Roland FR-7x User Manual

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Owner’s Manual

WARNING

– To reduce the risk of fire or electric shock, do not expose this device to rain or moisture.

CAUTION

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

– 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.

The technology used in the FR-7x is covered by U.S. Patent No. 6.946.594.

For the U.K.

Owner’s Manual

Congratulations on purchasing the Roland FR-7x V-Accordion. The FR-7x is the first instrument of its kind to provide powerful digital modeling technology in a traditional, immediately familiar, accordion design and with performance functions and authentic sounds.

It combines the familiar sounds and nuances of a traditional accordion with the versatility of a modern digital musical instrument. The FR-7x furthermore contains an audio recorder function and a USB port that can be used to play back audio files on the connected storage device.

It is equipped with speakers and a battery pack for mobile use, while it can also be connected to an amplification system if desired.

ENGLISH ENGLISH

To get the most out of the FR-7x and to ensure many years of trouble-free service, we urge you to read through this Owner’s Manual thoroughly.

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

Before using this instrument, carefully read “USING THE UNIT SAFELY” (p. 4) and “Important notes” (p. 6). Those sections provide information concerning the proper operation of the FR-7x. Additionally, in order to feel assured that you have gained a good grasp of every feature provided by your new unit, the manual should be read in its entirety. The manual should be saved and kept on hand as a convenient reference.

FR-7x

USING THE UNIT SAFELY

V-Accordion

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.

• Connect the mains plug of this model to a mains outlet with a protective earthing connection.

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• Do not open or modify the unit or its DC power supply (FBC-7).

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• Do not attempt to repair the unit, or replace parts within it (except when this manual provides specific instructions directing you to do so). Refer all servicing to your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the “Information” page.

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• Never install the unit in any of the following locations.

• 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

• Exposed to steam or smoke; or are

• Subject to salt exposure; or are

• Humid; or are

• Exposed to rain; or are

• Dusty or sandy; or are

• Subject to high levels of vibration and shakiness.

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•Make sure you always have the FR-7x placed so it is level and sure to remain stable. Never place it on stands that could wobble, or on inclined surfaces.

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• The FR-7x should only be connected to a power supply of the type described in the operating instructions, or as marked on the rear panel of the FBC-7.

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

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• Do not excessively twist or bend the power cord, nor place heavy objects on it. Doing so can damage the cord, producing severed elements and short circuits. Damaged cords are fire and shock hazards!

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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.

• The FR-7x, either alone or in combination with an amplifier and headphones or speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level, or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should immediately stop using the unit, and consult an audiologist.

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• Do not allow any objects (e.g., flammable material, coins, pins); or liquids of any kind (water, soft drinks, etc.) to penetrate the FR-7x.

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

• The power-supply cord or the plug has been damaged; or

• If smoke or unusual odor occurs

• Objects have fallen into, or liquid has been spilled onto the

FR-7x; or

• The unit has been exposed to rain (or otherwise has become

wet); or

• The FR-7x does not appear to operate normally or exhibits a

marked change in performance.

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•In households with small children, an adult should provide supervision until the child is capable of following all the rules essential for the safe operation of the FR-7x.

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• Protect the FR-7x from strong impact.

(Do not drop it!)

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• Do not force the FR-7x’s power-supply cord to share an outlet with an unreasonable number of other devices. Be especially careful when using extension cords—the total power used by all devices you have connected to the extension cord's outlet must never exceed the power rating (watts/amperes) for the extension cord. Excessive loads can cause the insulation on the cord to heat up and eventually melt through.

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• Before using the FR-7x in a foreign country, consult with your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the “Information” page.

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• The battery pack must never be heated, taken apart, or thrown into fire or water.

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• Do not put anything that contains water (e.g., flower vases) on the FR-7x. 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.

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• Never expose the FR-7x to excessive heat such as sunshine, fire or the like.

V-Accordion

USING THE UNIT SAFELY

• If used improperly, the battery pack may explode or leak and cause damage or injury. In the interest of safety, please read and observe the following precautions (see p. 6).

• Remove the battery pack whenever the unit is to

remain unused for an extended period of time.

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• Used battery packs must be disposed of in compliance with whatever regulations for their safe disposal that may be observed in the region in which you live.

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• Keep any screws you may remove and related parts in a safe place out of children’s reach, so there is no chance of them being swallowed accidentally.

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• The FR-7x and the FBC-7 should be located so their location or position does not interfere with their proper ventilation.

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

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• At regular intervals, you should unplug the power plug and clean it by using a dry cloth to wipe all dust and other accumulations away from its prongs. Also, disconnect the power plug from the power outlet whenever the unit is to remain unused for an extended period of time. Any accumulation of dust between the power plug and the power outlet can result in poor insulation and lead to fire.

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

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

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

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

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• Before cleaning the unit, turn off the power and unplug the power cord from the outlet (see p. 18).

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

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FR-7x

V-Accordion

Important notes

1. Important notes

In addition to the items listed under “USING THE UNIT SAFELY” (p. 4), please read and observe the following:

Power supply

• Do not connect this unit to same electrical outlet that is being used by an electrical appliance that is controlled by an inverter (such as a refrigerator, washing machine, microwave oven, or air conditioner), or that contains a motor. Depending on the way in which the electrical appliance is used, power supply noise may cause this unit to malfunction or may produce audible noise. If it is not practical to use a separate electrical outlet, connect a power supply noise filter between this unit and the electrical outlet.

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

•When installing or replacing the battery pack, always turn off the power on this unit and disconnect any other devices you may have connected. This way, you can prevent malfunction and/or damage to speakers or other devices.

•A battery pack is supplied with the unit. The life of this battery may be limited, however, since its primary purpose was to enable testing

• Before connecting this unit to other devices, turn off the power to all units. This will help prevent malfunctions and/or damage to speakers or other devices.

•Although the LCD and LEDs are switched off when the POWER switch is switched off, this does not mean that the unit has been completely disconnected from the source of power. If you need to turn off the power completely, first turn off the POWER switch, then unplug the power cord from the power outlet. For this reason, the outlet into which you choose to connect the power cord's plug should be one that is within easy reach and readily accessible.

Placement

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

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

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

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

• 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.

•When moved from one location to another where the temperature and/or humidity is very different, water droplets (condensation) may form inside the unit. Damage or malfunction may result if you attempt to use the unit in this condition. Therefore, before using the unit, you must allow it to stand for several hours, until the condensation has completely evaporated.

• Do not allow rubber, vinyl, or similar materials to remain on the unit for long periods of time. Such objects can discolor or otherwise harmfully affect the finish.

• Do not allow objects to remain on top of the or pedal board. This can be the cause of malfunction, such as keys ceasing to produce sound.

• Do not paste stickers, decals, or the like to this instrument. Peeling such matter off the instrument may damage the exterior finish.

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

Maintenance

• For everyday cleaning wipe the FR-7x with a soft, dry cloth or one that has been slightly dampened with water. To remove stubborn dirt, use a cloth impregnated with a mild, non-abrasive detergent. Afterwards, be sure to wipe the unit thoroughly with a soft, dry cloth.

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

Repairs and data

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

Additional precautions

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

• Never strike or apply strong pressure to the display.

•When connecting / disconnecting all cables, grasp the connector itself—never pull on the cable. This way you will avoid causing shorts, or damage to the cable's internal elements.

•A small amount of heat will radiate from the unit during normal operation.

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

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

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

Precautions for the included battery

• The temperature range for use of the battery pack is as follows. Using them outside this range may impair battery performance and shorten battery service life.

age

: –20~30°C,

• Do not use or store a battery pack 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 pack 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 pack or allow the terminals to become damp. This may cause heat generation and formation of rust on the battery pack and its terminals.

Charging

Use (discharging)

: 0~40°C.

: 0~50°C,

Stor-

V-Accordion

Important notes

• Use only the supplied FBC-7 to charge the FR-7x’s battery pack. 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-7x’s battery pack, please read page 59.

• Do not connect the battery pack 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 pack exhibits rust, generates heat or seems abnormal in any other way, do not use it. Take it back to your Roland dealer.

• The battery pack is supplied with residual charge only, so be sure to fully charge the battery pack with the supplied FBC-7 before using the FR-7x.

• Keep the battery pack out of reach of babies or small children. Ensure that babies or small children cannot remove a battery pack from the FBC-7 while it is being charged.

• Be sure to carefully instruct any person on the proper way of handling a battery pack.

• Never dispose of the battery pack 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 remove the outer tube from a battery pack or damage it.

• Do no strike or drop the battery pack. Strong impact can cause leakage of battery fluid, heat generation, bursting or fire.

• Do not alter or remove protective mechanisms or other parts. Never disassemble the battery pack.

• 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 pack by exceeding the predetermined charging period of the FBC-7 or indicator. Never recharge a battery pack that is already fully charged. This could result in leakage of battery fluid, heat generation, bursting or fire.

• If the battery pack 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 pack 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 pack, wash the area immediately with clean water from a tap. Battery fluid can cause skin damage.

•When a battery pack is no longer usable, dispose of it in accordance with all applicable local laws and regulations.

• If the battery pack 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.

Storage devices that can be connected to the FR-7x’s USB port

• The FR-7x allows you to connect commercially available storage devices, like USB Flash memory, and hard disks. You can purchase such devices at a computer store, a digital camera dealer, etc.

• Use USB memory sold by Roland. We cannot guarantee operation if any other USB memory is used.

Before using external USB storage devices

•When connecting a USB storage device, firmly insert it all the way into the FR-7x’s USB port.

• Do not touch the pins of the FR-7x’s USB port or allow them to become dirty.

•While using an external storage device, please observe the following points when handling it:

• To prevent damage from static electrical charges, discharge any

static electricity that might be present in your body before handling a USB storage device.

• Do not touch the terminals with your fingers or any metal

object.

• Do not bend or drop a USB storage device, or subject it to

strong impact.

• Do not leave a USB storage device in direct sunlight or in loca-

tions such as a closed-up automobile.

• Do not allow a USB storage device to become wet.

• Do not disassemble or modify your external USB storage device.

•When connecting a USB storage device, position it horizontally with the FR-7x’s USB port and insert it without using excessive force. The USB port may be damaged if you use excessive force when inserting a USB storage device.

• Do not insert anything other than a USB storage device (e.g., wire, coins, other types of device) into the USB port. Doing so will damage the FR-7x’s USB port.

• Do not apply excessive force to the connected USB storage device or the FR-7x’s USB port.

• Never connect your USB storage device to the FR-7x via a USB hub.

Liability and copyright

• The law prohibits the unauthorized recording, public performance, broadcast, sale, distribution, etc., of a work (musical works, visual works, broadcasts, live performances, etc.) whose copyright is owned by a third party. Roland assumes no responsibility for any infringement of copyright that you may commit using the FR-7x.

• The FR-7x’s audio player is designed to allow you to reproduce material to which you have copyright, or material which the copyright owner has granted you permission. Accordingly, the reproduction of music or other copyrighted material without permission of the copyright owner avoiding technical prohibiting features of second-generation and later copying, like SCMS or other solutions, constitutes copyright infringement and may incur penalties even in case such reproduction is for your own personal use and enjoyment (private use). Consult a copyright specialist or specialized publications for more detailed information on obtaining such permission from the copyright holders.

FR-7x

V-Accordion

Important notes

About audio files

• Audio files in the following formats can be played back:

•WAV format

• 16-bit linear

• Sampling rate of 44.1kHz

• Stereo/mono

•mp3 files:

•MPEG-1 Audio Layer 3

• Sampling frequency: 44.1kHz

•Bit rate: 32/40/48/56/64/80/96/112/128/160/192/224/256/ 320kbps, VBR (variable bit rate)

Copyrights

•MPEG Layer-3 audio compression technology is licensed from Fraunhofer IIS Corporation and THOMSON Multimedia Corporation.

•All product names mentioned in this document are trademarks or registered trademarks of their respective owners.

1. Important notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

2. Features. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

3. Panel descriptions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Treble control panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Bass control panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Display and master bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Battery compartment and USB port . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Connection panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Connection panel of the FBC-7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

4. Before you start using the FR-7x . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Installing the battery pack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Connecting the FR-7x to the supplied FBC-7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Other connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Switching the power on and off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Listening through headphones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

5. Listening to the demo songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

6. Basic operation of the FR-7x. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

The sections of your FR-7x . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Practical information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

About the main page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

7. Using Sets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

8. Touring the FR-7x’s accordion sections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Treble section (right hand) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Bass and chord section (left hand) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Using the FR-7x’s digital effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Playing in Free Bass mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Playing the bass part with your right hand (Bass-to-Treble) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

9. Playing the FR-7x’s orchestral sounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Orchestral sounds for the treble section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Orchestral sounds for the bass section. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Orchestral sounds for the chord section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Orchestral sounds for the Free Bass section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

10.Other practical functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

General remark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Transpose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Musette Detune . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Scale (Tuning) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Noise Edit (Valve & Button) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

11.Using the audio player . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Connecting an optional USB memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Playing back audio files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Playlist function . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Saving your playlist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Using playlists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Editing playlists. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Managing playlists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

12.Recording your performance as audio data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Saving your recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

13.Managing audio files on a USB memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

V-Accordion

FR-7x

V-Accordion

Contents

14.Assigning orchestral to the registers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Assigning orchestral sounds. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Saving your settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

About organ sounds. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Editing the selected organ sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

15.About the FBC-7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58

Using the FBC-7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Charging the battery pack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

If the battery pack fails to last 8 hours (or slightly less) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

16.Editing sounds (Advanced section) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62

Selecting parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Setting parameter values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Important remark about saving your settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

1. Tuning parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

2. Treble Edit parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

3. Bass Edit parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

4. Free Bass Edit parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

5. Orch.Bass Edit parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

6. Orchestra Edit parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

7. Orch. Chord Edit parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

8. Orch.FBass Edit parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

9. Set Common parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

10. System parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

11. Utility parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

17.Saving settings using the WRITE function . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .103

Saving your changes (automatic approach) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Saving your changes (manual approach). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Ignoring certain settings for the WRITE operation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Saving all Sets or just a single Set. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Saving all registers or just a single register . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .105

Saving just a specific parameter group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

18.MIDI functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107

About MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Global MIDI parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

MIDI parameters for the various sections/parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

19.Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .116

20.Specifications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119

21.Appendix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121

Parameter list . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Factory Sets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Demo Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126

Orchestral sounds and bellows/velocity control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .128

Drum & percussion sounds. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

22.MIDI implementation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .130

MIDI Implementation Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

23.Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .134

24.Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

2. Features

V-Accordion

Features

Battery-powered instrument with built-in speakers

Though the FR-7x is a fully electronic instrument, you do not need to connect it to an amplifier in order to produce sounds. Its onboard amplification system is powerful enough for small venues, restaurants, etc.

Furthermore, the FR-7x comes with a rechargeable battery pack (Ni-Mh) so that you do not need to connect it to a wall outlet.

PBM (Physical Behavior Modeling)

The FR-7x V-Accordion is based on Roland’s sound generation technology called “PBM” (Physical Behavior Modeling) whose sonic result is very close to the sound of traditional accordions.

Super realistic sounds

All sounds the FR-7x produces were obtained by sampling the most popular traditional acoustic accordions, allowing you to switch from an Italian jazz accordion to German folk, French musette or a historic bandoneon sound – without changing your technique. Different tuning systems are also available.

