise type.
But be careful not to overuse this functionality.
Here’s how to take advantage of this environment:
(1) Select the Set whose Bass registers you want to
edit simultaneously.
(2) Select this parameter (“11.11 Bass Reg. on
current Set”).
See p. 39 for the two possible approaches (one via
the JUMP menu, the other using the registers).
(3) Turn the [DATA÷ENTER] knob to select the parame-
ter to be edited for all Bass registers.
The possibilities are:
Reed: Reed ALL, Reed 16’, Reed 8’, Reed 8’-4’, Reed 4',
Reed 2’
Volume: Vol ALL, Vol 16’, Vol 8’, Vol 8'-4’, Vol 4’, Vol 2’
Others: Noise, Noise Vol, Reed Growl, Growl Vol
As you see, this step may involve two actions:
(a) You first need to decide which parameter type
you want to edit (“Reed”, “Vol”, “Noise”, “Noise Vol”,
“Reed Growl”, or “Growl Vol”);
(b) Select the reeds your change should apply to (only
for “Reed” and “Vol”).
Here’s an example: to set the reed type of all 16’
reeds (one per register) of the current Set to
“Organetto”, turn the [DATA÷ENTER] knob until “Reed
16’” is displayed, then proceed with the next step.
See also “Meaning of the warning that may appear”
on p. 78.
(4) Press the [DATA÷ENTER] knob to select “VALUE”,
then rotate the [DATA÷ENTER] knob to select the
desired setting.
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Editing sounds | 11. UTILITY parameters
The possibilities depend on the choice you made in
step (3) above.
Parameter Setting range
Reed Bandoneon, I-Folk, I-Folk2, Classic, Cajun,
Jazz, F-Folk, D-Folk, Organetto, F-Folk2,
Classic2, Studio, Tradition, Steierische,
Trikitixa
Vol Off, –40~Std~40
Bandoneon, I-Folk, I-Folk2, Classic, Cajun,
Noise
Noise Vol Off, –40~Std~40
Reed Growl
Growl Vol Off, –40~Std~40
Note: Reeds that are currently off (see “3.2 Register” on p. 51)
adopt the new setting but are not switched on by this operation.
(5) Press [EXIT÷JUMP] to return to the Main page and
try out all 7 Bass registers.
Note: Do not change Sets at this stage, because that would
erase the changes you have just made.
(6) If you like your new settings, save them:
• Press and hold the [MENU÷WRITE] button until the
following page appears:
• Rotate the [DATA÷ENTER] knob (or use the [UP]/
[DOWN] buttons) to select “Bass”.
• Press the [DATA÷ENTER] knob to confirm your selection.
• Use the [DATA÷ENTER] knob or the [UP]/[DOWN] buttons to select “ALL”.
• Press the [DATA÷ENTER] knob to confirm your selection.
The display now looks as follows:
Jazz, F-Folk, D-Folk, Organetto, F-Folk2,
Classic2, Studio, Tradition, Steierische,
Trikitixa
Bandoneon, I-Folk, I-Folk2, Classic, Cajun,
Jazz, F-Folk, D-Folk, Organetto, F-Folk2,
Classic2, Studio, Tradition, Steierische,
Trikitixa
• Use the [DATA÷ENTER] knob or the [UP]/[DOWN] but-
tons to select the Set that should contain your
changed version(s).
Change this setting only if you do not want to save
your settings to the current Set.
• Press the [MENU÷WRITE] button to save your
changes. The display briefly shows a confirmation:
• Press the [EXIT÷JUMP] button to return to the Main
page.
11.12 FreeBass Reg. on current Set
This page allows you to set six
parameters for all Free Bass registers of the currently selected
Set simultaneously. You will
notice that it is very similar to
the “Bass Reg. on current Set” parameter above, except
that there are fewer reeds.
Here’s how to take advantage of this environment:
(1) Select the Set whose Free Bass registers you want
to edit simultaneously.
(2) Select this parameter (“11.12 FreeBass Reg. on
current Set”).
See p. 39 for the two possible approaches (one via
the JUMP menu, the other using the registers).
(3) Turn the [DATA÷ENTER] knob to select the parame-
ter to be edited for all Free Bass registers.
The possibilities are:
Reed: Reed ALL, Reed 16’, Reed 8’
Volume: Vol ALL, Vol 16’, Vol 8’
Others: Noise, Noise Vol, Reed Growl, Growl Vol
As you see, this step may involve two actions:
(a) You first need to decide which parameter type
you want to edit (“Reed”, “Vol”, “Noise”, “Noise Vol”,
“Reed Growl”, or “Growl Vol”);
(b) Select the reeds your change should apply to (only
for “Reed” and “Vol”).
Here’s an example: to set the reed type of all 16’
reeds (one per register) of the current Set to
“Steierische”, turn the [DATA÷ENTER] knob until “Reed
16’” is displayed, then proceed with the next step.
See also “Meaning of the warning that may appear”
on p. 78.
(4) Press the [DATA÷ENTER] knob to select “VALUE”,
then rotate the [DATA÷ENTER] knob to select the
desired setting.
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11.12 FreeBass Reg. on current Set
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The possibilities depend on the choice you made in
step (3) above.
Parameter Setting range
Reed Bandoneon, I-Folk, I-Folk2, Classic, Cajun,
Jazz, F-Folk, D-Folk, Organetto, F-Folk2,
Classic2, Studio, Tradition, Steierische,
Trikitixa
Vol Off, –40~Std~40
Bandoneon, I-Folk, I-Folk2, Classic, Cajun,
Noise
Noise Vol Off, –40~Std~40
Reed Growl
Growl Vol Off, –40~Std~40
Note: Reeds that are currently off (see “4.2 Register” on p. 54)
adopt the new setting but are not switched on by this operation.
Jazz, F-Folk, D-Folk, Organetto, F-Folk2,
Classic2, Studio, Tradition, Steierische,
Trikitixa
Bandoneon, I-Folk, I-Folk2, Classic, Cajun,
Jazz, F-Folk, D-Folk, Organetto, F-Folk2,
Classic2, Studio, Tradition, Steierische,
Trikitixa
(5) Press [EXIT÷JUMP] to return to the Main page and
try out all 7 Free Bass registers.
Note: Do not change Sets at this stage, because that would
erase the changes you have just made.
(6) If you like your new settings, save them:
• Press and hold the [MENU÷WRITE] button until the
following page appears:
• Use the [DATA÷ENTER] knob or the [UP]/[DOWN] but-
tons to select the Set that should contain your
changed version(s).
• Press the [MENU÷WRITE] button to save your
changes. The display briefly shows a confirmation:
• Press the [EXIT÷JUMP] button to return to the Main
page.
• Rotate the [DATA÷ENTER] knob (or use the [UP]/
[DOWN] buttons) to select “Free Bass”.
• Press the [DATA÷ENTER] knob to confirm your selection.
• Use the [DATA÷ENTER] knob or the [UP]/[DOWN] buttons to select “ALL”.
• Press the [DATA÷ENTER] knob to confirm your selection.
The display now looks as follows:
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FR-7b/FR-5b V-Accordion
MIDI functions | MIDI functions
7. MIDI functions
Your FR-7b/FR-5b also transmits and receives MIDI data. In this chapter we’ll look at what MIDI is and does and which
MIDI functions are available on the FR-7b/FR-5b.
IMPORTANT REMARK: To take advantage of the FR-7b/FR-5b’s MIDI functions, you must connect it to the supplied
FBC-7, because the FR-7b/FR-5b itself has no MIDI sockets.
MIDI OUT MIDI IN
External MIDI device
About MIDI
Even though your FR-7b/FR-5b is already a remarkably
flexible instrument (quite unlike any other accordion
available today), you may also want to use it with other
MIDI-compatible instruments, sequencers and computers to record your performances in the same way as
keyboard players, drummers, guitarists, etc., have been
doing for a while.