The FR-7x is also equipped with orchestral sounds that 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). The orchestral sounds can be freely assigned to the desired register for optimum flexibility. You can also assign other orchestral sounds to the registers.

Tonewheel organ sounds

Thanks to its tonewheel organ sound engine, the FR-7x allows you to play amazing organ sounds like an organ player by using the treble (TW Upper), chord (TW Lower) and bass (TW Pedal) sections.

Drum sounds

You can also use the FR-7x to play simply drum parts with you left hand by assigning drums and percussion sounds to the bass and chord buttons.

Audio player and recorder on a connected USB storage device

The FR-7x provides an audio player function that can play back mp3 and WAV files on a connected USB storage device. You can also record your performances as WAV files.

Intuitive user interface

The FR-7x comes with an organic LED display for instant and clear visual feedback thanks to a new graphic interface.

The digital advantage

The V-Accordion includes all functions and sounds of a traditional accordion, thus conveying a really natural feel and sound. Yet it also provides the advantages only an electronic musical instrument can give you:

• reduced overall weight;

• possibility to choose among a wide variety of sounds;

• you can create and customize the accordion timbres (program your own sounds);

• you can choose among various bass button operation modes (Minor 3rd Free Bass, 5th, Bayan, North Europe, Finnish);

•tuning stability over time and wear resistance of all mechanical parts;

• you can sound in a different key than the one you are playing in (transpose function);

• you can play with headphones, i.e. without disturbing your neighbors or family.

Superb performance flexibility

The V-Accordion allows you to control external MIDIcompatible instruments. The treble keyboard and chord/bass buttons are velocity-sensitive, while the bellows controller provides more articulation possibilities than any other MIDI keyboard, MIDI wind instrument, etc., you may know.

Sound expansion

The FR-7x provides two internal memories that allow you to add new sounds.

Sophisticated bellows response

Faster response and higher sensitivity and precision plus detection of bellows opening/closing with new bellows pressure sensing circuitry.

A bellows resistance regulator knob allows you to adjust the bellows’ inertia to your preference.

FR-7x V-Accordion

Panel descriptions

3. Panel descriptions

Treble control panel

DATA/ENTER knob

This knob allows you to scroll through and select menu pages, and to modify parameter values. It also allows you to start/stop an external MIDI device (see p. 93).

UP/DOWN buttons

On the main page, [UP] and [DOWN] allow you to select 9 important functions.

When the menu is displayed, [UP] and [DOWN] are used to scroll menu pages.

EXIT/JUMP button

The [EXIT÷JUMP] button allows you to return to the main page. 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. 62).

MENU/WRITE button

This button allows you to select the FR-7x’s MENU environment where you can set and view all available functions. By holding down [MENU÷WRITE], you acti- vate the WRITE function, which allows you to save your settings.

VOLUME knob

This knob allows you to set the V-Accordion’s overall volume.

BALANCE knob

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.

SET buttons

These two buttons allow you to choose among 80 accordion Sets. Each Set contains suitable settings for all sections (accordion, orchestral/tonewheel organ, drums).

Treble/Orchestra registers

The Treble section contains 14 registers (switches) + ORCHESTRA selector that allow you to select the desired sound.

Note: In ORCHESTRA mode registers [1]~[13] provide access to two sounds (A/B). To select a “B” sound, press the corresponding register twice.

Note: By pressing and holding any register, you can switch off the Treble section. Press another register to switch it back on.

POWER button

Press this button to switch the V-Accordion on (the button lights) and off (button dark).

Note: The FR-7x is automatically switched off after 10 minutes of inaction to save battery power. This can be changed, however (see p. 92). Be aware that any unsaved changes are lost when the FR-7x is switched off by that function.

SORDINA switch

This ON/OFF switch allows you to switch the simulation of the wooden resonance chamber on and off.

DELAY knob

The FR-7x contains three digital effects that can be used simultaneously. This knob is used to set the level of the delay (echo) effect (see p. 85).

CHORUS knob

Use this knob to set the level of the chorus effect (see p. 83).

REVERB knob

Use this knob to set the level of the reverb effect (see p. 82).

Bass control panel

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.

On the button-type model, the Master bar can also be used for Aftertouch messages.

Display

This organic LED display shows information related to your operation.

Bass registers

These switches allow you to select the desired bass mix.

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.

V-Accordion

Treble control panel

Bass and chord buttons

These 120 buttons are used to play bass notes and chords They are velocity-sensitive). They also allow you to play drum sounds.

Bellows resistance and air button

This wheel allows you to specify the bellows’ inertia (the force needed to push and pull it). See page 21. By pressing it you can purge the air that still remains in the bellows after playing.

Display and master bar

FR-7x V-Accordion

Treble control panel

Battery compartment and USB port

S T

Battery compartment

This is where you install the supplied battery pack (see p. 16).

USB port cover

The FR-7x’s USB port allows you to connect a USB storage device. It can be used to record your playing, to play back audio files (MP3 and WAV) and to save and load settings.

Note: Use USB memory sold by Roland. We cannot guarantee operation if any other USB memory is used.

Connection panel

TO FBC-7 socket

Use the supplied cable to connect this socket to the supplied FBC-7 power supply/footswitch unit/battery charger.

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-7x’s output is stereo. If you only use one jack (connected to the “L” or “R” socket), the FR-7x’s output is mono.

Connection panel of the FBC-7

AB CDEF

POWER ON switch

Press it to switch the FBC-7 on and off.

Note: This switch only switches on the FBC-7. To switch on the FR-7x, use its [POWER] button.

Note: If you don’t plan to use a commercially available wireless system, consider connecting the FR-7x to the FBC-7 when you need to connect it to an external amplifier. Note: Connecting jacks to these sockets does not mute the internal speakers.

PHONES socket

This is where you can connect optional stereo headphones (Roland RH-series). Connecting a pair of headphones mutes the internal speakers.

AC connector

This is where you need to connect the supplied power cable. See also page 18.

MIDI THRU/OUT/IN sockets

Use these sockets to connect the FR-7x to external MIDI gear (see p. 107).

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.

EXPRESSION PEDAL socket

This is where you can connect an optional EV-series expression pedal (see p. 58).

TO V-ACCORDION socket

Use the supplied 19-pin cable to connect this socket to your FR-7x.

Note: See also “Using the FBC-7” on p. 58 for additional functions of the FBC-7.

V-Accordion

Treble control panel

FR-7x V-Accordion

Before you start using the FR-7x

4. Before you start using the FR-7x

(9) Close the FR-7x’s battery compartment and re-

Installing the battery pack

The FR-7x comes with a rechargeable battery pack that is needs to be installed when you first unpack the FR-7x. You can also decide to use the FBC-7 instead (see “Connecting the FR-7x to the supplied FBC-7”).

(1) Set the FR-7x upright as shown in the illustration

below. (2) Prepare a coin. (3) Remove the cushion located between the Treble

keyboard and the bellows.

(4) Use the coin to loosen the two screws of the bat-

tery pack compartment cover.

Connecting the FR-7x to the supplied FBC-7

Your FR-7x comes with an FBC-7 footswitch unit that doubles as power supply for your V-Accordion and also allows you to recharge a battery pack. If the rechargeable battery pack is installed, you can also play your instrument without connecting it to the FBC-7.

Note: See “About the FBC-7” on p. 58 for details about using the FBC-7.

(1) Connect the supplied 19-pin cable to the FR-7x.

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-7x.

Turn the ring to lock the jack

and secure the connection

(5) Remove the cover from the FR-7x’s battery pack

compartment.

Note: While the compartment cover is open, the FR-7x

cannot be switched on.

(6) Pull out the battery connection cable on the right

side. (7) Connect the FR-7x’s cable to the battery pack and

insert the battery pack into the FR-7x’s compart-

ment.

Holes Protrusions

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 FR-7x’s socket.

(2) Connect the other end of the 19-in cable to the

FBC-7.

Connecting the FBC-7 to a wall outlet

This is only necessary if you connected the FR-7x to the FBC-7.

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

(1) Connect the FBC-7’s AC INLET socket to a wall out-

let.

To a wall outlet

(8) Arrange the strip on the battery pack in such a way

that it will not prevent you from installing the bat-

tery pack compartment cover.

V-Accordion

Other connections

The FR-7x can be used without any connections to either an amplification system or the FBC-7 power supply/battery charger unit.

Connecting the FR-7x to an amplification system

If you are using the supplied rechargeable battery pack and need to connect the FR-7x to a PA system or mixer, we recommend using a commercially available wireless system to avoid using excessively long signal cables. The FR-7x is equipped with an internal speaker system and therefore does not need to be connected to an amplifier at all.

You can also use a pair of headphones (Roland RH-series). See “Listening through headphones” on p. 19.

OUTPUT L/MONO (Treble) + R/MONO (Bass)

INPUT

L + R

Other connections

Use either a long signal cable (10m or more) or an optional wireless system (recommended).

The FR-7x’s sounds have been arranged in such a way as to provide a natural stereo image. If you connect the V-Accordion to a mixing console, set the PAN control of the input to which the OUTPUT L socket (treble section) is connected to “11 o’clock”. Set 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. Some-

thing like this: . This setting can be changed, however (see p. 90).

Note: The FR-7x’s OUTPUT sockets are also available if you connect the FR-7x to the FBC-7. Never connect them to any of the FBC-7’s sockets.

Note: If you use a commercially available wireless transmitter, the FR-7x’s output signals may distort. In that case, change the FR-7x’s output level (see p. 92).

B/C

Connecting the FR-7x to the supplied FBC-7 and an amplification system

If you prefer not to use the supplied battery pack, you need to connect the V-Accordion to the FBC-7 using the supplied cable. That cable powers the FR-7x, transmits pedal messages and sends the FR-7x’s audio signals to the OUTPUT L/MONO & R sockets on the FBC-7.

While using the FBC-7, there is no real need to connect the OUTPUT sockets on the FR-7x to an external amplifier. Connect the FR-7x as shown in the illustration. See also “Connecting the FR-7x to the supplied FBC-7” on p. 16.

Note: This connection is required if you wish to take advantage of the FR-7x’s MIDI functions (see p. 107).

INPUT

L + R

To a suitable

wall outlet

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

FR-7x V-Accordion

Switching the power on and off

The power-on procedure depends on whether you are using a battery pack or the FBC-7 Foot Pedal/DC Power/ Battery Charger Unit.

■ Important notes

• Before connecting the FR-7x to an amplification system, be sure to switch off both the FR-7x and the external device.

• Connect the FR-7x’s OUTPUT sockets to the line input(s) of your amplifier or mixer.

•After establishing the connections, first switch on the FR-7x, then the amplifier or mixer.

If you are using the battery pack (without the FBC-7)

Note: Only use the battery pack that either came with your

FR-7x or that you purchased from your Roland dealer. Using other batteries can severely damage the FR-7x 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.

Note: When operating on battery power the main page displays a battery icon that informs you about the remaining power (three bars means the battery pack is fully charged). The message “LOW BATTERY. PLEASE RECHARGE!” will be displayed when battery power gets too low. Replace or recharge the battery pack as soon as possible (see p. 59).

■ Turning the power on

(1) Turn the [VOLUME] knob all the way to the left to

minimize the volume.

(2) Press the FR-7’s [POWER] button to switch it on (it

lights).

If the FR-7x is connected to the FBC-7

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

■ Turning the power on

(1) Connect the FR-7x to the FBC-7 using the supplied

19-pin cable (see p. 16). Also connect the FBC-7 to a wall outlet.

(2) 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.

(3) Turn the FR-7x’s [VOLUME] knob all the way to the

left to minimize the volume.

(4) Press the FR-7x’s [POWER] button (it lights) to

switch it on.

(3) Adjust the volume to an appropriate level.

■ Turning the power off

(1) Turn the [VOLUME] knob all the way to the left to

minimize the volume.

(2) Press the [POWER] button again so that it goes

dark.

Note: Expected battery life under continuous use: Ni-MH: 8 hours. This figure will vary depending on the actual conditions of use.

The icon in the display means that the FR-7x is powered by the FBC-7.

(5) If connected, switch on your amplification system. (6) Adjust the volume to an appropriate level.

Note: This unit is equipped with a protection circuit. A brief interval (a few seconds) after power up is required before the unit will operate normally.

V-Accordion

Turning the power off

(1) Turn the FR-7x’s [VOLUME] knob all the way to the

left to minimize the volume.

(2) If connected, switch off your external amplifica-

tion system.

(3) Press the FR-7x’s [POWER] button to switch it off

(it goes dark).

The display and the [POWER] button will go dark and the power will turn off.

(4) Press the FBC-7’s [POWER¥ON] button to switch it

off.

Note: If you need to turn off the power completely, first turn off the [POWER¥ON] button, then unplug the power cord from the power outlet.

Listening through headphones

You can use headphones to enjoy the FR-7x without disturbing those around you, such as at night.

(1) Plug the optional headphones into the PHONES

socket located on the FR-7x’s connection panel.

Note: The FR-7x’s speakers are switched off when you connect headphones.

(2) Use the FR-7x’s [VOLUME] knob to adjust the head-

phone volume.

■ Cautions when using headphones

•To prevent damage to the cord’s internal conductors, avoid rough handling. When using headphones, mainly try to handle either the plug or the headset.

• Your headphones may be damaged if the volume of a device is already turned up when you plug them in. Minimize the volume before you plug in the headphones.

•Excessive input will not only damage your hearing, but may also strain the headphones. Please enjoy music at an appropriate volume.

FR-7x V-Accordion

Listening to the demo songs

5. Listening to the demo songs

The FR-7x contains indeed several 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-7x.

See “Switching the power on and off” on page 18. The display now looks more or less as follows:

Let us agree to call this page the “main page”.

(2) Simultaneously press and hold the SET [√][®] but-

tons to jump to the following display page:

(3) 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.

(5) Press [EXIT÷JUMP] (or again SET [√] and [®] simulta-

neously) to leave demo mode.

Note: All rights reserved. Unauthorized use of this material for purposes other than private, personal enjoyment is a violation of applicable laws. Note: No data for the music that is played will be output from MIDI OUT.

Playback starts automatically with the first demo song (there are 35 demo songs in all). See the table on page 126.

V-Accordion

Basic operation of the FR-7x

6. Basic operation of the FR-7x

Let us first take a look at how the FR-7x is organized and how it is operated. The FR-7x is far more powerful than even the finest accordion collection, yet the Roland engineers have done their utmost to allow even casual musicians to take advantage of its power.

•In accordion mode, it recalls a treble register of your

The sections of your FR-7x

Let’s briefly look at the various “sections” of your instrument, as that will help you understand how your V-Accordion works.

Bellows

Master bar

Bass section

Treble section

choice (see “9.8 Master Bar Recall” on p. 86).

•In orchestra mode, it switches the ORCHESTRA part on and off.

Only for the button-type model: The FR-7x’s Master bar has two functions:

•Pressing it gently allows you to set aftertouch values (on the piano-type model, aftertouch is generated by the keyboard).

•Press it more forcefully (at the end of the stroke) to use it in the same way as on the piano-type model (see above).

Registers of the bass, chord and orchestral bass/chord sections

■ Treble section (right-hand manual)

This section is normally used for playing the melody. There are two keyboard types: a piano keyboard and a button type.

The FR-7x’s treble section is velocity sensitive and also provides aftertouch.

Note: On the button-type model, aftertouch messages are generated with the Master bar.