Another important application for the FR-7b/FR-5b’s
MIDI functions is controlling an arranger module that
supplies the accompaniment. “Arranger modules” use
short accompaniment patterns that can be selected in
real-time and whose key depends on the note information they receive. You can select those patterns by
assigning the corresponding MIDI messages to the
FBC-7’s footswitches (see p. 69), so that you do not
have to stand or sit next to your arranger module.
Both module types (and all MIDI-compatible sound
sources) also allow you to use the FR-7b/FR-5b’s Treble
and Bass keyboards for playing sounds the FR-7b/FR-5b
does not provide.
This is possible thanks to a common language for musical applications, which is called “Musical Instrument
Digital Interface” or “MIDI” for short. MIDI has a lot in
common with the internet: you can link one or several
instruments to one another via a cable (but you don’t
need a telephone line).
You can also use the FR-7b/FR-5b as “master keyboard”,
i.e. an instrument that transmits MIDI messages to a
device (or software program) that can record MIDI messages. Such a device or program is called a “sequencer”.
To take advantage of the FR-7b/FR-5b’s MIDI functions,
you must connect the FBC-7 as follows:
MIDI OUT: This socket transmits messages describing actions (such as playing on a keyboard) to the
MIDI IN jack on the external device. The receiving
MIDI device executes the incoming MIDI messages
and plays notes, selects other sounds, etc.
MIDI IN: This socket receives the MIDI messages
transmitted by an external MIDI device.
MIDI THRU: This socket retransmits the MIDI messages received via the FBC-7’s MIDI IN port. You can
connect it to the MIDI IN port of an another MIDI
device.
Note: The MIDI THRU port does not transmit the MIDI messages generated by the FR-7b/FR-5b. Those messages are only
sent to the FBC-7’s MIDI OUT port.
MIDI can simultaneously transmit and receive messages
on 16 channels, so that up to 16 instruments (or parts
of a module or synthesizer) can be controlled. Nowadays, most instruments –like your FR-7b/FR-5b– are
multitimbral, which means that they can play several
musical parts with different sounds. This requires the
use of several MIDI channels. The FR-7b/FR-5b, for
instance, has several accordion and orchestral sections
that can be played simultaneously. They can transmit
and receive on different channels.
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The FR-7b/FR-5b’s sections use the following MIDI
channels:
Part Channel
Treble 1
Bass/Free Bass 2
Chord 3
Orchestra (Treble) 4
Orchestra Bass 5
Orchestra Chord 6
Orchestra Free Bass 7
Basic channel (for selecting Sets and
sending program changes)
13
As you see, there are separate channels for the chord
and bass buttons, even though they both belong to the
Bass section. That separation may look distracting at
first, but it actually makes sense. It allows you to use
the bass buttons for controlling an external bass sound,
while the chord buttons could control a piano sound,
for example. If they used the same MIDI channel, the
bass line would have to be played by a piano, or the
chords would be played by a bass sound (unless you
own a MIDI instrument that allows you to program
note ranges for incoming MIDI messages).
Working with a sequencer and other tone
generators
The FR-7b/FR-5b can be used as “input device” for
recording your music. In the case of a keyboard instrument, such a device is usually called a “master keyboard”. For other kinds of MIDI input sources, the term
“controller” is used. There are actually two kinds of
master keyboards: those that only transmit MIDI data
and contain no tone generator, and those that can also
be used for playing back music (synthesizers, digital
pianos, organs, etc.).
Sequencers do not record the audio of the notes you
play. They only register “events” whose position and
distance specify when the notes are to be played. The
sequencer as such usually cannot sound what you
record – you need an instrument with a tone generator
for that. A sequencer must therefore be connected to
an electronic sound source, like your FR-7b/FR-5b, for
example.
The FR-7b/FR-5b can be used for two things: to “input”
new parts (i.e. MIDI events) and to play them back.
When you play on the FR-7b/FR-5b’s keyboards, it
sends MIDI data to the FBC-7’s MIDI OUT socket. That
socket must be connected to the sequencer’s MIDI IN
port. MIDI data always go from OUT to IN:
External sequencer
MIDI IN MIDI OUT
(FBC-7)
MIDI OUT
FR-7b/FR-5b’s tone
generator
If the FR-7b/FR-5b is used as tone generator for an
external sequencer, you must connect the sequencer’s
MIDI OUT socket to the FBC-7’s MIDI IN port (because
MIDI data always go from OUT to IN).
Though you can also play the FR-7b/FR-5b from
another MIDI instrument, we do not really recommend
doing so, because your V-Accordion has far more versatile performance functions than any other MIDI controller available today: the FR-7b/FR-5b translates all
known accordion techniques and physical effects into
MIDI messages to precisely reproduce the natural
behavior of an acoustic accordion. Conversely, it might
be interesting to try out the FR-7b/FR-5b with a Roland
Fantom-XR module (or a DisCover 5M), because the
FR-7b/FR-5b’s countless expressive “gizmos” are bound
to further enhance the stunning realism of the module’s sounds.
If you use the FR-7b/FR-5b as a MIDI controller while
recording a sequence, all actions you perform on the
FR-7b/FR-5b (including the bellows pressure strength)
are included in the recorded part. They can therefore be
sent back to the FR-7b/FR-5b (by the sequencer) – and
then, all expression details are preserved. Be aware,
however, that you also need a versatile sound source
(like the FR-7b/FR-5b’s) to use the recorded MIDI events
to their full potential.
A “sequencer” can also be a software program running
on a computer. Most computers do not have MIDI sockets to which you can connect the FBC-7’s MIDI IN and
OUT sockets. You therefore also need one of the following:
• A sound card with a joystick port to which you can
connect MIDI cables;
• A card called a “MIDI interface” that is installed in
your computer;
• An external device to which you connect the MIDI
cables coming from the FBC-7 at one end and whose
other end is connected to the computer’s USB port
(companies like Edirol, www.edirol.com, offer several
models with a varying number of inputs and outputs).
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MIDI functions | Global MIDI parameters
You also need a software program that allows you to
record and play back your music. Such programs are
available from companies like Cakewalk. Please ask your
Roland dealer for details. And finally, you may need to
install applications called “drivers” on your computer to
ensure that it can talk and listen to the MIDI interface.
Final note regarding sequencers
If you use the FR-7b/FR-5b as MIDI controller for
recording new songs, there is one more thing you need
to be aware of. Always ask yourself which MIDI sound
source should play back the part you are recording.
• If the FR-7b/FR-5b’s tone generator is not used for
the part you are recording, you need to connect the
external module’s MIDI IN socket to the sequencer’s
MIDI OUT port and activate the sequencer’s “MIDI
Soft Thru” function:
External module
External sequencer
MIDI IN
(FBC-7)
MIDI OUT
Note that this is only necessary for recording new
material. You do not have to worry about them during playback.
FR-7b/FR-5b’s tone
generator
MIDI IN
MIDI OUT
Global MIDI parameters
The parameters discussed here are part of a separate mode (called “MIDI”). Their settings, however, are saved to the
FR-7b/FR-5b’s Global memory (there is no separate MIDI memory). Let us first look at the parameters that apply to all
Sets. See page 89 for the parameters that can be set for each section individually and saved to a Set.
MIDI channel numbers
(12.1 RealTime RX-TX)
The table on page 83 specifies the default MIDI channel
assignments the FR-7b/FR-5b uses. Those choices are
based on how most accordion players prefer (or are
allowed) to use their instrument. You can, however,
change the MIDI channel assignments. An obvious candidate for such a change would be the Treble section if
you want it to conform to a generally accepted (i.e.
standardized) usage, whereby the melody part transmits on MIDI channel 4.
There is indeed a format called “General MIDI” that
requires you to use MIDI channel 4 for the melody.
General MIDI-compatible musical instruments use that
channel for the most important part of a song, so it
may be a good idea to assign it to the Treble section.
The table on page 83 states that channel 4 is already
used by the (Treble) ORCHESTRA section. That is not
really a problem as long as you don’t use that section. If
you use it alongside the Treble section, changing the
Treble accordion’s MIDI channel to “4” would mean that
both sections transmit on the same MIDI channel. And
that would be a problem – or rather one of two problems:
• In Dual mode (page 26), each note you played would
be transmitted twice and recorded like that (or
played back by the external tone generator).
• In High or Low mode, the “accompaniment” and “solo
line” would control the same sound on an external
module, which may not correspond to what you had
in mind.
In such cases, either assign a different MIDI channel to
the ORCHESTRA section – or select “Off” (no transmission).
Note that such changes are only necessary when you
want to add the sound of an external tone generator to
the Treble section’s accordion sound. If you are working
with an arranger module whose sole function is to provide an accompaniment, you may have to select “Off”
for all of the FR-7b/FR-5b’s sections.
And even that is only necessary if you use the FBC-7’s
switches to remotely control the external instrument
(page 69) and therefore connected the FBC-7’s MIDI
OUT socket to the module’s MIDI IN port.
Also bear in mind that the channel assignments set
here apply both to the transmission (“TX”) and
reception (“RX”) of MIDI data.
And finally: in DUAL, HIGH and LOW modes (page 26),
the Treble keyboard transmits on two channels simultaneously – the Treble and Orchestra channels. If you add
the Orchestra Bass part to the Bass or Free Bass section,
the same applies to the bass notes. As stated earlier, the
chord buttons of the Bass keyboard use a separate MIDI
channel.
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Preventing sections from sending MIDI data
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(1) Press and hold the [EXIT÷JUMP] button until the
display looks as follows:
(2) Press register [12] to specify the function group.
The MIDI channels can be set via a parameter of the
“MIDI” group, which is why you need to select that
group.
(3) Press register [1] to select the following page:
(4) Press the [DATA÷ENTER] knob to select “PART” (left
entry), then turn it to select the part whose MIDI
channel you want to set.
The entries you can select are: “Treble”, “Bass/Free”,
“Chord”, “OrcBass”, “Orchestra”, “Orc Chord”, “Orc
FreeBs”, “Basic Ch”, and “Control Ch”.
The “Basic Ch” (default setting “13”) can be used for
selecting Sets from an external MIDI device (using
program change numbers 1~40). If your external
source sends Bank Select messages along with the
program change number, CC00 and CC32 must both
be set to “0”.
The “Control Ch” (default setting “13”) can only be
used for sending program change messages (see
below).
(5) Press the [DATA÷ENTER] knob to select “CHANNEL”
(right entry), then turn it to select a MIDI channel.
The options are: “Off” and 1~16. Select “Off” if the
part in question should neither receive nor transmit
MIDI data.
Though it is perfectly possible to assign the same
MIDI channel to several sections, the result is usually
disappointing and may lead to a lot of confusion.
(6) If necessary, repeat steps (4) and (5) to assign dif-
ferent MIDI channels to the remaining parts.
(7) Press [EXIT÷JUMP] to return to the Main page.
(8) To save your changes, proceed as follows:
Saving your changes
• Press and hold the [MENU÷WRITE] button until the
following page appears:
• Rotate the [DATA÷ENTER] knob (or use the [UP]/
[DOWN] buttons) to select “Global”.
• 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).
• Press the [MENU÷WRITE] button to save your
changes. The display briefly shows a confirmation:
• Press the [EXIT÷JUMP] button to return to the Main
page.
Preventing sections from sending MIDI data
(12.2 Ext. Seq. Playback)
There may be situations where you use a MIDI sequence
as accompaniment for your accordion solo. If such a
sequence already contains the bass part (for example),
you may not want to play it again, yet not doing anything with your left hand may feel a little strange. By
selecting “On” for a section, you switch off its connection with the internal tone generator (this is what MIDI
buffs call “Local Off”). The section now receives MIDI
data from a sequencer or other instrument you connect
to the FBC-7’s MIDI IN port. (It also transmits MIDI messages to the FBC-7’s MIDI OUT port.)
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MIDI functions | Global MIDI parameters
(1) Press and hold the [EXIT÷JUMP] button until the
display looks as follows:
(2) Press register [12] to specify the function group.
The “Ext. Seq. Playback” parameters can be set via a
parameter of the “MIDI” group, which is why you
need to select that group.
(3) Press register [2] to select the following page:
(4) Press the [DATA÷ENTER] knob to select “PART” (left
entry), then turn it to select the part whose setting
you want to change.
The parts you can select here are: “Treble”,
“Bass&Chord”, “Orchestra”, and ALL”. Select “ALL” to
change the status (also called “Local” in the MIDI
world) of all available sections.
Note: “ALL” can also be selected from the Main page by simultaneously pressing the [ORCHESTRA÷MODE] + [1] registers.
Note: The “Bass&Chord” entry also includes the Orchestra
Chord and Orchestra Free Bass sections.
(5) Press the [DATA÷ENTER] knob to select “VALUE”
(right entry), then turn it to select “On” (disconnect
the part from the internal tone generator) or “Off”
(normal operation).
A part you disconnect from its keyboard is flagged as
“EXT. MIDI” on the Main page:
Sending program change messages when
necessary
(12.4 Bank for ‘Send PC’)
Though each register can transmit a program change/
bank select cluster when pressed (see “CC00, CC32, PC”
on p. 90), you can also transmit sound select messages
on the fly – without changing registers on the FR-7b/
FR-5b. These are MIDI messages that cause an external
instrument or device to select a different memory (i.e.
another sound or effect).
This functionality is mainly intended for selecting setting groups of various sounds on external instruments.
Such setting groups may be called “Performances”,
“Multis”, which you may want to select while playing,
because working with “finished” Performances, etc.,
does away with the need to program sound select
addresses for the FR-7b/FR-5b’s registers (see “CC00,
CC32, PC” on page 90). Using those multitimbral memories has the advantage that all sound addresses and
MIDI channels are configured “automatically” simply by
sending the correct “PC” address from the FR-7b/FR-5b.
As the first half of the name (“Send PC”) suggests, this
function only transmits messages to an external device
whose MIDI IN port is connected to the FBC-7’s MIDI
OUT socket.
Here is how to take advantage of that function:
(1) Connect the FR-7b/FR-5b to the FBC-7, and the
FBC-7’s MIDI OUT socket to the MIDI IN port of the
module, synthesizer, etc., you wish to control.
(2) Set the module’s MIDI receive channel (often
called “RX”) to “13”.
See its manual for details. If you are unable to
change the receiver’s MIDI channel, set the FR-7b/
FR-5b’s “Control Ch” to match the external instrument’s “RX” channel. (See “MIDI channel numbers” on
p. 84 for how to set the “Control Ch” parameter.)
(3) Hold down the [ORCHESTRA÷MODE] register and
press register [8] (SEND PC).
(In this example, all sections are disconnected from
the FR-7b/FR-5b’s tone generator, which is probably
a highly unlikely configuration.)
Note: When you select “On”, the FR-7b/FR-5b’s registers no
longer transmit the sound selection clusters you may have
programmed using “CC00, CC32, PC” on p. 90. Instead, they
transmit their “Std” values.
(6) Press [EXIT÷JUMP] to return to the Main page.
(7) See “Saving your changes” on p. 85 if you want to
save these settings.
If you don’t save them, they are reset when you
switch off the FR-7b/FR-5b.
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(4) Use Treble registers [1]~[10] to enter the sound
number.
You may have to look in the owner’s manual of the
module or synthesizer you are controlling to find
out which number you need to transmit for the
sound (or memory) you want to select. You can
enter any number from “1” to “512”.