■ Bass section

This section is normally used to play the accompaniment. It always uses buttons. There are two general categories: one is called “Stradella”, and the other “Free Bass”. The FR-7x allows you to use either type.

The “Stradella” system, also called the “standard bass system” uses the first 2 (or 3) button rows to play bass notes. The remaining button rows are used to play chords.

If you select the “Free Bass” system, all buttons are used to play chords.

The FR-7x’s bass section is velocity sensitive.

■ Bellows

The bellows is an important part of the accordion. The movement of the bellows indeed lends expression and dynamics to the sound. Several techniques are available, one of which is called “bellows shake” (rapid opening and closing movements).

The bellows’ inertia can be set with the resistance regulation and air button.

Practical information

Bellows resistance regulator

Your FR-7x is equipped with a bellows resistance regulator and air button that allows you to specify the bellows’ inertia (the force needed to push and pull it).

Bellows resistance regulator. Press and turn to select the bellows’ resistance.

Located next to one of the bellows clips and mounted onto the air button (which allows you to release remaining air from the bellows without producing sound). Each position corresponds to a lighter (turn towards “MAX”) or stronger (turn towards “MIN”) inertia. Press the wheel and rotate it to choose the setting that feels most comfortable for you.

The air button allows you to purge the remaining air from the bellows after closing it (pressing it in).

Air button. Press to purge remaining air after playing.

■ Master bar

On a traditional accordion, the Master bar recalls the “Master” register. The FR-7x allows you to use the Master bar more flexibly:

FR-7x V-Accordion

About the main page

Bass strap

The FR-7x’s bass strap, which is used to move the bellows in and out, is made of leather. Its slack can be adjusted according to your preference by rotating the adjuster (see the illustration). Turn it to one side to tighten the bass strap, and to the other to loosen it.

Adjuster

Bass strap

About the main page

With the exception of the display and the additional buttons and knobs, the FR-7x looks and feels 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-7x, 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-7x without changing any of its “internal” settings.

A typical main page display looks like this:

A B

The exact contents of the display 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:

Orchestra mode

Name and number of the currently selected Set

Battery level/power source indicator

Shows whether the FR-7x is working on the battery pack or connected to the FBC-7. If you are working with the battery pack, this field also indicates the remaining battery power.

Selected Orchestra register

A bold line below the Orchestra register number means that a sound of group “B” is selected (see “Orchestral sounds for the treble section” on p. 29).

Selected Treble register

Bass, Free Bass, Orchestra Bass, Orchestra Chord, Orchestra Free Bass register

Only one of the two available Bass sections (Free Bass or Bass) can be active at any one time.

Link symbols

These symbols mean that the Orchestra (upper entry) and Bass registers change whenever you select a different Treble register (page 68). The Bass Link function also applies to the Orchestra Chord section (or the Orchestra Free Bass section).

Part Select indicator

This indications tells you whether the Treble keyboard plays the accordion or orchestral sound.

Note: The information shown in the display may change when you rotate a knob or press a button. In such cases, however, the main page reappears after a few seconds.

V-Accordion

Using Sets

7. Using Sets

The FR-7x is a “virtual” accordion. It recreates the sounds of various accordion instruments and can even generate orchestral sounds (like trumpet, flute, etc.), organ and drum sounds.

The sections discussed on page 21 contain several functions you can set. Let us agree to call those functions “parameters”.

Each section has its own parameters. You can save your settings and recall them whenever you need them.

The various sections are combined into “Sets”. That way, you only need to select one memory (the Set) in order to save and recall the settings of all sections.

Set 80

Set 3

COMMON

Reverb Chorus

Delay Name

Icon

Master Bar

Treble

1~14

Bass 1~7

Set 2

Set 1

Free Bass

1~7

Orch. Chord

1~7

Orch. Bass

1~7

Orchestral

1~26

There are about 40 Set memories that already contain useful settings right out of the box. But you can replace them with your own settings. (And if 80 Sets are not enough, you can archive and load new sets using a USB memory).

Sets are like the trunk of a car that contains several accordion instruments (bandoneon, musette, etc.). The instruments themselves can be recalled via the registers.

There are 14 Treble registers, 7 Bass, Free Bass, Orchestra Chord, Orchestra Free Bass, and Orchestra Bass registers, and 26 Orchestra registers per Set. they allow you to change the footage combinations.

At the factory, the FR-7x’s Sets are programmed to allow you to decide whether you want to recall orchestral sounds, virtual organ sounds and/or drum sounds.

Unlike its predecessor (the FR-7), the FR-7x allows you to assign any of the 49 orchestral sounds to whichever register you like (see p. 51).

(1) Use the SET [√][®] buttons on the FR-7x or the SET

([1], [2]) footswitches on the FBC-7 (if it is connected to the FR-7x) to select the desired Set.

To play orchestral sounds (violin, saxophone, trumpet, etc.), select Set 30.

To play the FR-7x’s outstanding tonewheel organ (TW) sounds, select Set 37.

To play a drum part simply by pressing the bass and chord buttons in the bass section, select Set 36.

(2) Again press a SET [√][®] button to select other

sounds.

Direct Set selection

If you already know which Set you want to use, you can also select it directly:

(1) While the main page is displayed, press and hold

the SET [√] or [®] button.

(2) Use the treble registers [1]~[10] to enter the num-

ber of the desired Set.

Let us now look at how to select Sets, thereby recalling other accordion sounds, orchestral sounds (including tonewheel organ sounds) and drum sounds.

The [10] register is used to enter the number “0”. To select Set “1”, for instance, you need to press register [10], then register [1]. To select Set “37”, first press register [3], then register [7].

Note: If you only press one register ([5], for example), the FR-7x automatically selects that Set after ±2 seconds.

FR-7x V-Accordion

Touring the FR-7x’s accordion sections

8. Touring the FR-7x’s accordion sections

Let us now have a look at how to play the FR-7x’s accordion sounds.

These indications refer to the octaves (vertical direc-

Treble section (right hand)

The Treble section can be played using the 41-key “piano” keyboard (piano-type model) or the 92 treble buttons (button-type model).

The sound it produces is determined by the register (1~

14) you pressed last. This section can be used to play accordion sounds, orchestral sounds, or both.

tion, ) and the number of slightly detuned reeds that are used (horizontal direction, ).

The detuned reeds are only available for the central 8’ footage.

Black dots mean that the Cassotto function (see p. 66) is off, hollow dots mean that the Cassotto function is on. Here is what the registers and display indications mean (remember that the dots can either be black or white):

8–' 4'

8' 16' 8+'

Treble registers

2 / '

5 / '

Piano-type Button-type

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-7x (if necessary) and switch it on.

See pages 17 and 18.

(2) Press a treble register and start playing on the

“piano” keyboard or the treble buttons.

The FR-7x only produces sound if you move the bellows. When you don’t move the bellows, you hear nothing at all (like on an acoustic accordion).

Note: When the FR-7x is controlled via MIDI, or when the “10.2 Bellows Curves” parameter on p. 86 uses a “Fixed” setting, there is no need to move the bellows.

(3) Press one of the 14 registers to change the sound.

The display briefly confirms your setting and indicates which footage you selected.

1 BASSOON 8 MASTER

2 BANDON 9 MUSETTE

3 CELLO 10 CELESTE

4 HARMON 11 TREMOLO

5 ORGAN 12 CLARINET

6 ACCORD 13 OBOE

7VIOLIN 14 PICCOLO

On the main page, the number of the selected register appears in the TREBLE field:

V-Accordion

Using the Sordina

(4) If you think the sound is too loud or too soft,

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.

The FR-7x simulates this effect electronically. When you switch on the Sordina, the display briefly

confirms your selection:

Note: The Sordina only applies to the Treble section.

Bass and chord section (left hand)

The bass notes and chords section can be played via the “Stradella” buttons.

Bass buttons Chord buttons

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:

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 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.

The sound the bass section produces is determined by the register you press. This section can be used as “accordion”, to play orchestral sounds, or both.

(1) Connect the FR-7x (if necessary) and switch it on.

See pages 17 and 18.

(2) Grab the FR-7x, press a register and start playing

on the bass (button) keyboard.

The FR-7x only produces sound if you move the bellows.

Note: When the FR-7x is controlled via MIDI or if “10.2 Bellows Curves” on p. 86 uses a “Fixed” setting, there is no need to 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.

(3) Press another register to change the sound.

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).

FR-7x V-Accordion

Using the FR-7x’s digital effects

On the main page, the number and name 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.

(5) If you still can’t hear the bass and chord notes you

are playing, change the [BALANCE] knob’s setting.

Using the FR-7x’s digital effects

While playing, you may have noticed that the accordion sounds were enhanced by effects (probably reverb). The effect settings are part of the parameters you can save for each Set independently.

The FR-7x contains 3 digital effects that apply to all sections:

DELAY

CHORUS

REVERB

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.

Note: You can also play an orchestral sound using the chord buttons, while playing accordion with the bass buttons, and vice versa.) Note: The six buttons of the row closest to the FR-7x logo can be used to set the desired functions (see p. 88). Note: You can also assign drum sounds to the bass (and chord) buttons and play them simultaneously with the accordion sound (see p. 72).

Effect Explanation

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.

(1) Use the [DELAY], [CHORUS] or [REVERB] knob to

change the level of de corresponding effect.

Turn it counterclockwise (towards the small dot) if you don’t need the effect in question.

Turn it clockwise (towards the big dot) to increase the effect’s volume.

The display briefly shows the level you have set for the effects processor.

Note: The settings of these knobs apply to all sections.

After familiarizing yourself with the FR-7x’s parameters, you will realize that these knobs should usually only be used as a last resort (i.e. on stage).

Note: You can program the effect level for each section separately and save those settings to a Set. See pages 67, 73, 75, 77, 78, 80 and 81.

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 67, for example). The knobs described above affect the output level of the effects processors.

V-Accordion

Playing in Free Bass mode

The FR-7x provides a Free Bass mode, which is chiefly used by professionals who prefer to play the left-hand notes (Bass section) differently. In this mode, all bass buttons play bass notes – no chords.

Bass buttons

Note: See page 90 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”.

Reference caps

The FR-7x 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 buttons shown in black in the illustration below. Feel free to remove them and to slide them over other buttons if that feels more comfortable.

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

Chord buttons*

(*) This can be changed to 3 bass and 3 chord rows. See “10.8 Bass&Chd Mode” on p. 89.

Here is what the caps look like:

Slide up to remove

Reference cap

Bass buttons

The display now briefly responds with (depending on the Set you selected):

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 91 where the high range is indicated by means of black buttons, and the low range by means of white buttons.

Note: See page 90 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.

Slide over button

FR-7x V-Accordion

Playing the bass part with your right hand (Bass-to-Treble)

The FR-7x provides a mode in which it can be used like a bassoon accordion. In this mode, the bass part is played with the right hand. The bass and chord buttons are inactive (a real bassoon accordion doesn’t have bass/ chord buttons and can only be played with one hand).

(1) Switch on the FR-7x.

See “Switching the power on and off” on page 18.

(2) Press and hold the [ORCHESTRA] register and press

(3) Use the Treble registers [1]~[14] to select the

desired bass-to-treble sound.

There are seven accordion sounds and seven orchestral sounds. The numbers in the table below refer to the Treble registers you need to press.

Bass-to-Treble sounds

Accordion sounds Orchestral sounds 1 Low 8 Acous.Bs 2High 9 Bowed 3 Low+High 10 Finger Bs 4 Lw+HgLow 11 Fretless 5 LwLow+Hig 12 Picked Bs 6HighLw+Hg 13 Tuba 7 LowHigh 14 Tuba Mix

Note: Bass-to-Treble mode uses the FREE BASS (accordion sounds) and ORCHESTRA BASS (orchestral sounds). The orchestras sound assignments can be different for each Set.

(4) Start playing the bass part with your right hand. (5) Press [ORCHESTRA] + register [7] again to leave

Bass-to-Treble mode.

Note: The Bass-to-Treble mode status can be saved to the current Set.

V-Accordion

Playing the FR-7x’s orchestral sounds

9. Playing the FR-7x’s orchestral sounds

The FR-7x contains 49 orchestral sounds (of which 26 can be assigned to the registers), 32 tonewheel organ sounds for the treble section, 32 tonewheel organ sounds for the chord section and 16 tonewheel organ sounds for the bass buttons. In addition, you can play simple drum parts with your left hand.

Note: The sound name may be different on your instru-

Orchestral sounds for the treble section

The orchestral sounds of the Treble section can be played in isolation or together with the selected accordion sound.

The FR-7x’s treble section allows you to select 26 orchestral or tonewheel organ sounds for each Set (13 +

13). The first 13 sounds can be recalled by first pressing the [ORCHESTRA] register and then a register [1]~[13]. Let us agree to call this set “group A”.

The 13 sounds of the second (“group B”) can be selected by pressing the treble register in question once again.

Note: Only one orchestral sound can be selected at any one time.

(1) Press the [ORCHESTRA] register.

The display responds with:

ment.

The display briefly shows both the name of the sound you selected and the number of the register you pressed:

By default, the 26 available orchestral sounds and associated registers are:

Orchestral Treble sounds

1A Trombone 1B Trumpet 2A Tenor Sax2 2B Alto Sax 3A Clarinet 3B Oboe 4A Harmonica 4B Mute Harm 5A Violin 5B Pizzicato 6A Flute 1 6B Pan Flute 7A HighLand* 8A TIPLJAZZ 8B BLUES 9A AMERICA 9B POPULAR 10A JazzScat1 10B Strings 11A Mandolin 11B Vibe 12A Ac. Guitar 12B Nylon & Steel 13A Ac. Piano 13B El. Piano

* See “About the ‘HighLand’ and ‘Zampogna’

sounds” on p. 30.

7B Zampogna*

(2) Press one of the registers to select the desired

orchestral sound (see the table below) of the “A” group.

Press the register again to select a sound of the “B” group.

This activates the Orchestra part. The display changes:

The arrow moves from the “TREBLE” to the “ORCH” line. This means that the Treble registers can now be used to select orchestral sounds.

Note: These assignments have been programmed at the factory and can be changed (see p. 51), meaning that any orchestral sound can be assigned to any register.

(3) Play a few notes on the treble keyboard.

You will hear the selected orchestral sound.

(4) Press the [ORCHESTRA] register again to return to

the treble section’s accordion sound.

The keyboard icon in the upper right corner (see above) and the arrow return to the “TREBLE” field, which means that the treble keyboard will now play the selected accordion sound.

FR-7x V-Accordion

Orchestral sounds for the treble section

About the ‘HighLand’ and ‘Zampogna’ sounds

Your FR-7x 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.

When you select one of these sounds, the lowest octave on the Treble keyboard is assigned to the drone notes.

Can be used to play the melody.

Sound the drone notes.

Here is how the drone function works:

• If you press a single gray key (see the illustration), only that note is held. You can release the key immediately after playing the note – it will be held indefinitely.

• If you press two (or more) keys simultaneously, those notes are held (the drone function is polyphonic).

•To switch off the currently sounding drone note(s), either press another key in the gray area (switch to another drone note) or press the key(s) of the sounding drone notes again to stop the drone.

Velocity and aftertouch

■ Velocity

The treble keyboard of the piano-type model is velocity sensitive. The volume and timbre of the notes played by the ORCHESTRA section depend on how hard/fast you press the treble keys (for orchestral sounds).

Note: The Treble accordion section does not respond to velocity information generated by the keyboard. To vary its volume and timbre, simply press/pull the bellows harder and softer (like on a “real” accordion).

■ Pressure sensitivity (Aftertouch pitch)

The treble keyboard detects whether the musicians is continuing to exert pressure after the initial strike of a key.

On the button-type model, you can use the Master bar to simulate an aftertouch effect: play a note, and keep holding the corresponding button while you gently press the Master bar.

For some orchestral sounds and the treble accordion section, this effect allows you to bend the pitch down (temporarily lower the note), see “2.11 Aftertouch Pitch” on p. 67.

If you select an organ sound, aftertouch can be used to switch between the fast and slow Rotary effect speeds.

Note: This aftertouch effect applies to all notes that are sounding simultaneously. (MIDI buffs call this “channel aftertouch”.)

Selecting ORCHESTRA mode

The selected ORCHESTRA sound can be played in isolation or together with the treble accordion sound. There are several combinations: SOLO, DUAL, HIGH and LOW.

(1) Press and hold the [ORCHESTRA] register and press

treble register [11], [12], [13] or [14] to select the desired mode.

■ SOLO mode (register [14])

When you switch on the ORCHESTRA section (by pressing the [ORCHESTRA] register and selecting a sound), you only hear the orchestral instrument sound. Press CANCEL [14] to return to the Treble accordion sound.

■ DUAL mode (register [13])

The orchestral sound is added to the treble accordion. Each note you play sounds an accordion and 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 mode (register [12])

If you select this mode and play just one note, you hear the orchestral sound. If you keep holding that key or button while pressing another (lower) key or button to its left, the highest note (the one you keep holding) 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.

Quickly adding and muting the orchestral sound

V-Accordion

Something like this:

Played by the Orchestra sound

Played by the accordion

Lower notes are

played by the accor-

dion section.

This note is played by

the ORCHESTRA sec-

tion

■ LOW mode (register [11])

This is the opposite of HIGH: notes above the one whose key you are holding down are sounded by the accordion register. This 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

The keyboard icon in the “ORCH” field appears when the ORCHESTRA section is on, and disappears when the ORCHESTRA section is off (see the illustration below).

Look 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:

(1) Switch on the ORCHESTRA part.

See “Orchestral sounds for the treble section” on p. 29.

(2) On the main page, press the [DOWN] button once.

The display briefly confirms your selection.

(2) Again play a few notes and listen to the result.

Note: The ORCHESTRA mode setting can be saved to a Set (see p. 103). 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 ORCHESTRA sound to it when you repeat such a phrase.

Note: The following switches the Orchestra part on and off in DUAL, HIGH or LOW mode. The treble accordion part goes on sounding, however.

(1) Press the Master bar that protrudes from under-

neath the Treble keyboard to switch the ORCHESTRA part on or off.

DOWN

(3) Use the [DATA÷ENTER] knob to set the desired

value.

This parameter has a setting range of “Off”, –40~+40. The “STD” means that the Orchestra part uses its “normal” volume. Negative values (–) make the ORCHESTRA part softer, while positive values (+) make it louder.

(4) Return to the main page by pressing [EXIT÷JUMP].

To return to a state where only the Treble accordion section sounds:

(5) Press the [CANCEL] register to turn the FR-7x into a

normal accordion again.

To activate the ORCHESTRA part again, repeat steps (1) and (2) on page 29.

FR-7x V-Accordion

Orchestral sounds for the bass section

The FR-7x’s orchestral functionality actually comprises four sections: one for the Treble keyboard (called “Orchestra”) and three for the Bass buttons (called “Orchestra Bass/Orchestra Chord/Orchestra Free Bass”).

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). Again, the assignments programmed at the factory can be replaced with your own preferred assignments. Furthermore, you can assign TW organ sounds to the bass registers (see p. 52).

The ORCH BASS part 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”.

[7] [6] [5] [4] [3] [2] [1]

Setting the volume of the ORCH BASS sound

There may be times when the Orchestra Bass sound is too loud or too soft with respect to the other sounds you can play simultaneously. In that case, you can change the ORCH BASS section’s volume:

(1) Select ORCH BASS mode by simultaneously press-

ing the three registers labeled “ORCH BASS”.

(2) On the main page, press the [DOWN] button three

times.

DOWN

The display shows:

Note: The numbers shown in the illustration above do not appear on the registers themselves. They have been added for your reference.

The display now briefly responds with an image similar to the following:

(2) Use the Bass registers to select the desired sound.

Orchestra Bass sounds

1 Acous.Bs 5 Picked Bs 2* Bowed* 6* Tuba* 3Finger Bs 7 Tuba Mix 4Fretless

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 “10.16 Orchestra Bs&Ch Touch” on p. 92.

(3) Press the three ORCH BASS registers again to

return to normal bass mode.

(3) Rotate the [DATA÷ENTER] knob to set the desired

value.

This parameter has a setting range of “Off”, –40~+40. “STD” means that the ORCH BASS part uses its “normal” volume. Negative values (–) make the ORCH BASS part softer, while positive values (+) make it louder.

(4) Return to the main page by pressing [EXIT÷JUMP].

Note: You can also assign drum sounds to the bass buttons and play them simultaneously with the orchestral sound (see “3.7 Bass Drum” on p. 72).

(5) Press the three ORCH BASS registers again to

return to the normal Bass mode.

V-Accordion

Orchestral sounds for the Chord section

The ORCH CHORD part can replace the accordion sound played by the chord rows of the bass keyboard.

The ORCH CHORD part only applies to the chord rows and has no effect on the bass rows. The ORCH CHORD part is not available in Free Bass mode (because there are no chord buttons in that mode).

(1) Simultaneously press the three registers in the

middle (“ORCH CHORD”).

[7] [6] [5] [4] [3] [2] [1]

Note: The numbers shown in the illustration above do not appear on the registers themselves. They have been added for your reference.

The display now briefly responds with an image similar to the following:

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:

(1) Simultaneously press the three registers in the

middle (“ORCH CHORD”).

(2) Press the [EXIT÷JUMP] button to return to the main

page.

(3) On the main page, press the [DOWN] button twice.

DOWN

The display shows:

(2) Use the Bass registers to select the desired sound.

ORCH CHORD sounds

1 Trombone 5 Jazz Scat1 2Alto Sax 6 Ac. Guitar 3Clarinet 7 Ac. Piano 4 TYPLJAZZ

(3) Press the three registers in the middle (“ORCH

CHORD”) again to return to normal chord mode.

(4) Use the [DATA÷ENTER] knob to set the desired

value.

This parameter has a setting range of “Off”, –40~+40. “STD” means that the ORCH CHORD part uses its “normal” volume. Negative values (–) make the ORCH CHORD part softer, while positive values (+) make it louder.

(5) Return to the main page by pressing [EXIT÷JUMP]. (6) Press the three registers in the middle (“ORCH

CHORD”) again to return to normal (accordion) chord mode.

FR-7x V-Accordion

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.

(1) Simultaneously press the three registers labeled

“FREE BASS” to switch to the accordion mode of the same name.

This is not necessary if you are already in Free Bass mode.

(2) Simultaneously press the three registers in the

middle (“ORCH FREE BS”).

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:

(1) On the main page, press the [DOWN] button four

times.

DOWN

The display shows:

[7] [6] [5] [4] [3] [2] [1]

Note: The numbers shown in the illustration above do not appear on the registers themselves. They have been added for your reference.

The display now briefly responds with an image similar to the following:

(3) Use the Bass registers to select the desired sound.

ORCH FREE BS sounds

1Trombone 5 TYPLJAZZ 2Clarinet 6 Ac.Guitar 3 Oboe 7 Ac.Piano 4Flute1

Note: This volume setting cannot be changed if the ORCH FREE BS sound is not in use.

(2) Use the [DATA÷ENTER] knob to set the desired

value.

This parameter has a setting range of “Off”, –40~+40. “STD” means that the ORCH FREE BS part uses its “normal” volume. Negative values (–) make the ORCH FREE BS part softer, while positive values (+) make it louder.

You can save the new value (and the remaining changes you make). See page 103.

(3) Return to the main page by pressing [EXIT÷JUMP]. (4) To switch off the ORCH FREE BS section, press the

“ORCH FREE BS” registers again to return to normal Free Bass mode.

Press them yet again to leave Free Bass mode and return to Bass mode.

V-Accordion

Other practical functions

10. Other practical functions

Let us now have a look at the first “purely electronic” functions of your FR-7x. In this chapter, we will discuss functions that may be new to you but may come in handy once you know what they do and how they work.

The setting range is –6~+5 semi tones. Select “0” to

General remark

The functions discussed below can be selected via the front panel, because you may need them at regular intervals.

Any changes you make are not saved automatically. If you want to keep them, you must save them (see p. 103).

Note: The functions discussed in this chapter can also be set using the FR-7x’s menu.

Transpose

The FR-7x 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:

switch off the transposition.

(3) Press [EXIT÷JUMP] to return to the main page.

Musette Detune

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-7x, however, “tuning” the “reeds” (that do not really exist) is a matter of turning the [DATA÷ENTER] knob.

Note: This function is only available for the treble section.

(1) While the main page is displayed, press the [UP]

button twice.

This is what you play…

Transpose

…and this is how it sounds.

(1) While the main page is displayed, press the [UP]

button once.

DOWN

(2) Rotate the [DATA÷ENTER] knob to select the a dif-

ferent tuning for the treble “reeds”.

The possibilities are: Off (no detune), Dry, Classic, FFolk, American L, American H, North Eu, German L, DFolk L, Italian L, German H, Alpine, Italian H, D-Folk H, French, Scottish.

(3) Press [EXIT÷JUMP] to return to the main page.

(2) Rotate the [DATA÷ENTER] knob to select the desired

key (transposition).

FR-7x V-Accordion

Scale (Tuning)

Almost every 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-7x 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 “1.4 Scale Edit” on p. 64), save it to a User1~3 memory and then select it here.

(1) While the main page is displayed, press the [UP]

button three times.

DOWN

Scale Description

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, this tuning system 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) Rotate the [DATA÷ENTER] knob to select the a dif-

ferent tuning system.

The possibilities are:

Scale Description

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. 64 for details.

Arabic 1 & 2 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 compro-

mises to the just temperament and facilitates transposition.

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.

An accordion, produces mechanical valve and button noises (clicks) that cannot be suppressed on an acoustic instrument.

On the FR-7x, the volume of those noises can be changed if you think they are too prominent or too soft. Note that the parameters on the page shown below belong to two different MENU sections and can be found on separate menu pages: “Valve Level” is a Treble parameter, “Button Level” is a Bass/Free Bass parameter.

V-Accordion

Noise Edit (Valve & Button)

■ Bass Button Valve Noise edit

(1) While the main page is displayed, press the [UP]

button five times.

DOWN

■ Treble Valve Noise edit

(1) While the main page is displayed, press the [UP]

button four times.

DOWN

(2) Rotate the [DATA÷ENTER] knob to select the desired

noise level.

This parameter has a setting range of “Off’, –40~+40. A negative (–) value decreases the level of the 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.

(3) Press the [DATA÷ENTER] knob to select the “TYPE”

parameter and rotate it to select the accordion type.

The possibilities are: Bandoneon, I-Folk, I-Folk 2, Classic, Cajun, Jazz, F-Folk, D-Folk, Organetto, F-Folk 2, Classic 2, Studio, Tradition, Steierische, OldItaly, TexMex, Trikitixa, F-Jazz, Classic 3, Bajan.

(4) Press [EXIT÷JUMP] to return to the main page.

(2) Rotate the [DATA÷ENTER] knob to select the desired

noise level.

(3) Press the [DATA÷ENTER] knob to select the “TYPE”

parameter and rotate it to select the accordion type.

(4) Press [EXIT÷JUMP] to return to the main page.

Note: This parameter has no effect on the FREE BASS, ORCH BASS or ORCH FREE BASS sections.

FR-7x V-Accordion

Using the audio player

11. Using the audio player

Your FR-7x is equipped with a USB port to which you can connect an optional USB memory. The audio files on such an optional USB memory can be played back through the FR-7x’s internal speakers (and transmitted to its audio outputs). In addition, you can record your playing as audio data in the WAV format (see “Recording your performance as audio data” on p. 47).

Connecting an optional USB memory

(1) Put the FR-7x down (if you are currently playing it)

and turn it around.

The FR-7x’s USB port is located next to the battery compartment.

(2) Press the two sides of the USB compartment cover

(where it says “PRESS TO OPEN”) and pull the cover open.

The compartment opens, revealing the location where the USB memory needs to be inserted.

Playing back audio files

The FR-7x can play back audio file in the mp3 and WAV format only directly from a USB memory you connect. See page 8 for a description of supported files.

Playing back audio files

(1) Press and hold the [ORCHESTRA] register and press

If you already loaded a song, the display jumps to the “AUDIO PLAYER” page. In that case, press the [EXIT÷JUMP] button to view the contents of your USB memory.

(2) If the songs are located inside a folder, select the

folder by rotating the [DATA÷ENTER] knob and pressing it to view the folder’s contents.

You can also select the “(level up)” entry and press the [DATA÷ENTER] knob to return to a higher level (i.e. leave the current folder).

(3) Rotate the [DATA÷ENTER] knob to select the audio

file you want to listen to.

(3) Insert an optional USB memory with the mp3 or

WAV file you want to play back into the port.

The USB memory can only be connected in one direction. Insert the USB memory without applying excessive force.

(4) Close the USB compartment cover.

(4) Press the [DATA÷ENTER] knob to confirm your

selection.

The display changes to:

(5) Press the [DATA÷ENTER] knob to start playback.

You can play the FR-7x while listening to the audio file.

Note: Playback can also be started and paused with an FBC-7 footswitch (see p. 88)

(6) To pause playback, rotate the [DATA÷ENTER] knob

to select the [π] icon, then press [DATA÷ENTER].

To continue playback, select the [®] icon with the [DATA÷ENTER] knob, then press the knob to start

playback.

(7) To stop playback, rotate the [DATA÷ENTER] knob to

select the [ª] icon, then press [DATA÷ENTER].

(8) To move to a different position, rotate the

[DATA÷ENTER] knob to select one of the following icons and press it.

Icon Meaning

V-Accordion

Changing the playback volume

Playlist function

The Playlist function allows you to prepare lists of mp3 and/or WAV audio files you want to play back in succession.

Programming your playlists

Note: Playlists “know” where the referenced audio files are

stored (they remember the file path). We therefore urge you never to move mp3 or WAV files to different locations after compiling a playlist.

(1) Insert the optional USB memory that contains the

desired song files into the USB port.

See “Connecting an optional USB memory” on p. 38.

(2) Press and hold the [ORCHESTRA] register and press

[º]

[œ]*

[‰]

[Œ]*

* This function can also be assigned to an FBC-7 footswitch (see

p. 88).

Rewind in steps of 2 seconds

Return to the beginning of the selected audio file. If you press the [DATA÷ENTER] knob again, you will jump to the beginning of the preceding song (in descending alphabetical order).

Fast-forward in steps of 2 seconds.

As for [œ], but the alphabetical order is reversed (ascending).

(9) To select a different song, press the [EXIT÷JUMP]

button and return to step (3).

Changing the playback volume

You can simply press the [UP]/[DOWN] buttons to change the song’s volume. A second approach is as follows:

(1) While the “AUDIO PLAYER” page is displayed,

rotate the [DATA÷ENTER] knob to select the [VOL] icon.

(2) Press the [DATA÷ENTER] knob.