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The [10] register acts as “0” here. To enter “502”, for
example, press registers [5], [10], and [2].
(5) If necessary, press the [EXIT÷JUMP] button to erase
the last entry you made.
If you entered “55”, for example, while the second
figure should have been a “2”, press [EXIT÷JUMP] once
(so that the display indicates “5__” again), then press
register [2] (“52_”).
Note: The FR-7b/FR-5b uses a smart entry system: after entering “52” (or “53”, “54”, “55”,… “59”), you can’t add a third figure, because the highest number supported by the SEND PC
function is “512”.
Note: The [EXIT÷JUMP] button has two functions here: when
pressed lightly, it deletes the last entry you made (“backspace”).
By holding it for ±1 second, you delete all figures and return to
the Main page.
(6) Press the [MENU÷WRITE] button to transmit the
number you entered.
Bear in mind that despite the function’s name (“Send
PC”), the value you enter here is not really a program
change number, but rather the memory number used
by the receiving device.
“502” therefore refers to Performance number 502 of
the receiver, but that number cannot be conveyed as
such via MIDI.
The MIDI standard provides only 128 program change
numbers (for selecting memories) and two messages
called “Bank Select” that allow you to select 128
banks each. Two bank addresses (“MSB” and “LSB”)
with 128 possibilities each, plus 128 Program Change
numbers provide 128 x 128 x 128 values= 2,097,152
possible memories.
The numbers you enter on the page shown above
should therefore be taken to mean “memory XX of
the receiving device”. But how does the FR-7b/FR-5b
then convert it to a MIDI address that conforms to
the CC00/CC32/PC format (each of which supports a
maximum of 128 possibilities)? Enter the following
parameter:
Defining the ‘PC’ format
(1) Press and hold the [EXIT÷JUMP] button until the
display looks as follows:
(3) Press register [4] to select the following page:
(4) Press the [DATA÷ENTER] knob to select “PRG NUM”
(left entry), then turn it to select the memory
group whose “real” MIDI address you want to
define.
The possibilities are: 1~128, 129~256, 257~384,
385~512.
You probably noticed that each entry represents a
group of 128 possibilities. By selecting an entry, you
tell the FR-7b/FR-5b: “Whenever I select a memory
number between 257 and 384 on the ‘Send PC?’
page, please convert that to a program change number 1~128, and add the two CC values to the right.”
Note: This function can also be used to select the Patches on
an SRX-series expansion board which you installed in a G-70,
for example.
(5) Press the [DATA÷ENTER] knob to select “CC00” (top
right entry), then turn it to select a value (0~127).
“0” corresponds to the first bank (called the “Capital
bank” on GM2/GS-compatible instruments).
Be sure to select this number based on the information given in the owner’s manual of the instrument
you wish to control. Be sure to also specify the correct CC32 number.
(6) Press the [DATA÷ENTER] knob to select “CC32”, then
turn it to select a value (0~127).
Again, the value to enter here depends on the information you find in the manual of the instrument you
want to control. Some manufacturers don’t use CC32
messages for sound selection, others use them to
define modes, and still others rely on them as complementary bank information.
(7) Press the [DATA÷ENTER] knob to select “PRG NUM”
again (left entry), then turn it to select the next
memory group, and repeat steps (5) and (6).
(8) Press [EXIT÷JUMP] to return to the Main page.
(9) See “Saving your changes” on p. 85 if you want to
save these settings.
If you don’t save them, they are reset when you
switch off the FR-7b/FR-5b.
(10) Now use the “Send PC?” page to test your assign-
ments. See step (1) and following on p. 86.
(2) Press register [12] to specify the function group.
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Solving MIDI buffer problems
(12.3 Bellows TX Resolution)
This parameter allows you to specify how many data
the FR-7b/FR-5b’s bellows may transmit for expression
purposes (see also “Expression” on p. 91). As long as the
external sequencer you work with does not display a
“MIDI buffer overflow” message, you can leave its setting at “High”. If, however, the bellows’ data amount is
too much for the receiving sequencer (because such
data are transmitted on several channels simultaneously), select a different setting. In that case, the
amount of data will be reduced. This leads to a coarser
resolution, and maybe even audible steps, but at least,
your sequencer will be able to record the data. If
“Medium” still generates too many data, select “Low”.
“TX” means that this parameter only applies to data
sent by the FR-7b/FR-5b. Its own MIDI buffer is big
enough to receive high-resolution data.
(1) Press and hold the [EXIT÷JUMP] button until the
display looks as follows:
(2) Press register [12] to specify the function group.
(3) Press register [3] to select the following page:
(4) Rotate the [DATA÷ENTER] knob to select “High”
(high resolution), “Medium”, or “Low” (low resolution).
(5) Press [EXIT÷JUMP] to return to the Main page.
(6) See “Saving your changes” on p. 85 if you want to
save these settings.
If you don’t save them, they are reset when you
switch off the FR-7b/FR-5b.
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MIDI parameters for the various sections/parts
The MIDI parameters discussed below belong to separate groups and are saved for the corresponding sections. This
means that each Set can use different MIDI settings and thus control external MIDI devices in various ways. If you are
serious about using the FR-7b/FR-5b’s MIDI potential, carefully read the following before editing the available parameters.
Important remarks
The parameters discussed below apply to the transmission of MIDI data (“TX”) and therefore only to MIDI
messages that are generated when you yourself play on
the FR-7b/FR-5b.
Bear in mind that the MIDI messages discussed below
are only executed by an external tone generator if its
MIDI receive (“RX”) channel is set to the number you
assigned to the section in question (page 84).
Sections
The parameters discussed here are available in the following sections: Treble, Bass (and Chord, which is considered a separate section on the MIDI level), Free Bass,
Orchestra, Orchestra Bass, Orchestra Chord and Orchestra Free Bass.
The reason why they are included in the section parameters rather than the MIDI group is that the MIDI group
applies to the entire FR-7b/FR-5b (all sections, all Sets),
while the parameters below can vary from Set to Set.
You can change the way external MIDI devices are controlled simply by selecting another Set – and still use
exactly the same internal sounds: after setting the various section parameters (and saving them), copy the Set
to a different memory (page 77) and only change the
MIDI parameters.
Procedure for setting these parameters
To access the parameters discussed below, proceed as
follows:
(1) Select the parameter group of the section you wish
to edit.
Either press the [MENU÷WRITE] button and select the
parameter group with the [DATA÷ENTER] knob or use
the JUMP TO function (press and hold the
[EXIT÷JUMP] button, then enter the parameter
address using the Treble registers, see p. 39).
(2) Select the parameter.
(If you used the JUMP TO function above, the parameter is already selected.) Press the [MENU÷WRITE]
button and select the parameter with the
[DATA÷ENTER] knob.
The following are MIDI functions:
2.15 Treble MIDI TX
3.10 Bass MIDI TX
3.11 Chord MIDI TX
4.10 Free Bass MIDI TX
5.7 Orc Bass MIDI TX
(3) Press the [DATA÷ENTER] knob to select “MESSAGE”
(left entry), then turn it to select the parameter
you want to set.
6.8 Orchestra MIDI TX
7.5 Orc Chord MIDI TX
8.5 Orc FreeBs MIDI TX
The parameters are explained below.
(4) Press the [DATA÷ENTER] knob to select “VALUE”
(right entry), then turn it to set the desired value.
(Press [DATA÷ENTER] again, select another parameter and edit its value.)
(5) Press [EXIT÷JUMP] to return to the Main page.
(6) Save your changes:
• Press and hold the [MENU÷WRITE] button until the
following page appears:
• Rotate the [DATA÷ENTER] knob (or use the [UP]/
[DOWN] buttons) to select “ALL”.
Selecting this option has the advantage that you can
wait until all sections have been edited before saving
them in one go (for the entire Set).
• Press the [DATA÷ENTER] knob to confirm your selection.
• If necessary, rotate the [DATA÷ENTER] knob to select
another destination Set (1~40).
• Press the [MENU÷WRITE] button to save your
changes. The display briefly shows a confirmation:
• Press the [EXIT÷JUMP] button to return to the Main
page.
Parameters
Here are the MIDI parameters that can be set for each
register of a section separately. Remember that they
only apply to MIDI messages the FR-7b/FR-5b sends to
external devices. Do not forget to select the register
whose MIDI parameters you wish to edit before actually changing them.
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MIDI functions | MIDI parameters for the various sections/parts
■Note
(On, Off, Default setting: On) The MIDI standard
translates almost all actions performed on a musical
instrument into commands that can be sent to
another instrument. The result of such a transmission
is that your actions are either recorded by a
sequencer or faithfully replicated by the receiving
instrument.
The most fundamental information that travels
across a MIDI cable is related to the notes you are
playing. That information is conveyed using so-called
Note-on messages. (Each note has a unique MIDI
number.)
Set this parameter to “Off” if the external instrument
should not double the notes you are playing on the
Treble or Bass keyboard.
■Octave
(–3~0~3) This parameter allows you to transpose the
Note-on messages transmitted by the section in
question (if “Note” is set to “On”) up to three octaves
up or down.
This can be used for songs where an accordion register of the Treble section (for example) should be doubled by a piccolo flute played by an external module
whose notes would be far too low if they were used
as is. As stated above, each MIDI note has a unique
number. This parameter allows you to add (or subtract) 12 (“1” octave), 24 (“2” octaves) or 36 (“3”
octaves) to (from) the note numbers generated by
your playing.
Another application for this parameter could be to
use the bass notes you play on the FR-7b/FR-5b both
as (accordion) bass and counter-melody played by a
digital piano, for example. In that case, you probably
need to transpose the Bass register 3 octaves up.
■CC00, CC32, PC
(Std, Off, 0~127 for CC00 & CC32; Std, Off, 1~128 for
PC) These three messages belong together. The “oldest” message is called “program change” or “PC” for
short. It has been around since the inception of the
MIDI standard. It is used to select sounds or memories on the receiving instrument simply by recalling
another sound (or memory) on the transmitting
instrument.
What you set here is transmitted to the FBC-7’s MIDI
OUT port whenever you select the register you are
currently editing. (You can set separate addresses for
each register.) This allows you to cause an external
module to select the sounds that match the accordion, etc., sounds you defined.
Select “Off” if a register should not send CC00, CC32
and/or PC messages. Select “Std” to transmit the MIDI
address of the register you assign this setting to (register [12], for example, which would then send PC
“12” for CC00= 00/CC32= 00). When you select “Std”
for one of the three parameters (CC00, CC32, or PC),
the other two parameters also adopt the “Std” setting. See the following table:
Bank Select & Program Change TX “Std”
BANK SELECT PROGRAM
MSB CC00 LSB CC32
0 0 1~14 Treble Registers
0 0 1~7 Bass Registers
0 1 1~7 Free Bass Registers
0 0 1~7 Orch Bass Registers
0 0 1~7 Orch Chord Registers
0 0 1~7 Orch FreeBs Registers
0 0 1~22 Orchestra Registers
0 0 1~40 Sets
CHANGE Section
Why are there three messages? When the MIDI standard was developed, some 20 years ago, 128 memories seemed a lot, which is why it was decided to use
a dedicated message type (program change) for
selecting memories on an external device.
The entire MIDI standard evolves around the magic
number “128”. Given that there is no way of expanding that number, so-called Bank Select messages
were later added to accommodate the growing number of memories (modules with more than 2,000
sounds are quite common these days).
At the time, neither CC00, nor CC32 had dedicated
functions, and so these two control change messages
were picked for bank selection.
Two bank addresses (“MSB” and “LSB”), with 128 possibilities each, plus 128 Program Change numbers
provide 128 x 128 x 128 values= 2,097,152 possible
memories.
Transmitting only Bank Select messages does nothing
at all, while working only with program change messages means that you are limited to the 128 memories of the currently active memory bank.
To switch banks and select a memory on the external
module you need to transmit:
• A value for control change CC00 (MSB)
• A value for control number CC32 (LSB)
• A program change number
See the manual of the receiving MIDI instrument for
the MSB and LSB values it supports.
Be aware that this system allows you to send program change numbers to an external instrument that
lie outside the range of the FR-7b/FR-5b’s registers
(see the table above). Such “excess” program numbers
are ignored by the FR-7b/FR-5b when you transmit
them back (from a sequencer, for example). Example:
if you select PC= 49 and transmit that value to a
sequencer (to select a strings sound on an external
module, for instance), the external module behaves
as you expect when the sequencer track transmits
that value. If you then decide to use the FR-7b/
FR-5b’s ORCHESTRA section for your string part, that
section will not switch sounds (because it only recognizes program numbers 1~22).
Note: If PC is set to “Off”, the CC00 and CC32 values are not
transmitted (CC00/CC32 must always be followed by a program change number).
Note: If one of these parameters is set to “Std”, the register in
question sends its own MIDI address.
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Parameters
Note: When you set the “12.2 Ext. Seq. Playback” parameter to
“On”, the FR-7b/FR-5b’s registers no longer transmit the sound
selection clusters you have programmed here. Instead, they
transmit their “Std” values. This will return to normal operation
when you set “12.2 Ext. Seq. Playback” back to “Off”.
■Volume
(Off, 0~127, Default setting: 100) This parameter
allows you to specify the volume value (CC07) the
register should send to an external device whenever
you press it. That way, the MIDI instrument you are
controlling is automatically set to the desired level.
Remember that selecting “0” silences the receiving
MIDI instrument. Select “Off” if the register should
not transmit this message. Note that the FR-7b/
FR-5b does not execute this message if it is returned
to the FR-7b/FR-5b via the external device’s “Soft
Thru” function.
■Panpot
(Off, 0~127, Default setting: 64) This parameter
allows you to specify the Pan value (CC10) the register should send to an external device whenever you
press it. That way, the MIDI instrument you are controlling automatically selects the desired stereo position. “0” correspond to hard left, “64” to dead center,
and “127” to hard right. Note that the FR-7b/FR-5b
does not execute this message if it is returned to the
FR-7b/FR-5b via the external device’s “Soft Thru”
function. Select “Off” if the register should not transmit this message.
■Reverb
(Off, 0~127, Default setting: 40) This parameter
allows you to specify the Reverb Send Level value
(CC91) the register should send to an external device
whenever you press it. Selecting “0” will set the
receiving MIDI instrument to “dry” (no reverb), while
“127” represents the maximum Reverb Send level.
Select “Off” if the register should not transmit this
message.
Note: If there is no audible change, you may have to check the
reverb effect settings on the receiving MIDI instrument.
Note: Not all MIDI instruments have a reverb effect, and even
if they do, they may not support this control change number
(this is especially true of older instruments).
■Chorus
(Off, 0~127, Default setting: 0) This parameter allows
you to specify the Chorus Send Level value (CC93) the
register should send to an external device whenever
you press it. “0” will set the receiving MIDI instrument
to “dry” (no chorus), while “127” represents the maximum Chorus Send level. Select “Off” if the register
should not transmit this message.
Note: If there is no audible change, you may have to check the
chorus effect settings on the receiving MIDI instrument.
Note: Not all MIDI instruments have a chorus effect, and even
if they do, they may not support this control change number
(this is especially true of older instruments).
■Velocity
(On, 1~127) Your FR-7b/FR-5b is velocity sensitive.