The display changes to:

If you haven’t loaded any playlist since switching on the FR-7x, the display may now show the names of the playlists already available on the USB memory.

If you have loaded a playlist, press the [EXIT÷JUMP] button to see the contents of the USB memory.

(3) Press the [MENU÷WRITE] button.

(4) Press the [DATA÷ENTER] knob to confirm the new

playlist.

You have just created a new playlist, which is still empty and therefore looks like this:

(3) Rotate the [DATA÷ENTER] knob to change the “VOL-

UME” setting (0~127).

(4) Press the [EXIT÷JUMP] button to return to the

“AUDIO PLAYER” page.

Playlists consist of “steps” to which you can assign one song each.

(5) Press the [DATA÷ENTER] knob.

FR-7x

V-Accordion

Saving your playlist

The display shows:

(6) If the song you want to assign is located in a

folder, rotate the name of the folder, then press the knob.

Note:

To leave the current folder and return to a higher

level, select the “.. (level up)” entry at the top.

(7) Select the song by rotating the (8) Press the

tion.

This takes you back to the following page. The song is assigned to step 01 and step 02 becomes the last one of your list (-----END-----):

(9) Select the “-----END-----” line and repeat steps

(5)~(8) above to add the required song steps.

[DATA÷ENTER]

knob to confirm you selec-

knob to select the

[DATA÷ENTER]

knob.

Naming the playlist

(3) Press the

The display changes to:

(4) Rotate the

in the bottom line.

The first character of the default name is already selected (see the dark line below the first character).

(5) If necessary, select a different character position

(indicated by a dark line) by rotating the

[DATA÷ENTER]

(6) Press the

selection.

[DATA÷ENTER]

knob.

[DATA÷ENTER]

knob.

knob to select the name

knob to confirm your

Saving your playlist

Preparation for saving

(1) After compiling your playlist, and while the “EDIT”

page is displayed, press the

The display changes to:

The name of the selected playlist appears next to the “EDIT” message (top line).

(2) Rotate the

then press the

The display changes to:

[DATA÷ENTER]

[MENU÷WRITE]

knob to select “SAVE”,

knob.

button.

The selected character position is indicated by means of a dark underscore character.

(7) Rotate the

character, then press the knob to confirm your setting.

The new character now appears on a white background.

(8) Repeat steps (5)~(7) above to enter the remaining

characters.

■

Deleting characters

(1) To delete a character, select it by rotating the

[DATA÷ENTER]

The selected character is indicated by means of a dark underscore character.

(2) Press the

The FR-7x automatically selects the “Ins” icon.

[DATA÷ENTER]

knob.

[EXIT÷JUMP]

knob to select the desired

button.

V-Accordion

Saving the playlist

(3) Rotate the [DATA÷ENTER] knob towards the left to

select [Del].

(4) Press the [DATA÷ENTER] knob to delete the selected

character.

All characters behind the character you have just deleted move one position to the left to close the gap.

(5) To go on entering your name, rotate the

[DATA÷ENTER] knob to select the name field (bottom line).

■ Inserting characters

To insert a character before the currently selected character and push all subsequent characters one position to the right, select the character that should follow the character you are about to insert.

Example: To insert a character before the “s” in “Lovesong” (creating the name “Love song”), position the cursor on the “s”. Here is the complete procedure:

(1) Select the name field (bottom line). (2) Select the position where a character should be

inserted by rotating the [DATA÷ENTER] knob.

The selected character position is indicated by means of a dark underscore character.

(3) Press the [EXIT÷JUMP] button.

The FR-7x automatically selects the [Ins] icon.

(4) Press the [DATA÷ENTER] knob to insert an “A”.

Saving the playlist

On the “PLAYLIST SAVE” page you can also specify where the file should be saved on your USB memory.

(1) Press the [EXIT÷JUMP] button.

The FR-7x automatically selects the [Ins] icon.

(2) Rotate the [DATA÷ENTER] knob towards the left to

select [FOLDER].

Note: Skip to step (6) if you don’t need to select a folder, because you want to save the file in the current folder.

(3) Press the [DATA÷ENTER] knob to jump to the fol-

lowing page:

The display shows a page with an “OK” field and the folders.

(4) If you want to save your playlist in a different

location, rotate the [DATA÷ENTER] knob to select the location and press [DATA÷ENTER] to confirm your selection.

To save the playlist at the highest (root) level, rotate the [DATA÷ENTER] knob to select the “.. (level up)” entry.

(5) Press the [DATA÷ENTER] knob on the “OK” field to

confirm your selection.

(6) Press the [MENU÷WRITE] button to save your play-

list.

The display asks you to confirm your intention.

All characters on and after the current position move one position to the right.

(5) Rotate the [DATA÷ENTER] knob to select the char-

acter that should replace the “A”.

(6) Press the [DATA÷ENTER] knob to confirm your

selection.

If you don’t want to save your file, press [EXIT÷JUMP] to return to the “PLAYLIST SAVE” page.

(7) Again press the [MENU÷WRITE] button.

If a file of the same name already exists, you are asked whether you want to overwrite it.

To do so, press [MENU÷WRITE] again. The display briefly shows a “Function complete” mes-

sage and then returns to the “PLAYLIST SAVE” page.

FR-7x V-Accordion

Using playlists

(8) Press the [EXIT÷JUMP] button several times to

return to the main page.

Note: This only saves the playlist (i.e. the references to existing song files). The song files themselves are not saved. On the other hand, if you delete a song that is referenced by a playlist step, playback stops at that (empty) step during playback and the “Song not found” message appears.

Using playlists

Here’s how playlists can be used for your performances:

(1) Insert the optional USB memory that contains the

playlist file (and songs) you need into the USB port.

(2) Press and hold the [ORCHESTRA] register and press

(7) If you want to start with the first song, press the

[DATA÷ENTER] knob.

Otherwise, rotate the [DATA÷ENTER] knob to select the desired song step from your playlist, then press the knob.

The display changes to:

The following functions are available:

Icon Explanation

[®]/

Allows you to play back/pause playback the cur-

[π]

rent step. This icon changes to [π] during playback.

[ª] Allows you to stop playback. If the “CHAIN” func-

tion is on, the mp3 player jumps to the beginning of the next mp3 file.

[º] Allows you to rewind.

[‰] Allows you to fast-forward.

[œ] Allows you to return to the beginning of the previ-

ous step (mp3 file). If you do so while playback is running, the mp3 player returns to the beginning of the current step (press it twice to jump to the beginning of the preceding step).

If you haven’t loaded any playlist since switching on the FR-7x, the display may now show the names of playlists already available on the USB memory. If you have loaded a playlist and you want to use another one, press the [EXIT÷JUMP] button to see the contents of the USB memory.

(3) Rotate the [DATA÷ENTER] dial to select the playlist

you want to use.

(4) If the playlist you want to use is located in a folder,

rotate the [DATA÷ENTER] knob to select the name of the folder, then press the [DATA÷ENTER] knob.

(5) Select the playlist by rotating the [DATA÷ENTER]

knob.

(6) Press the [DATA÷ENTER] knob to confirm you selec-

tion.

[Œ] Allows you to jump to the beginning of the next

step (mp3 file). If you do so while playback is running, the next song will be played back as soon as the current step is finished.

(8) Press the [DATA÷ENTER] knob to start playback.

If the “CHAIN” function (see p. 45) is set to “CHAIN PLY”, the next song file is selected automatically at the end of the current step. (If you stop playback halfway into the song, then start it again, the next step is played back.)

If the “CHAIN” function is set to “CHAIN STP”, playback stops at the end of the current step, the next step is loaded, but playback needs to be started using the [®] icon. (If you pause playback halfway into the song, then start it again, playback resumes from the place where you stopped it.) If you stop playback manually, the song of the next step is selected.

(9) To select another playlist step by hand, press and

hold the [ORCHESTRA] register and press register [9], then continue with step (7) above.

(10) Press the [EXIT÷JUMP] button several times to

return to the main page.

The display shows the names of the songs used in the selected playlist.

Editing playlists

If, while programming or using a playlist, you notice that one song is missing from the list, or if you decide not to use a given song file after all, you can edit your playlist.

(1) See steps (1)~(6) below “Using playlists” on p. 42. (2) Press the [MENU÷WRITE] button.

The display changes to:

(3) Rotate the [DATA÷ENTER] knob to select “EDIT”,

then press the [DATA÷ENTER] knob.

The display changes to:

Adding steps

To add a step and assign a song to it:

(a) Rotate the [DATA÷ENTER] knob to select the

“-----END-----” message and press the [DATA÷ENTER] knob.

V-Accordion

(e) Press the [MENU÷WRITE] button to call up the fol-

lowing window:

(f) Rotate the [DATA÷ENTER] knob to select the [UP] or

[DOWN] icon.

Note: The “DOWN” function has no effect on the last step of your playlist.

(g) Press the [DATA÷ENTER] knob once or several times

to move the selected step to the desired position. (h) Press [EXIT÷JUMP] to see the list of songs. (i) To save the playlist, see “Saving your playlist” on

p. 40.

Note: There is also a faster way to move steps: in step (d),

press the [UP]/[DOWN] buttons to move the selected song.

Editing playlists

Assigning a different song to an existing step

You can insert a step between two existing steps.

(a) Perform steps (1)~(3) under “Editing playlists”. (b) Rotate the [DATA÷ENTER] knob to select the step

before which you want to insert a new step.

lowing page:

(b) Rotate the [DATA÷ENTER] knob to select the song

you want to assign to the first step.

• If the song you want to assign is located in a folder, rotate the [DATA÷ENTER] knob to select the name of the folder, then press the [DATA÷ENTER] knob.

• Select the song by rotating the [DATA÷ENTER] knob.

tion.

This takes you back to the following page. The song is assigned to the last step of your list, followed by the “-----END-----” message:

If you also need to move the new step…

(d) Rotate the [DATA÷ENTER] knob to select the song

step you have just added and press [DATA÷ENTER].

(e) Rotate the [DATA÷ENTER] knob to select the [SONG]

icon.

(f) Press the [DATA÷ENTER] knob.

(g) Rotate the [DATA÷ENTER] knob to select the song

you want to assign to the first step.

• If the song you want to assign is located in a folder, rotate the [DATA÷ENTER] knob to select the name of the folder, then press the [DATA÷ENTER] knob.

• Select the song by rotating the [DATA÷ENTER] knob.

(h) Press the [DATA÷ENTER] knob to confirm you selec-

tion.

This takes you back to the following page.

FR-7x V-Accordion

Editing playlists

The step you selected above now moves down and makes room for the new step.

(i) See “Saving your playlist” on p. 40.

Deleting steps

You can also delete playlist steps you no longer need.

(a) Perform steps (1)~(3) under “Editing playlists” on

p. 43

(b) Rotate the [DATA÷ENTER] knob to select the step

you want to delete.

lowing window:

(e) Rotate the [DATA÷ENTER] knob to select the

[REMOVE] icon.

(f) Press the [DATA÷ENTER] knob to confirm you selec-

tion.

This takes you back to the following page.

Your playlist file is now empty and can be reprogrammed.

(e) See “Saving your playlist” on p. 40 if you want to

save your empty playlist.

The step you selected above is deleted. All subsequent steps now move up one entry. Exam-

ple: if you delete step 04 of a list that contains 10 steps, step 05 becomes 04, step 06 becomes 05, etc.

(g) See “Saving your playlist” on p. 40.

Clearing all steps

It is also possible to remove selected playlist. In effect, this means that only the name is preserved, while the list can/must be programmed again.

(a) Perform steps (1)~(3) under “Editing playlists” on

p. 43

(b) Press the [MENU÷WRITE] button to call up the fol-

lowing window:

“CLEAR ALL”.

(d) Press the [DATA÷ENTER] knob to confirm you selec-

tion.

all

steps from the currently

V-Accordion

Managing playlists

Playlists can be renamed and deleted. You can also specify how the songs of a playlist should be played back (once or several times).

General procedure

(1) Insert the optional USB memory that contains the

desired playlist and songs into the USB port.

See “Connecting an optional USB memory” on p. 38.

(2) Press and hold the [ORCHESTRA] register and press

Specifying the playback behavior (Chain)

Playlists are “merely” lists that allow you to prepare the desired audio songs for your performances. By default, you need to select the next song in the list and start playback by hand. You can, however, “automate” playlist playback using the “CHAIN” function.

(a) Perform steps (1)~(5) under “General procedure”. (b) Rotate the [DATA÷ENTER] knob to select “CHAIN”.

The display changes to:

one of the following options:

CHAIN option Meaning

CHAIN OFF At the end of the current playlist step, the

audio player stops. Rotate the [DATA÷ENTER] knob to select another step, then start playback. (If you start playback again without selecting a different step, the same song file is played back again.)

The display may now show the names of playlists already available on the USB memory. If you don’t see a page similar to the one shown above, press the [EXIT÷JUMP] button.

(3) Rotate the [DATA÷ENTER] dial to select the playlist

you want to rename or delete.

(4) Press the [DATA÷ENTER] knob to confirm you selec-

tion.

(5) Press the [MENU÷WRITE] button.

The display changes to:

CHAIN STP The next song file is selected automati-

cally at the end of the current step but playback of the next step needs to be started by hand. (If you stop playback halfway into the song, then start it again, the next step is played back.)

CHAIN PLY The next song file is selected automati-

cally at the end of the current step and playback of the new step starts automatically. (If you stop playback halfway into the song, then start it again, the following step is played back.)

(d) Press the [EXIT÷JUMP] knob to return to the previ-

ous page.

Repeating all playlist steps (Repeat)

The FR-7x also allows you to specify whether the selected playlist should be played once or repeatedly:

(a) Perform steps (1)~(5) under “General procedure”. (b) Rotate the [DATA÷ENTER] knob to select “REPEAT”.

The display changes to:

FR-7x V-Accordion

Managing playlists

options:

CHAIN option Meaning

REPEAT ON At the end of the last playlist step, play-

back will resume from the beginning until you stop it. (This option is only useful if you set the “CHAIN” function to “CHAIN PLY”.)

REPEAT OFF The audio player stops at the end of the

last playlist step.

(d) Press the [EXIT÷JUMP] knob to return to the previ-

ous page.

Deleting a playlist

Playlists you no longer need can be deleted. This only disposes of the list file – the audio files it refers to remain on the USB memory.

(a) Perform steps (1)~(5) under “General procedure”

on p. 45.

(b) Rotate the [DATA÷ENTER] knob to select “DELETE”.

The display changes to:

(d) Rotate the [DATA÷ENTER] knob towards the right

until the display looks as follows (the name must be selected):

The first character is already selected (see the dark line below the first character).

(e) If necessary, select a different character position

(indicated by a dark line) by rotating the [DATA÷ENTER] knob.

(f) Press the [DATA÷ENTER] knob to confirm your

selection.

The display shows the “Push ENTER to proceed” message.

Press the [EXIT÷JUMP] button to leave this page without deleting the playlist.

(6) Press the [DATA÷ENTER] knob to delete the playlist.

The display briefly shows a “Function Complete” message.

Note: Even if you delete the selected list, this “only” disposes of the playlist proper. The mp3 and WAV files assigned to the list are not deleted and can thus be used in isolation or assigned to new/other playlists.

(a) Press the [EXIT÷JUMP] button several times to

return to the main page.

Renaming a playlist

You can also change the name of an existing playlist.

(a) Perform steps (1)~(5) under “General procedure”

on p. 45.