That is a very learned term for the fact that the volume and brightness of the notes you play on the Treble or Bass keyboard depend on how hard (or fast)
you press the buttons. The accordion sounds do not
respond to these playing dynamics, but the Orchestra
(Treble, Bass, Chord, Free Bass) sounds do and so do
most MIDI-compatible sound modules.
Even though the MIDI standard recognizes 128 different velocity values, only 127 can actually be used
for expression purposes. That explains why the setting range is 1~127. Value “0” is usually used to signal the end of a note (i.e. when you release a key or
button).
This parameter allows you to specify whether the
velocity values corresponding to the strength with
which you press a key/button should be transmitted
(“On”) or whether your playing dynamics should not
be translated as such.
In the latter case, you need to select a value (1~127)
that will be applied to all notes that are transmitted
via MIDI. “64” is still relatively soft. Even lower values
are probably not what you want in most cases. Fixed
velocity values can be useful for playing organ
sounds on an external module.
Note that the setting you select here has no effect
when the “Note” parameter is set to “Off”, because
note numbers are always transmitted along with a
velocity value (any value different from “0” also
means “start playing this note”). Sending only a
velocity value without specifying the note to which it
applies doesn’t make sense.
■Expression
(Off, Bellows, Pedal) You probably noticed that the
strength/speed with which the bellows is pressed or
pulled influences the sound – which corresponds to
an acoustic accordion’s response.
This effect can be translated into a MIDI message
most external instruments understand. The MIDI
standard provides a message (“control change”) for
remotely controlling the volume of an external
instrument: CC11. It is chiefly used for expression
purposes (similar to the way in which a guitarist or
organ player uses a volume pedal).
If you want to use the bellows for expressive purposes, set this parameter to “Bellows”.
If you don’t (because the external instrument is too
sensitive and therefore changes its volume too
often), select “Off”.
If you purchased an optional EV-5 expression pedal,
which you connected to the FBC-7’s EXPRESSION
PEDAL socket, you can also control the relative volume by foot. In that case, set this parameter to
“Pedal”.
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MIDI functions | Archiving your settings via MIDI (Bulk Dump)
■AfterT (only for the Treble and Orchestra
sections)
The Master bar generates aftertouch messages. Aftertouch is usually used for temporary changes to a
sound’s volume, timbre or pitch (this needs to be set
on the receiving instrument). Used right, it can be a
very powerful expressive tool.
The downside is, however, that aftertouch messages
usually represent a massive amount of data, which
makes it a lot harder to find the MIDI messages you
want to edit on an external sequencer, not to mention the fact that your song files become a lot
heavier than they need to be.
Besides, many sounds/parts on external MIDI instruments are set to ignore these messages by default, so
that you would end up sending a lot of information
for nothing. That is why we recommend setting this
parameter to “Off”, and only select “On” if you really
mean to take advantage of the Master bar’s aftertouch capability.
Archiving your settings via MIDI (Bulk Dump)
MIDI can also be used for transmitting parameter and memory settings from the FR-7b/FR-5b to an external MIDI device
and back.
Archiving your settings with a sequencer
The Bulk Dump parameters allow you to transmit the
contents of one or all Set memories to a second FR-7b
or FR-5b, an external sequencer, computer or data filer.
Sending these data to other instruments (a digital
piano, synthesizer, etc.) does nothing at all. That’s
because the setting data are special MIDI messages only
one model (or model family) understands. They are
called “system exclusive messages” – or “SysEx” for
short. By transmitting them to a second FR-7b/FR-5b,
however, you can “copy” the settings of your V-Accordion to that of a friend, colleague or student.
A sequencer or data filer does not know what the messages mean and so does not use them in any way. It
merely records them. Afterwards, you only need to start
playback on your sequencer or data filer to transmit the
settings back to the FR-7b/FR-5b.
Note: The FR-7b/FR-5b’s SysEx data are fully compatible with the
FR-7/FR-5 (piano keyboard versions).
(1) Connect the FBC-7’s MIDI OUT socket to the
sequencer’s/computer’s MIDI IN socket.
See page 82 for a connection diagram. Obviously, you
also need to connect the FR-7b/FR-5b to the FBC-7.
Note: Your computer needs to be equipped with (or connected
to) an appropriate MIDI interface.
(2) If you are working with a computer, launch the
sequencer program.
(3) Create or select an empty song.
(4) Create (or select) an empty track.
The track’s MIDI channel is of no importance here.
You need to ensure, however, that the sequencer/
program accepts SysEx data. If necessary, switch off
the MIDI filter in question (see the manual of your
sequencer or software).
(5) Switch off the sequencer’s MIDI Echo (or Soft Thru)
function.
If that’s too tedious, disconnect the MIDI cable from
the sequencer’s/computer’s MIDI OUT socket. This is
to ensure that the sequencer doesn’t transmit the
SysEx data back to the FR-7b/FR-5b right away,
which might cause problems.
(6) Activate the record-ready mode of the track you
selected/created.
Note: It would be wise not to change the tempo on your
sequencer/in the software. By default, most sequencers/programs use the tempo value = 120. Leave it that way (or else
do whatever is necessary to ensure that the new tempo value
is stored along with the data).
(7) If you want to archive the settings of just one Set
(11.8 Bulk Dump SET), select it on the FR-7b/FR-5b
using the SET [√][®] buttons.
(8) On the FR-7b/FR-5b, press and hold the
[EXIT÷JUMP] button, then press register [11].
Depending on whether you want to archive all Sets
or just the settings of one Set, either press register [7]
(Bulk Dump ALL) or [8] (Bulk Dump SET). The display
now responds with:
–OR–
Before going on tour, etc., select “ALL” to make a
backup copy of your Sets. Select “SET” to transmit
only the settings that are actually needed for the
song in question. This transmits the settings of the
Set you are currently using.
(9) Start recording on your sequencer/computer.
Wait until the count-in (one or two measures) is finished, then…
(10) Press [MENU÷WRITE] on the FR-7b/FR-5b to start
the transmission of the bulk data.
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The display now responds with:
–OR–
Press [EXIT÷JUMP] if you do not want to transmit your
settings after all.
(11) Wait until the following message appears, then
stop recording on your sequencer.
(12) Name the “song” (it may only contain data so far)
and save it to hard or floppy disk.
See below for how to transmit the settings back to
the FR-7b/FR-5b at a later stage.
Sending Bulk data (back) to the FR-7b/FR-5b
The FR-7b/FR-5b not only sends SysEx data to external
devices (see above), it also receives them. In fact, the
FR-7b/FR-5b accepts several kinds of Bulk data:
• Entire sets that overwrite the contents of all internal
Set memories. If you don’t want to lose the settings
that currently reside in the FR-7b/FR-5b’s internal
memories, archive them first using the procedure
described on page 92.
• One Set: in this case, you can choose where to save
the received Set data.
(1) Connect the FBC-7’s MIDI IN socket to the
sequencer’s/computer’s MIDI OUT socket.
See page 82 for a connection diagram. Obviously, you
also need to connect the FR-7b/FR-5b to the FBC-7.
Note: Your computer needs to be equipped with (or connected
to) an appropriate MIDI interface.
(2) If you are working with a computer, launch the
sequencer program.
(3) Load the song that contains the data you want to
transmit.
(4) On your sequencer, perform all necessary actions
to ensure that it transmits SysEx data.
See its manual for details.
Note: If you are about to transmit a group of 40 Sets (“ALL”) to
the FR-7b/FR-5b, ask yourself whether you have archived the
Set data that currently reside in the internal memories, or
whether it is OK to overwrite them. Be aware that by proceeding with an “ALL DATA” file, you replace all internal settings.
(5) Start playback of the data file or song on your
sequencer, etc.
The display now responds with:
Note: When transmitting an “ALL DATA” file to the FR-7b/
FR-5b, wait until the “WRITE COMPLETE” message appears
before stopping playback on your sequencer. Failure to do so
will render your FR-7b/FR-5b inoperable. If that happens, you
need to initialize it (see “Restoring the factory defaults” on
p. 97).
(6) Stop playback of your sequencer.
If you transmitted one Set to the FR-7b/FR-5b, the
display now responds with:
This message means that the corresponding data currently reside in the FR-7b/FR-5b’s temporary memory
but that you need to save them if the FR-7b/FR-5b
should remember them. A Set received in this way
can be used until you select another (internal) Set.
If you think you’ll need the Set at a later stage, be
sure to save it. If you only need it temporarily, you
can select “NO”. The FR-7b/FR-5b will then use the
sound (and MIDI) settings received from the computer, but they will be “forgotten” when you switch
the FR-7b/FR-5b off or select another Set.
“YES” is selected by default. If you want to save your
changes, proceed as described below. (If you don’t,
turn the [DATA÷ENTER] knob to select “NO”, then
press the [DATA÷ENTER] knob.)
To save the Set data:
(7) Press the [DATA÷ENTER] knob. The display now
responds with:
(8) Rotate the [DATA÷ENTER] knob to select the target
memory for the received Set (1~40).
Be aware that the data in the memory you select
here will be overwritten.
(9) Press the [WRITE] button to save your changes. The
display briefly shows a confirmation:
In some cases, the display may show the following
message. It means that the SysEx data were incomplete or that the checksum was missing or wrong.
–OR–
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Press [EXIT÷JUMP] to return to the Main page, reduce
the speed at which the data are transmitted by your
sequencer, and try again. If that does not help, check
the data file you are transmitting.
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Miscellaneous functions
8. Miscellaneous functions
Saving settings using the WRITE function
All WRITE functions are discussed where it makes sense to mention them. That’s why we’ll stick to some general remarks
here.
Press and hold
[MENU÷WRITE]
Press
[MENU÷WRITE]
Press
[DATA÷ENTER]
Rotate
[DATA÷ENTER]
“Curnt+SCom”(*)“Current”“ALL”
(*) Saves register + “Set
Common” settings.
to select…
Press
[MENU÷WRITE]
Press
[MENU÷WRITE]
Rotate
[DATA÷ENTER]
Rotate
Press
[DATA÷ENTER]
[DATA÷ENTER]
“Curnt+SCom”(*)“Current”“ALL”
(*) Saves register + “Set
Common” settings.
to select…
Press
[MENU÷WRITE]
Press
[DATA÷ENTER]
Enter a name
Press
[MENU÷WRITE]
Press
[DATA÷ENTER]
Rotate
[DATA÷ENTER]
select a register.
Rotate
to
[DATA÷ENTER]
to select a Set.
Press
[MENU÷WRITE]
Rotate
[DATA÷ENTER]
to select a Set.
Rotate
[DATA÷ENTER]
Press
[MENU÷WRITE]
to select a Set.
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Using WRITE
(1) Press and hold the [MENU÷WRITE] button until the
following page appears:
Sections whose settings you changed without saving
them are flagged with an “EDIT” message.
Note: If there is no “EDIT” message, there is nothing that needs
to be saved. Consequently, you can leave this page by pressing
[EXIT÷JUMP] again.
(2) Rotate the [DATA÷ENTER] knob to select the section
whose settings you want to save.
The possibilities are: Treble, Bass, Orchestra, Free Bass,
Orc. Bass, Orc. Chord, Orc. FBass, Global, Set Com, ALL.
“Set Com” allows you to save the “Common” parameters of the current Set. “ALL” saves all registers and
the “Set Common” parameters – but not the “Global”
settings.
The GLOBAL page shows all parameters that are
saved to the Global memory (there is only one such
memory): the Master Tune and Scale Tune parameters of the TUNING group (the Transpose setting is
never saved) as well as the SYSTEM and MIDI groups.
(3) Press the [DATA÷ENTER] knob to jump to the page
of the selected function.
Note: To save the Global settings, skip to step (10). For the
Orchestra, Orchestra Bass and Set Common parameters, skip to
step (7).
(4) Use the [DATA÷ENTER] knob or the [UP]/[DOWN]
buttons to specify what you want to save:
Current: The register you are currently editing.
Currnt +
SCom:
ALL All registers. This is probably the safest
The register you are currently editing as
well as the Set Common settings
(page 64).
bet, because it ensures that no register
will be forgotten. (It is perfectly possible
to edit several registers without saving
them.)
• Press [UP] and [DOWN] simultaneously to erase the
currently selected character (it will become a space).
Example: To replace the “s” in “Celeste” with a space
(“Cele te”), position the cursor on the “s” and simultaneously press [UP]/[DOWN].
• To insert a space before the currently selected character and push all subsequent characters one position to the right, select the character that should follow the space, then press and hold [UP]. Example: To
insert a space before the “s” in “Celeste” (creating the
name “Cele ste”), position the cursor on the “s” and
hold down [UP] for a while.
Note: If the name already contains 8 characters (“Bandoneo”),
the last character is erased (example: “Band one”).
• To delete the character indicated by the cursor and
move subsequent characters one position to the left,
select it (example: “Celeste”) and press and hold
[DOWN] (“Celete”).
(7) Press the [MENU÷WRITE] button.
(8) Use the [DATA÷ENTER] knob or the [UP]/[DOWN]
buttons to select the Set that should contain your
changed version(s).
Change this setting only if you do not want to save
your settings to the current Set.
Note: For the Orchestra, Orchestra Bass and Set Common
parameters, skip to step (10).
(9) (Only for “Current”:)
Press the [DATA÷ENTER] knob to select “REGISTER”,
then turn it to select the number of the register
where you want to save your edited version (1~7).
(10) Press the [MENU÷WRITE] button to save your
changes. The display briefly shows a confirmation:
(11) Press the [EXIT÷JUMP] button to return to the Main
page.
(5) Press the [DATA÷ENTER] knob to confirm your
selection.
(6) If necessary, change the name of the register you
have just edited. (This is only possible on the three
“accordion” pages: TREBLE, BASS and FREE BS.)
• Select the character position (indicated by a dark
square) by pressing [UP] (previous character), [DOWN]
(next character) or the [DATA÷ENTER] knob (next
character).
• Turn the [DATA÷ENTER] knob to select the desired
character.
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V-Accordion
Restoring the factory defaults
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Restoring the factory defaults
You can reset the FR-7b/FR-5b to its factory settings, which means that your own Sets and Global settings are replaced
by the settings the FR-7b/FR-5b contained when you first got it. You may wish to archive your settings before initializing
the FR-7b/FR-5b (see p. 92).
(1) Switch on the FR-7b/FR-5b while holding down
the [MENU÷WRITE] button.
The display changes to:
If you selected “YES” and pressed the [DATA÷ENTER]
knob, the display now briefly confirms that your
V-Accordion has been initialized:
(2) Press the [DATA÷ENTER] knob to initialize the
FR-7b/FR-5b (“YES” is selected by default).
If you decide against initializing the FR-7b/FR-5b,
rotate the [DATA÷ENTER] knob to select “NO”, then
press it.
The FR-7b/FR-5b now sounds and behaves like when
you first bought it.
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FR-7b/FR-5b V-Accordion
Miscellaneous functions | Troubleshooting
Troubleshooting
This section provides an overview of points to check and actions to take when the FR-7b/FR-5b does not function as you
expect. Feel free to contact your Roland dealer if your issue remains unsolved after reading through this section.
The screen is difficult or impossible to read
If you have trouble reading the information in the
display, change the “10.1 LCD Contrast” setting
(page 69).
No sound
■Did you turn the [VOLUME] knob all the way to
the small dot?
Set it to a higher value.
■Did you turn the [BALANCE] knob all the way to
one side?
Change its setting and try again.
■Are you moving the bellows while triggering
accordion sounds?