(b) Rotate the [DATA÷ENTER] knob to select “RENAME”,

then press the [DATA÷ENTER] knob.

The display changes to:

The selected character position appears on a dark background and is indicated by means of a white underscore character.

(g) Rotate the [DATA÷ENTER] knob to select the desired

character, then press the knob to confirm your setting.

The new character now appears on a white background.

(h) Repeat steps (e)~(g) above to enter the remaining

characters.

You can also delete and insert characters (see p. 41).

(i) Press the [MENU÷WRITE] button to save your

renamed playlist.

The display asks you to confirm your intention.

If you don’t want to save your file, press [EXIT÷JUMP] to return to the “PLAYLIST SAVE” page.

(j) Again press the [MENU÷WRITE] button.

Recording your performance as audio data

12. Recording your performance as audio data

Your FR-7x allows you to record your playing as an audio file.

The display now shows a “Flushing!” message to indi-

Recording

(1) Prepare everything you want to record.

Select the Set you want to use, and the registers for the left and right hands, etc.

(2) Insert the optional USB memory that should con-

tain your audio recording into the FR-7x’s USB port.

(3) Press and hold the [ORCHESTRA] register and press

cate that the audio data are being prepared in such a way that they can be saved. Next, the display page shown below appears…

Saving your recording

Here is how to save the recording you have just made.

When the “Flushing!” message disappears, the display changes to:

V-Accordion

(4) Rotate the [DATA÷ENTER] knob to select the [i] icon,

then press the [DATA÷ENTER] knob. The FR-7x calculates the remaining time available and goes to the following page:

Check whether the remaining recording time is enough for the piece you want to record. If it is not, remove the optional USB memory and select another one.

(5) Wait for the “AUDIO RECORDER” page to reappear. (6) Play a few notes to check whether the FR-7x

sounds the way you want it to.

(7) Press the [DATA÷ENTER] knob to start recording.

A “Recording” message appears in the display to signal that everything you play will be recorded.

Also, the FR-7x has already selected the [ª] icon.

Note: Recording can also be started and stopped with an FBC-7 footswitch (see “REC Start/Stop” on p. 88).

Note: You cannot start recording while the player is playing back a song. If you try it nevertheless, the display will show the “Cannot execute. Audio playback is ON.” message.

(8) At the end of the song, press the [DATA÷ENTER]

knob once again to stop recording.

(1) Press the [DATA÷ENTER] knob. (2) Rotate the [DATA÷ENTER] knob to select the name

field at the bottom.

The first character of the default name is already selected (see the dark line below the first character).

(3) If necessary, select a different character position

(indicated by a dark line) by rotating the [DATA÷ENTER] knob.

(4) Press the [DATA÷ENTER] knob to confirm your

selection.

The selected character position is indicated by means of a dark underscore character.

(5) Rotate the [DATA÷ENTER] knob to select the desired

character, then press the knob to confirm your setting.

The new character now appears on a white background.

(6) Repeat steps (3)~(5) above to enter the remaining

characters.

(7) Press the [MENU÷WRITE] button to save your

recording.

The display asks you to confirm your intention (“Press WRITE to proceed”). If you don’t want to save your file, press [EXIT÷JUMP].

FR-7x V-Accordion

Saving your recording

(8) Again press the [MENU÷WRITE] button.

If a file of the same name already exists, you are asked whether you want to overwrite it. To do so, press [MENU÷WRITE] again.

The display briefly shows a “Function complete” message and then returns to the “AUDIO RECORDER” page.

(9) Press the [EXIT÷JUMP] button to return to the main

page.

(10) See page 38 for how to listen to your file.

In case you decide not to save the audio file…

There may be times when you are unhappy about your recording and therefore prefer not to save it. In that case, proceed as follows:

(1) If you are still recording, press the [DATA÷ENTER]

knob to stop the recorder.

The display now shows a “Flushing!” message, and the the following page appears:

(2) Press the [EXIT÷JUMP] button.

The following warning appears:

(3) Press the [DATA÷ENTER] knob to erase your record-

ing and return to the “AUDIO RECORDER” page, or

if you change your mind and wish to save the recording after all, press the [EXIT÷JUMP] button.

V-Accordion

Managing audio ﬁles on a USB memory

13. Managing audio files on a USB memory

The FR-7x provides several functions that allow you to manage the files on the connected USB memory. Especially the “DELETE” function may be useful to dispose of recordings you don’t want to keep after all.

(1) If necessary, insert the optional USB memory that

contains the desired song file into the USB port.

See “Connecting an optional USB memory” on p. 38.

(2) Press and hold the [ORCHESTRA] register and press

If the display already shows the playback controls, press the [EXIT÷JUMP] button to select the page shown above.

(3) Rotate the [DATA÷ENTER] knob to select the song

file you want to delete or rename.

It means that you cannot select any function. Press the [EXIT÷JUMP] button to return to the list window and select the file you want to delete.

then press the [DATA÷ENTER] knob.

The display changes to:

Note: Be aware that a deleted audio file cannot be recalled.

(d) Press the [DATA÷ENTER] knob to confirm your

selection.

The display briefly shows the “Function complete” message.

Note: Press the [EXIT÷JUMP] button if you decide not to delete the selected file.

(e) Press the [EXIT÷JUMP] button to return to the main

page.

Deleting a song file

Song files you no longer need (recordings you do not want to keep, for instance) can be deleted.

(a) Perform steps (1)~(3) under “Managing audio files

on a USB memory”.

(b) Press the [MENU÷WRITE] button to select the fol-

lowing page:

If no song file is selected, the menu page looks as follows:

Renaming a song file

You can also change the name of an existing song.

(a) Perform steps (1)~(3) under “Managing audio files

on a USB memory”.

(b) Press the [MENU÷WRITE] button to select the fol-

lowing page:

If “DELETE” and “RENAME” are displayed in gray, no song file was selected. In that case, first select a song and then repeat the procedure.

then press the [DATA÷ENTER] knob.

The display changes to:

FR-7x V-Accordion

Managing audio ﬁles on a USB memory

(d) Press the [DATA÷ENTER] knob.

(e) Rotate the [DATA÷ENTER] knob until the file name

(bottom line) is selected:

The first character is already selected (see the dark line below the first character).

(f) If necessary, select a different character position

(indicated by a dark line) by rotating the [DATA÷ENTER] knob.

(g) Press the [DATA÷ENTER] knob to confirm your

selection.

(m) If necessary, use the [DATA÷ENTER] knob to select

the location where you want to save your file.

(n) Press the [DATA÷ENTER] knob to confirm your

selection.

(o) Press the [DATA÷ENTER] knob again on the “OK”

field.

(p) Press the [MENU÷WRITE] button to save your audio

file.

The display asks you to confirm your intention (“Press WRITE to proceed”). If you don’t want to save your files, press the [EXIT÷JUMP] button.

(q) Press the [MENU÷WRITE] button again.

If a files of the same name already exists, you are asked whether you want to overwrite it. To do so, press [MENU÷WRITE] yet again.

(r) Press the [EXIT÷JUMP] button several times to

return to the main page.

The selected character is indicated by means of a dark underscore character.

(h) Rotate the [DATA÷ENTER] knob to select the desired

character, then press the knob to confirm your setting.

The new character now appears on a white background.

(i) Repeat steps (f)~(h) above to enter the remaining

characters.

You can also delete and insert characters (see p. 41). If you don’t want to save the renamed song file in a different folder, skip to step (p).

(j) Press the [EXIT÷JUMP] button.

The FR-7x automatically selects the [Ins] icon.

(k) Rotate the [DATA÷ENTER] knob towards the left to

select [FOLDER].

(l) Press the [DATA÷ENTER] knob to jump to the fol-

lowing page:

V-Accordion

Assigning orchestral to the registers

14. Assigning orchestral to the registers

The FR-7x allows you to change the assignments of the orchestral sounds to the treble and bass registers. This is especially useful if you want to be able to switch between orchestral instruments and organ sounds within the current Set. The settings you make here are Set parameters and can be different for each of the 80 Set memories.

Assigning orchestral sounds

Choosing the section for which you want to prepare different sounds

The FR-7x contains four orchestral parts. The availability of most of them depends on the selected mode (FREE BASS on or off):

Orchestral part Menu Availability

ORCHESTRA 6 Always (if switched on).

ORCH BASS 5 While Free Bass mode is off.

ORCH CHORD 7 While Free Bass mode is off.

ORCH FREE BASS 8 Only in Free Bass mode.

Each of these parts allows you to assign different orchestral and/or organ sounds to the associated registers. The parameter used for this assignment is called “Timbre”.

Note: 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.

Section Procedure

ORCH BASS Simultaneously press the three bass reg-

isters labeled “ORCH BASS”.

ORCH CHORD Simultaneously press the three bass reg-

isters labeled “ORCH CHORD”.

ORCH FREE BS Simultaneously press the three bass reg-

isters labeled “FREE BASS” to switch to the accordion mode of the same name. Simultaneously press the three bass registers labeled “ORCH FREE BS”.

(4) Press the treble or bass register whose assignment

you want to change.

There are two possibilities for the 13 treble registers (for a total of 26 sounds). You may therefore have to press the treble register in question twice (to select the “A” or “B” sound). See “Orchestral sounds for the treble section” on p. 29.

The display now shows the name of the sound that is currently assigned to that register.

(5) Press and hold the [EXIT÷JUMP] button until the

display looks as follows:

Procedure for assigning sounds

(1) Connect the FR-7x (if necessary) and switch it on.

See pages 17 and 18.

(2) Use the SET [√][®] buttons to select the Set that you

wish to edit.

(3) Switch on the orchestral section whose sound

assignment you want to change:

Section Procedure

ORCHESTRA Press the [ORCHESTRA] register.

(6) Press the treble register that has the number of the

orchestral part you want to edit:

Orchestral part Treble register to press

ORCHESTRA 6

ORCH BASS 5

ORCH CHORD 7

ORCH FREE BASS 8

Remember that some sections are not available at all times.

(7) Press treble register [1] to select the corresponding

“Timbre” page.

FR-7x V-Accordion

Saving your settings

The display shows one of the following pages with the name of the patch selected in step (4) above.

The “PATCH” parameter allows you to select a differ- ent sound for the current register or register memory (“A” or “B”).

(8) Press the [DATA÷ENTER] knob to select the patch. (9) Rotate the [DATA÷ENTER] knob to select a patch.

You can play on the piano or button-type keyboard to audition the patches while selecting them.

Patches whose names start with “TW” are organ sounds (“TW”= “tonewheel”). Whenever you select such a sound, and [EDIT] field is displayed. It means that you can edit (change) the organ sound in question. See “Editing the selected organ sound” on p. 53 for details.

(10) Press the [DATA÷ENTER] knob to confirm your

selection.

The sound is assigned to the register you selected earlier.

(11) See “Saving your settings” below.

(2) To save the patch to a different register (or register

memory), rotate the [DATA÷ENTER] knob to select that register for “to”.

Otherwise, continue with the next step.

(3) Press the [MENU÷WRITE] button to save your set-

tings.

The display briefly responds with:

Note: Wait for this message to disappear before switching the FR-7x off. Otherwise, you risk damaging its entire memory contents.

When the operation is complete, the display shows the “Function complete” message and then returns to the “WRITE” page.

(4) Press [EXIT÷JUMP] several times to return to the

main page.

About organ sounds

Your FR-7x contains a three-part Virtual ToneWheel organ that uses the same technology as the Roland VK-series organs. You can set the (virtual) harmonic bars—and a number of typical organ effects and noises—to your liking (like on a real organ).

There are three organ parts: TW UPPER (treble keyboard), TW LOWER (chord rows of the bass buttons) and TW PEDAL (bass rows of the bass buttons). You are free to assign an organ sound to just one section (treble keyboard, chord rows or bass rows), to two, or to all three of them. Each assignment applies to the register you selected prior to changing the setting (see below).

Saving your settings

(1) Press and hold the [MENU÷WRITE] button until the

following page appears:

The FR-7x automatically selects the ORCH(ESTRA) register you have just edited and displays its line and checkbox.

Note: Even if you don’t save your settings, the FR-7x will remember them (for any Set and any register) until you switch it off, or until it is switched off by the “10.12 Auto Power Off” function (see p. 92).

Editing the selected organ sound

You can edit the selected preset by proceeding as follows:

(1) See steps (1)~(7) of “Procedure for assigning

sounds” on p. 51.

(2) Press the [DATA÷ENTER] knob to select the “PATCH”

field.

(3) Rotate the [DATA÷ENTER] knob counterclockwise to

select a patch whose name starts with “TW” (“TW”= “tonewheel”).

Whenever you select such a sound, and [EDIT] field is displayed. It means that you can edit (change) the organ sound in question.

(4) Use the [DATA÷ENTER] knob to confirm your selec-

tion.

V-Accordion

Editing the selected organ sound

If you prefer to use one of the preset memories as a starting point, rotate the [DATA÷ENTER] knob to select it, then press the [DATA÷ENTER] knob.

(2) Press the [DATA÷ENTER] knob several times to select

the harmonic bar icon whose setting your want to change.

(3) Rotate the [DATA÷ENTER] knob to set the level of

the selected harmonic bar.

The setting range is 0~8 (where “0” means that the harmonic bar in question is inaudible).

Note: You can audition the presets while selecting them by playing on the assigned (treble or bass) keyboard.

(4) Repeat steps (2) and (3) to set the level of the

remaining harmonic bars to your liking.

(5) Press the [EXIT÷JUMP] button to leave this page.

Note: See “Saving your settings” on p. 52 for how to save your settings if you are happy with the organ sound. Otherwise continue with the next section.

The sound is assigned to the register you selected earlier.

(5) Press the [DATA÷ENTER] knob on the “EDIT” field.

The following organ parameters are available and can be selected by rotating the [DATA÷ENTER] knob:

Footage levels Percussion Leakage

Vibrato/Chorus Overdrive Rotary Bellows Crescendo Mem. Name (name of the sound you create)

Footage levels

This page allows you to set the level of the 9 virtual harmonic bars. From left to right, the bar icons represent the following organ footages: 16’, 5-1/3’, 8’, 4’, 2-2/3’, 2’, 1-3/5’, 1-1/3’ and 1’. For the “TW Pedal” part, the available footages are 16’ and 8’ (i.e. only two harmonic bars).

Each harmonic bar is assigned to a sine wave (pure tone) of a set pitch. By mixing these sine waves, you can create a variety of organ sounds.

(1) Press the [DATA÷ENTER] knob to select the “TW

UPPER’ (or “TW LOWER” or “TW PEDAL”) environment.

A “USR” field is selected. The FR-7x provides one USR memory where you can save your own harmonic bar settings. (There are also 32 or 16 TW presets.)

FR-7x V-Accordion

Editing the selected organ sound

Percussion

The “Percussion” parameter allows you to add a “thumping” sound to the notes you play, making the organ more aggressive. You can also specify the pitch, the level and the speed (onset) of the percussion sound.

(1) Select the “Percussion” page.

See “Editing the selected organ sound” on p. 53.

(2) Press the [DATA÷ENTER] knob to select the

“PARAM” parameter.

(3) Rotate the [DATA÷ENTER] knob to select one of the

following parameters:

Parameter Description

Switch Allows you to switch the percussion on or

off. Setting range: Off, On

Harmonic Allows you to specify the percussion

sound’s pitch. Setting range: 2nd, 3rd

Soft Sets the percussion sound’s level.