The Treble and Bass/Free Bass sections only produce
sound if you move the bellows while playing notes
(like on an acoustic accordion).
■Did you connect the FR-5b to an external amplifier?
The FR-5b doesn’t contain internal speakers and
therefore needs to be connected to an external
amplification system. Alternatively, you can use a
pair of headphones.
■Did you connect the audio cables to the correct
sockets?
If so, check whether the external amplifier, mixing
console, etc., is switched on. Also check the cables for
possible damage.
No power
■Did you remove the supplied (FR-7b) battery?
Be sure to install it again. Alternatively, connect the
FR-7b to the supplied FBC-7.
■Did you install the cover of the FR-7b/FR-5b’s
battery compartment?
You need to install it before you can switch on the
FR-7b/FR-5b (page 38). Be sure to tighten the screws
all the way.
■Did you connect the FR-5b to the FBC-7?
If you did not purchase an optional battery, the
FR-5b needs to be powered by the FBC-7.
The FR-7b/FR-5b does not respond to your
playing
■You may have selected “Ext. Seq. Playback” mode
for one or all sections.
Those sections therefore only respond to MIDI messages received from other instruments. Switch off
the “Ext. Seq. Playback” function (page 85).
■Are you moving the bellows while triggering
accordion sounds?
The Treble and Bass/Free Bass sections only produce
sound if you move the bellows while playing notes
(like on an acoustic accordion).
The chord rows of the bass keyboard don’t play
accordion sounds
■You probably switched on the Orchestra Chord
section.
Switch it off (see p. 29).
Certain parameters cannot be selected
■Is the FR-7b/FR-5b currently in “Easy” mode?
In that mode, only a basic set of parameters is available. Switch to “Full” mode (page 19).
■Does the FR-7b/FR-5b display a message to
inform you that a parameter or section is not
available?
If so, the section is off, which is why its parameters
cannot be edited. Switch the section on and try
again.
One section sounds off (flat)
Did you set “1.5 Scale Assign” to just one section? Set
it to “ALL” and try again (page 43).
Issues related to the bass buttons
■Why do the bass buttons only provide three
chord rows?
Because you set the “Bass & Chord Mode” parameter
to “3 Bs Rows” (page 70). Set it to “2 Bs Rows”.
■Why can’t I play diminished chords using the
bass buttons?
Because you set the “10.5 Bass & Chord Mode”
parameter to “3 Bs Rows” (page 70). Set it to “2 Bs
Rows”.
■In Free Bass mode, the bass buttons play the
wrong notes.
You may have changed the “Free Bass Mode” setting.
Be sure to select the system that best suits your playing style (page 71).
■In Free Bass mode, only half the buttons play
notes.
That’s because the “STATUS” entry of the
“4.2 Register” parameter uses the same (“High” or
“Low”) setting for both reeds (or “Off” for one of
them and “High”/“Low” for the other). Choose complementary settings (“High” for one, “Low” for the
other) or set at least one to “Whole” (page 54).
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The screen is difficult or impossible to read
V-Accordion
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Why does the Orchestra mode change when I
press a given Treble register?
Because you established a Link with the Treble section and also specified a mode using the “MODE”
entry of the “2.13 Orchestra Link” parameter. Set it to
“---” (page 48).
My settings have changed
■Did you establish a “Link”?
If you change the Bass, Free Bass, and/or Orchestra
settings without saving them, and then select
another Treble register while the Link function is on,
the FR-7b/FR-5b selects different settings for the
linked sections. Your changes are therefore lost.
■Did you save the “SET COMMON” parameters?
Doing so only saves the general Set parameters, not
the settings of the various registers.
■Did a “Noise” setting change?
Whenever you select “ALL” for “2.1 Reed Type”, and
set a different reed type, the “2.5 Valve Noise” setting
is automatically adapted to that reed type. You may
have to change it afterwards if you wish to use a different noise type.
Whenever you select “ALL” for “Reed Type” and set a
different reed type, the “3.5 Reed Growl” setting is
automatically adapted to that reed type. It would
therefore be a good idea to first select the reed type
and only then change the growl type. The same
applies to “4.4 Button Noise” and “Reed Type”.
■Did the effects parameters change unexpectedly?
Each effects processor (Reverb, Chorus, Delay) has a
“Macro” parameter (pages 65 and 67) that not only
recalls a different effect type, but also appropriate
settings for that type. If you select another Macro,
the settings for the previous effect type are lost.
MIDI-related issues
■I selected the “Ext. Seq. Playback” mode, yet the
section in question does not respond to MIDI
messages.
Does the section’s MIDI channel correspond to the
transmit channel of the external device (page 84)? Do
not select “Off” for a section that should receive MIDI
messages.
Instead, they transmit their “Std” values. This will
return to normal operation when you set “12.2 Ext.
Seq. Playback” back to “Off”.
■The FR-7b/FR-5b does not change sounds when
my sequencer transmits program change numbers, even though I used the FR-7b/FR-5b to
send those numbers to the sequencer.
You can send program change numbers to an external instrument that lie outside the range of the
FR-7b/FR-5b’s registers (1~14 for Treble, 1~7 for
Bass/Free Bass/Orch. Bass/Orch Chord/Orch Free Bass,
1~22 for Orchestra). Such “excess” program numbers
are ignored by the FR-7b/FR-5b when you transmit
them back (from a sequencer, for example).
■I cannot find the MIDI sockets on my FR-7b/
FR-5b.
The FR-7b/FR-5b does not have MIDI sockets. You
need to connect it to the FBC-7 using the supplied
19-pin cable (page 82).
■The FR-7b/FR-5b does not receive the MIDI messages I recorded for it.
That’s because the “Ext. Seq. Playback” parameter of
the sections in question is set to “Off”. You need to
activate it if you wish to use the FR-7b/FR-5b as MIDI
tone generator (page 85).
■All the FR-7b/FR-5b’s settings have changed.
You probably transmitted a “Bulk” file containing 40
Sets (“ALL”) to the FR-7b/FR-5b. The settings of that
file have replaced your own settings. We regret that
your settings cannot be restored. Be sure to archive
the internal settings before transmitting bulk data to
the FR-7b/FR-5b (page 92).
■The external sequencer keeps displaying a “MIDI
buffer overflow” message
The bellows sends too many data at once (its data are
transmitted on five channels simultaneously). Select
a different setting (“Medium” or “Low”). This leads to
a coarser resolution, and maybe to audible steps, but
at least, your sequencer will be able to record the
data. See “Solving MIDI buffer problems” on p. 88.
While saving data, the FR-7b/FR-5b displays the
following message
■What MIDI channels does the FR-7b/FR-5b use
by default?
See the table on page 83.
■The MIDI channel setting is correct, yet the section in question does not transmit notes.
You probably set its “Note” parameter to “Off”
(page 90).
■The FR-7b/FR-5b seems to transmit the wrong
bank select and program change numbers.
This is not a malfunction. When you set the “12.2 Ext.
Seq. Playback” parameter to “On” (see p. 85), the
FR-7b/FR-5b’s registers no longer transmit the sound
selection clusters you programmed (see p. 90).
It means that the data could not be saved in the
FR-7b/FR-5b’s internal memory. Press [EXIT÷JUMP] to
leave this page. WARNING: this will take you to the
Main page. Do not select other registers or Sets. First
try to save your settings using the WRITE function
(page 95). If the above message appears again, contact your Roland dealer to have your FR-7b/FR-5b’s
memory checked.
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FR-7b/FR-5b V-Accordion
Miscellaneous functions | Troubleshooting
At power-on, the FR-7b/FR-5b displays the following message
The FR-7b/FR-5b was switched off while it was saving
data (possibly because the battery was depleted, or
because of a power failure). When you switch it on
again, it attempts to recover everything it can. It
may, however, also load the data of the corresponding factory set. In any case, you will have to program
some or all settings again.
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