Setting range: Off (normal level), On (softer level).

Slow Specifies the desired attack (aggressive-

ness) of the percussion sound: slow and longer (On), or fast and more abrupt (Off).

(4) Press the [DATA÷ENTER] knob to confirm your

selection.

(5) Rotate the [DATA÷ENTER] knob to set the value and

press it to confirm.

(6) Press the [DATA÷ENTER] knob to confirm your set-

ting.

(7) Repeat steps (2)~(6) to set the remaining parame-

ters.

Note: See “Saving your settings” on p. 52 for how to save your settings if you are happy with the organ sound. Otherwise continue with the next section.

Leakage

On tone wheel organs, the sounds of the notes being played are slightly “contaminated” by audio signals from tone wheels not related to that note. Formerly, this was seen as a problem, but today this idiosyncrasy is considered an important element of the distinctive sound of a traditional instrument. This parameter allows you to set the level of the “noise”.

(1) Select the “Leakage” page.

See “Editing the selected organ sound” on p. 53.

(2) Press the [DATA÷ENTER] knob to select the “LEVEL”

parameter.

(3) Rotate the [DATA÷ENTER] knob to set the desired

level (0~127).

(4) Confirm your setting by pressing the [DATA÷ENTER]

knob.

Note: See “Saving your settings” on p. 52 for how to save your settings if you are happy with the organ sound. Otherwise continue with the next section.

Vibrato/Chorus

The vibrato effect cyclically modulates the pitch of organ sounds (which is different from the Rotary effect). The chorus effect mixes the normal sound of the organ with a sound to which vibrato has been applied, adding richness and spaciousness to the sound. Only one of these two effects can be used at a time (either vibrato or chorus).

IMPORTANT REMARK: The organ effects described below apply to all “TW” parts. There is one processor each for each effect. Therefore, the “TW Lower” and TW Pedal” parts will use the same settings as the “TW Upper” part. If the “TW Upper” part is not used (i.e. if the treble keyboard plays an accordion or orchestral sound), the effects settings of the “TW Lower” part are used and also applied to the “TW Pedal” part. (And if only the “TW Pedal” part is active, it will use its own effects settings.)

(1) Select the “Vibrato Chorus” page.

See “Editing the selected organ sound” on p. 53.

(2) Press the [DATA÷ENTER] knob to select the

“PARAM” parameter.

V-Accordion

Overdrive

(3) Rotate the [DATA÷ENTER] knob to select one of the

following parameters:

Parameter Description

Switch Allows you to switch the effect on or off.

Setting range: Off, On

Type V-1, V-2, V-3: This applies vibrato (pitch

modulation). Increasing the value will produce a deeper effect. C-1, C-2, C-3: This applies chorus to add depth and spaciousness to the sound. Increasing the value will produce a deeper effect.

Vintage Allows you to choose the sound of the

selected effect. The settings recreate popular sounds in different periods. Setting range: ‘50s, ‘60s, ‘70s

Level Specifies the level of the effect with

respect to the unprocessed organ signal. Setting range: 0~127

(4) Press the [DATA÷ENTER] knob to confirm your

selection.

(5) Rotate the [DATA÷ENTER] knob to set the desired

value.

(6) Press the [DATA÷ENTER] knob to confirm your set-

ting.

(7) Repeat steps (2)~(6) to set the remaining parame-

ters.

Note: See “Saving your settings” on p. 52 for how to save your settings if you are happy with the organ sound. Otherwise continue with the next section.

Overdrive

This effect distorts the sound, giving it an “edge” and making it suitable for hard rock and similar musical genres. See also important remark under “Vibrato/Chorus”.

Parameter Description

Level Specifies the level of the effect with

respect to the unprocessed organ signal. Setting range: 0~127

(4) Confirm your setting by pressing the [DATA÷ENTER]

knob.

(5) Rotate the [DATA÷ENTER] knob to set the desired

value.

(6) Confirm your setting by pressing the [DATA÷ENTER]

knob.

(7) Repeat steps (2)~(6) to set the remaining parame-

ters.

Note: See “Saving your settings” on p. 52 for how to save your settings if you are happy with the organ sound. Otherwise continue with the next section.

Rotary

The effect in this section simulates the typical sound modulation generated by a cabinet with rotating loudspeakers.

Most functions (start/stop, rotation speed selection, etc.), need to be selected with a footswitch. See page 87 for how to define those functions.

(1) Select the “Rotary” page.

See “Editing the selected organ sound” on p. 53.

(2) Press the [DATA÷ENTER] knob to select the

“PARAM” parameter.

(3) Rotate the [DATA÷ENTER] knob to select one of the

following parameters:

Parameter Description

(1) Select the “Overdrive” page.

See “Editing the selected organ sound” on p. 53.

(2) Press the [DATA÷ENTER] knob to select the

“PARAM” parameter.

(3) Rotate the [DATA÷ENTER] knob to select one of the

following parameters:

Parameter Description

Switch Allows you to switch the overdrive effect

on or off. Setting range: Off, On

Drive Specifies how strongly the sound is dis-

torted. Setting range: 0~127

Level Specifies the level of the Rotary effect

with respect to the unprocessed organ signal. Setting range: 0~127

Send Rev.* Allows yo to specify the level of the rotary

signal that is transmitted to the TW reverb effect. This is not the same processor as the one assigned to the [REVERB] knob. Choose “0” if the sound should not be processed by the TW reverb processor. Setting range: 0~127

Send Cho.* Allows yo to specify the level of the rotary

signal that is transmitted to the TW chorus effect. This is not the same processor as the one assigned to the [CHORUS] knob Choose “0” if the sound should not be processed by the TW chorus processor. Setting range: 0~127

FR-7x V-Accordion

Editing the selected organ sound

Parameter Description

Send Dly.* Allows yo to specify the level of the rotary

signal that is transmitted to the TW delay effect. Choose “0” if the sound should not be processed by the TW delay processor. Setting range: 0~127

* There are no programmable parameters for these effects.

The connection of the organ parts (“TW Upper”, “TW Lower” and “TW Pedal”) to the TW effects processors is as follows:

TW Reverb

TW Chorus

TW Delay

STEREO OUTPUT

sockets

Organ part

(Upper, Lower, Pedal)

Rotary

Send

Rev

Send

Cho

Send

Dly

(4) Press the [DATA÷ENTER] knob to confirm your

selection.

(5) Rotate the [DATA÷ENTER] knob to set the desired

value.

(6) Confirm your setting by pressing the [DATA÷ENTER]

knob.

(7) Repeat steps (2)~(6) to set the remaining parame-

ters.

Note: See “Saving your settings” on p. 52 for how to save your settings if you are happy with the organ sound. Otherwise continue with the next section.

(3) Rotate the [DATA÷ENTER] knob to select one of the

following parameters:

Parameter Description

Crescendo Sets the organ sound’s sensitivity to

changes in the force with which the bellows is moved. The higher the value, the more the bellows will influence the organ sound. Setting range: Off, 0~100

Thres Min This parameter allows you to specify the

pressure you need to apply to the bellows to start triggering the “Crescendo” effect. Set a relatively high value if you want to change the footage levels only for accented notes. Setting range: 0~110 (this value cannot be higher than the “Thresh Max” value)

Thres Max This parameter allows you to specify the

maximum pressure that will set the levels of all virtual harmonic bars to “8”. Choosing a value below “120” means that the Crescendo effect is no longer applied when you press the bellows very forcefully. Setting range: 20~120 (this value cannot be lower than the “Thresh Min” value)

The following illustration may make things clearer:

All harmonic bars use

level “8”.

Volume

Thresh Max

Thresh Min

Bellows Crescendo

Here is an effect that allows you to use the bellows to “move” the virtual harmonic bars. Suppose you set only one bar to the maximum value (see “Footage levels” on p. 53) but want to be able to increase the level of the other bars to add special emphasis to certain notes or chords. In that case, set the “Crescendo” parameter to a higher value than “0” and move the bellows more forcefully.

This function temporarily increases the level of the harmonic bars. It has no effect if all harmonic bars are already set to “8”.

(1) Select the “Bellows Crescendo” page.

See “Editing the selected organ sound” on p. 53.

(2) Press the [DATA÷ENTER] knob to select the

“PARAM” parameter.

The harmonic bars use the settings made on page 53.

Note: As stated above, the “Crescendo” effect will not be audible if all harmonic bars already use level “8”.

Harmonic bars whose level can still be increased become louder.

(4) Press the [DATA÷ENTER] knob to confirm your

selection.

(5) Rotate the [DATA÷ENTER] knob to set the desired

value and press it to confirm.

(6) Repeat steps (2)~(5) to set the remaining parame-

ters.

Note: See “Saving your settings” on p. 52 for how to save your settings if you are happy with the organ sound. Otherwise continue with the next section.

Name

After editing the organ sound, you can decide to name it (8 characters) for easy identification. Your sound resides in the “User” memory. There is one such memory for each register or register memory (A/B) whose settings can be saved.

(1) Select the “Mem. Name” page.

See “Editing the selected organ sound” on p. 53.

(2) Press the [DATA÷ENTER] knob.

The first character is already selected (see the dark line below the first character).

(3) If necessary, select a different character position

(indicated by a dark line) by rotating the [DATA÷ENTER] knob.

(4) Press the [DATA÷ENTER] knob to confirm your

selection.

V-Accordion

Name

(5) Rotate the [DATA÷ENTER] knob to select the desired

character, then press the knob to confirm your setting.

(6) Repeat steps (3)~(5) above to enter the remaining

characters.

You can also delete and insert characters by pressing the [EXIT÷JUMP] button to select the [Del] or [Ins] field and rotating the [DATA÷ENTER] knob (see p. 41).

(7) Press the [EXIT÷JUMP] button several times to

return to the main page.

FR-7x V-Accordion

About the FBC-7

15. About the FBC-7

Your FR-7x comes with an FBC-7 footswitch unit that doubles as power supply for your V-Accordion and also allows you to recharge a battery pack.

Using the FBC-7

When do you 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-7x’s MIDI functionality. This may include starting and stopping an external arranger module, selecting other Style divisions, etc.

• If you do not own a commercially available wireless system and do not want to use excessively long audio cables that run from the FR-7x to your amplifier or mixing console.

• If you need to recharge the battery pack.

Note: See page 18 for how to connect the FR-7x to the FBC-7, and the FBC-7 to a wall outlet.

Using the footswitches

The FBC-7 has five footswitches that grant you even more flexibility:

Footswitches Explanation

SUSTAIN 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 87), 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 connect an optional EV-series expression pedal to the EXPRESSION PEDAL jack. That pedal applies to the Treble Orchestra part only. It allows you to create swell effects in much the same way as an organ or guitar player does.

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

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).

Footswitches Explanation

SET These switches ([1] and [2]) are used 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. If you press [2] again after selecting Set 80, the FR-7x jumps to Set 1. Likewise, if you press [1] after selecting Set 1, the FR-7x jumps to Set 80.

you to select Treble registers [1]~[14]. They work the same 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. 68).

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. 30). 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 115.

V-Accordion

Charging the battery pack

The FR-7 comes with one Ni-Mh battery pack that can be recharged when it is depleted.

General remarks about the battery pack

•Please read “Precautions for the included battery” on p. 6.

•The FR-7x’s battery pack is partly charged (and installed in the FR-7x’s battery compartment). It can be used right away.

• We recommend depleting the battery pack (wait until the FR-7x 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 pack should last about 8 hours (continuous use).

• When the battery pack is fully drained, the following message appears and the FR-7x goes off:

Note: The FR-7x contains an energy saving function that switches the instrument off 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-7x should wait before powering off automatically. See “10.12 Auto Power Off” on p. 92.

• Never try to insert other batteries into the FR-7x than the one it came with (or suitable replacement batteries purchased from your Roland dealer). Only use “BP-24-45” batteries, part no. K2568101.

Note: You cannot recharge the battery pack inside the FR-7x and a battery pack connected to the FR-7x simultaneously.

Button Meaning

Flashes yellow after a while

Flashes red The battery pack cannot be fully

Note: If the red indicator goes off while the battery pack is being recharged, this means that there has been a power failure and that the battery pack has probably only been partially recharged. In that case, you need to recharge it again.

If the indicator first lights red and then starts flashing yellow after a while, the battery pack is overheating. Disconnect the FR-7x (or the battery pack) from the FBC-7 and use the battery pack until it is depleted. Then, recharge it.

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 pack may have reached the end of its life cycle. Replace it with a new one if the button keeps flashing red.

Recharging the battery pack without removing it from the FR-7x

There is no need to remove the battery pack from the FR-7x in order to recharge it. Recharging the battery pack takes ±3~5 hours.

(1) Connect the FR-7x to the FBC-7 using the supplied

19-pin cable.

See “Connecting the FR-7x to the supplied FBC-7” on p. 16.

(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.

About the BATTERY CHARGER and EXTERNAL 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:

Button Meaning

Lights red The battery pack is being charged.

Depending on the button that lights, this refers to the battery pack in the FR-7x (BATTERY) or the battery pack connected to the FBC-7 (EXTERNAL BATTERY).

Lights green The battery pack 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. Take the FBC-7 to a place where the ambient temperature is acceptable, wait a little, and repeat the charging operation.

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-7x.

Disconnecting the FR-7x is only necessary if you do not want to use the FBC-7 during your next performance.

Note: You can use the FR-7x while its battery pack is being recharged, provided you leave the V-Accordion connected to the FBC-7.

FR-7x V-Accordion

Charging the battery pack

Recharging the battery pack on the FBC-7

The battery pack installed in the FR-7x’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 pack (which is optional) while using the battery pack inside the FR-7x.

Warning: Before removing the battery pack, be sure to power off the FR-7x (the blue indicator must be dark).

(1) Switch off the FR-7x. (2) Prepare a coin. (3) Remove the cushion located between the Treble

keyboard and the bellows.

(7) Remove the connector and take the battery pack

out of the battery case.

The battery pack is connected to the FR-7x by means of a cable. You need to disconnect the cable from the battery pack by pressing the clip on the connector before fully removing the battery pack.

(8) Open the FBC-7’s EXTERNAL BATTERY CHARGER

compartment by sliding the cover to the right.

(4) Use the coin to loosen the two screws of the bat-

tery compartment cover.

(5) Remove the cover from the FR-7x’s battery com-

partment.

Note: While the compartment cover is open, the FR-7x cannot be switched on.

(6) Pull the battery strip so that the battery pack pro-

trudes a little from the battery case.

That portion on the FBC-7 now looks as follows (note the connector):

(9) Connect the battery pack’s cable to the charger’s

socket.

(10) Slide the battery pack into the holder on the

FBC-7.

battery pack

(11) Connect the FBC-7 to a suitable wall outlet. (12) Switch on the FBC-7 by pressing its [POWER¥ON]

button (its red POWER ON indicator lights).

(13) Press the [EXTERNAL¥BATTERY¥CHARGER] button

on the FBC-7.

The button now lights red.

(14) 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 pack.

You can leave the battery pack where it is until you actually need it.

Note: You can use the FR-7x while the battery pack is being recharged externally.

(15) Close the cover of the EXTERNAL BATTERY

RECHARGER compartment by sliding it to the left until it clicks into place.

(16) See “Installing the battery pack” on p. 16.

Note: Be sure to tighten the two screws of the battery compartment cover all the way to establish firm contact between the compartment cover and the instrument. Otherwise, you won’t be able to use your FR-7x.

If the battery pack fails to last 8 hours (or slightly less)

V-Accordion

If the battery pack fails to last 8 hours (or slightly less)

The FR-7’s battery pack can be recharged about 300 times before it needs to be replaced with a new one. Note that it is normal for the battery pack 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.

FR-7x V-Accordion

Editing sounds (Advanced section)

16. Editing sounds (Advanced section)

Almost all sound aspects of your FR-7x can be changed (“edited”) to your liking. On p. 35 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 (see p. 103).

tion that is currently off, the display tells you that its

Selecting parameters

The FR-7x’s parameters can be selected by entering their numbers or using the Menu structure.

parameters cannot be changed. In that case, switch the section on and try again or select another group.

(6) Proceed with “Setting parameter values” on p. 63.

Selecting parameters using the Jump function

(1) Switch on the FR-7x.

See “Switching the power on and off” on p. 18. The display now looks more or less as follows:

(2) See “Available parameters” on p. 63 to locate the

parameter you wish to edit.

(3) Press and hold the [EXIT÷JUMP] button until the

display looks as follows:

Selecting parameters via the menu

A second way of selecting parameters goes like this:

(1) Press the [MENU] button.

(2) Rotate the [DATA÷ENTER] knob or the [UP]/[DOWN]

buttons to select one of the function groups.

(3) Press the [DATA÷ENTER] knob to enter that group.

(4) Press a register [1]~[12] to specify the parameter

group.

See “Available parameters” on p. 63 for the complete list.

(5) Press a register [1]~[14] to specify a parameter

within the selected group.

If the parameter number is higher than “14”, press the [ORCHESTRA] register to select the first decimal, then register [1]~[10] to select the unit (register [10] is used to enter a “0”).

Here is an example: to select parameter “10.20”, press register [10], then [ORCHESTRA] twice, then register [10] again.

You can only select parameters of sections that are active (and thus sound when you play on the Treble or Bass keyboard). If you select a function of a sec-

The display now responds with (this depends on the function group you selected):

V-Accordion

Setting parameter values (Advanced)

(The message above means that the ORCHESTRA section is not active and therefore cannot be edited.)

(4) Rotate the [DATA÷ENTER] knob or the [UP]/[DOWN]

buttons to select the parameter you wish to edit.

(5) Proceed with “Setting parameter values”.

Setting parameter values

(1) Select the parameter you wish to edit (see above). (2) Press the [DATA÷ENTER] knob to activate that

parameter for editing.

Notice how the display changes.

(3) Rotate the [DATA÷ENTER] knob to change the value. (4) Press the [DATA÷ENTER] knob to confirm your set-

ting.

If a display page contains two (or three) adjustable parameters, you may have to rotate the [DATA÷ENTER] again and repeat the procedure from step (2). Here is an example of a page with two parameters:

(5) Press the [EXIT÷JUMP] button once to return to the

function group.

Available parameters

The various groups contain the following parameters:

1. Tuning

1.1 Master Tune

1.2 Transpose

1.3 Scale

1.4 Scale Edit

1.5 Scale Assign

. . . . . . . . . . . . . . . . . . . . . . . . . p. 64

. . . . . . . . . . . . . . . . . . . . . . . . . . . p. 64

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p. 64

. . . . . . . . . . . . . . . . . . . . . . . . . . . p. 64

. . . . . . . . . . . . . . . . . . . . . . . . . p. 65

2. Treble Edit

2.1 Reed Type

2.2 Register

2.3 Reed Volume

2.4 Treble Octave

2.5 Valve Noise

2.6 Musette Detune

2.7 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

2.15 MIDI TX

2.16 Name

. . . . . . . . . . . . . . . . . . . . . . . . . . . p. 65

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . p. 66

. . . . . . . . . . . . . . . . . . . . . . . . . p. 66

. . . . . . . . . . . . . . . . . . . . . . . . p. 66

. . . . . . . . . . . . . . . . . . . . . . . . . . p. 67

. . . . . . . . . . . . . . . . . . . . . . p. 67

. . . . . . . . . . . . . . . . . . . . . . . p. 67

. . . . . . . . . . . . . . . . . . . . . . . . . p. 67

. . . . . . . . . . . . . . . . . . . . . . . . . . p. 67

. . . . . . . . . . . . . . . . . . . . . p. 67

. . . . . . . . . . . . . . . . . . . . . . . . . . . p. 68

. . . . . . . . . . . . . . . . . . . . . . . p. 68

. . . . . . . . . . . . . . . . . p. 69

. . . . . . . . . . . . . . . . . . . . . . . . . . . . p. 70

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p. 70

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 Bass Drum

3.8 Chord Drum

3.9 Reverb Send

3.10 Chorus Send

3.11 Delay Send

3.12 Bass MIDI TX

3.13 Chord MIDI TX

3.14 Name

. . . . . . . . . . . . . . . . . . . . . . . . . . . p. 71

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . p. 71

. . . . . . . . . . . . . . . . . . . . . . . . . p. 71

. . . . . . . . . . . . . . . . . . . . . . . . . p. 72

. . . . . . . . . . . . . . . . . . . . . . . . . . p. 72

. . . . . . . . . . . . . . . . . . . . . . . p. 72

. . . . . . . . . . . . . . . . . . . . . . . . . . . p. 72

. . . . . . . . . . . . . . . . . . . . . . . . . . p. 73

. . . . . . . . . . . . . . . . . . . . . . . . . p. 73

. . . . . . . . . . . . . . . . . . . . . . . . p. 73

. . . . . . . . . . . . . . . . . . . . . . . . . . p. 73

. . . . . . . . . . . . . . . . . . . . . . . . p. 73

. . . . . . . . . . . . . . . . . . . . . . p. 73

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p. 73

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 MIDI TX

4.11 Name

. . . . . . . . . . . . . . . . . . . . . . . . . . . p. 74

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . p. 74

. . . . . . . . . . . . . . . . . . . . . . . . . p. 74

. . . . . . . . . . . . . . . . . . . . . . . . . p. 75

. . . . . . . . . . . . . . . . . . . . . . . . . . p. 75

. . . . . . . . . . . . . . . . . . . . . . . p. 75

. . . . . . . . . . . . . . . . . . . . . . . . . p. 75

. . . . . . . . . . . . . . . . . . . . . . . . . . . p. 75

. . . . . . . . . . . . . . . . . . . . . . . . . . . . p. 75

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p. 75

5. Orch.Bass Edit

5.1 Timbre

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p. 76

5.2 Lowest Note

5.3 Octave

5.4 Release Time

5.5 Volume

5.6 Panpot

5.7 Bass Drum

5.8 Reverb Send

5.9 Chorus Send

5.10 Delay Send

5.11 MIDI TX

. . . . . . . . . . . . . . . . . . . . . . . . . p. 76

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6. Orchestra Edit

6.1 Timbre

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p. 78

6.2 Octave

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p. 78

6.3 Volume

6.4 Panpot

6.5 Bellows Detune

6.6 Reverb Send

6.7 Chorus Send

6.8 Delay Send

6.9 Aftertouch Pitch

6.10 MIDI TX

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p. 78

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7. Orch. Chord Edit

7.1 Timbre

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p. 79

7.2 Lowest note

7.3 Octave

7.4 Volume

7.5 Panpot

7.6 Chord Drum

7.7 Reverb Send

7.8 Chorus Send

7.9 Delay Send

7.10 MIDI TX

. . . . . . . . . . . . . . . . . . . . . . . . . . p. 79

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. . . . . . . . . . . . . . . . . . . . . . . . . . . . p. 80

FR-7x V-Accordion

Important remark about saving your settings (Advanced)

8. Orch.FBass Edit

8.1 Timbre

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p. 81

8.2 Octave

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p. 81

8.3 Volume

8.4 Panpot

8.5 Reverb Send

8.6 Chorus Send

8.7 Delay Send

8.8 MIDI TX

9. Set Common

9.1 Reverb Macro

9.2 Reverb Parameters

9.3 Chorus Macro

9.4 Chorus Parameters

9.5 Delay Macro

9.6 Delay Parameters

9.7 Name

9.8 Master Bar Recall

9.9 Icon

10. System

10.1 LCD Contrast

10.2 Bellows Curves

10.3 Pedal Controller

10.4 Sustain Routing A

10.5 Sustain Routing B

10.6 Function Switch

10.7 Function Switches Edit

10.8 Bass&Chd Mode

10.9 Free Bass Mode

10.10 Stereo Width

10.11 Output Level

10.12 Auto Power Off

10.13 Start-Up

10.14 Start-Up Name

10.15 Orchestra Touch

10.16 Orchestra Bs&Ch Touch

10.17 Start/Stop MIDI TX

10.18 Treble Release T.

10.19 Expansion

10.20 Treble Mode

11. Utility

11.1 Battery Status

11.2 Copy SET

11.3 Copy Effects

11.4 Export All FR-7x

11.5 Export Set

11.6 Import All FR-7x

11.7 Import Set

11.8 Restore Data

11.9 FR-7/5 Import

11.10 Treble Reg. on current Set

11.11 Bass Reg. on current Set

11.12 FreeBass Reg. on current Set

11.13 Factory Reset

12. MIDI

12.1 RealTime RX-TX

12.2 Ext. Seq. Playback

12.3 Bellows TX Resolution

12.4 Expression MIDI TX

12.5 Global Filters

12.6 Bank for ‘Send PC’

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . p. 81

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(FR-7xb only) . . . . . . . . . . . p. 92

. . . . . . . . . . . . . . . . . . . . . . . p. 97

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Important remark about saving your settings

The FR-7x’s internal memory remembers your settings while the FR-7x is switched on. While editing, there is no absolute need to save your settings.

Be aware, however, that all changes are lost when the FR-7x is switched off. This includes situations where the FR-7x is switched off by the “10.12 Auto Power Off” function.

Remember to save all settings as soon as you are sure that you want to keep them. See page 103 for

how to save your changes.

Note: Changes you haven’t saved yet and that you don’t want to keep can be “undone” using “11.8 Restore Data” on p. 99.

1. Tuning parameters

The parameters of the TUNING group apply to the entire FR-7x and are not saved to a Set. You can save most of them to the FR-7x’s Global memory. See pages 62 and 63 for how to select and adjust the parameters. Press [UP] and [DOWN] simultaneously to select the value that is indicated as “Default setting”.

See page 103 for how to save your changes. Also be sure to read “Important remark about saving your settings” on p. 64.

1.1 Master Tune

(415.6~440.0Hz~464.4, Default setting: 440.0) This parameter allows you to change the FR-7x’s overall tuning, which may be necessary when you play with acoustic instruments that cannot be tuned easily. The factory default is “440.0Hz”. The FR-7x’s tuning can be adjusted in steps of ±50 cents.

1.2 Transpose

(–6~5, F#~F) This parameter allows you to transpose all sections of the FR-7x. See page 35 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 36.

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

1.4 Scale Edit

This display page provides access to 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 you would like to use a special tuning system (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:

(1) After selecting this page, press the [DATA÷ENTER]

knob to jump to the following page:

(2) Rotate the [DATA÷ENTER] knob to select the User

memory that should contain your customized tuning system.

(3) Press the [DATA÷ENTER] knob again to jump to the

following page.

(–64~0~63, 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 to accommodate other musical cultures.

Each note of the scale 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”. Those values correspond exactly to half a semitone up or down (i.e. a quarter tone). Other settings may also be interesting, though.

(4) Press the [DATA÷ENTER] knob to select either the

note (left field) or the “TUNE” value (right field) and change the entry rotating the [DATA÷ENTER] knob.

(5) Press the [MENU÷WRITE] button to save your set-

ting.

V-Accordion

1.5 Scale Assign (Advanced)

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 62 and 63 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. Some 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”.

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 if you realize that you’ve been editing the wrong one.

See page 103 for how to save your changes. Also be sure to read “Important remark about saving your settings” on p. 64.

1.5 Scale Assign

(Treble, Orchestra, Treb&Orch, Bass&Chord, ALL, Default setting: Treb&Orch) 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).

2.1 Reed Type

This parameter allows you to do two things that are impossible on 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 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:

FR-7x V-Accordion

2. Treble Edit parameters (Advanced)

Bandoneon

Classic

Cajun

F-Folk

Steierische

TexMex

Triktixa

<16> <8> <8–> <8+> <4> <5-1/3> <2-2/3>

(1) 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’

(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, OldItaly, TexMex, Trikitixa, F-Jazz, Classic3, Bajan.

Note: Whenever you select “ALL” and set a different reed type, the “Valve Noise” setting (page 67) 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.

2.2 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.

Let us first look at an illustration:

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 25, 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.

(1) 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’

(2) Press the [DATA÷ENTER] knob to select the “STA-

TUS” 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).

2.3 Reed Volume

This is 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: its value is added to or subtracted from the standard value (“Std”). As a rule, first 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.

(1) 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’

(2) Press the [DATA÷ENTER] knob to select the “LEVEL”

parameter, then rotate the [DATA÷ENTER] knob to set the volume.

The setting range is: Off, –40~“Std”~40, Default setting: Std

Note: The overall volume of the Treble section (all registers) can be changed using the [BALANCE] knob.

Bandoneon

Classic

<16> <8> <8–> <8+> <4> <5-1/3> <2-2/3>

On Off Off

Cajun

On-

Cassotto

F-Folk

Steierische

TexMex

Off On Off

Triktixa

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 an ORCHESTRA sound. (The ORCHESTRA section also provides an “Octave” parameter.)

V-Accordion

2.5 Valve Noise (Advanced)

2.5 Valve Noise

This is a more elaborate version of the “Noise” parameter discussed on page 37. It allows you to not only set the level of the “typical” valve noises, but also to specify what kind of instrument should generate the noise.

You are free to experiment with any noise type you like, but using the noise related to the selected instrument (see “2.1 Reed Type” on p. 65) 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, F-Jazz, Classic3, Bajan.

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.

2.8 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 levels (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. 82).

2.6 Musette Detune

This parameter allows you to choose the system used for detuning the 8’ reeds. See page 35 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.

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-7x. 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” on p. 65).

2.11 Aftertouch Pitch

(Off, 1/4 Down, 1/2 Down, 1/4 Up, 1/2 Up, Default setting: Off) As stated earlier, the treble keyboard of the piano-type model also generates aftertouch messages (on the button-type model, aftertouch can be generated with the Master bar). “Aftertouch” refers to the fact that you press a key even further down after playing a note. This effect allows you to bend the pitch down (temporarily lower the note) by a quarter tone (“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 treble section’s aftertouch recognition.

Note: This aftertouch effect applies to all notes that are sounding simultaneously. If you play a chord and then only press down one key of the chord’s constituent notes even further, all notes are bent by the same amount. (MIDI buffs call this “channel aftertouch”.)

FR-7x V-Accordion

2. Treble Edit parameters (Advanced)

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 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, name of the selected 1~7 regis-

ter.

If you define a “Free” register, the Bass section auto- matically 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 sec- tion 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.

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 register [4]. (By default, “Bass Link” is on.)

Note: You can specify that this function should be activated automatically each time you switch the FR-7x on. See “10.13 Start-Up” on p. 92.

2.13 Orchestra Link

This function allows you to associate an ORCHESTRA sound (instrument or organ) with the treble register you are currently editing and to specify which mode should be used. See “Selecting ORCHESTRA mode” on p. 30 for a detailed explanation of the available modes and “Assigning orchestral to the registers” on p. 51.

The options for these parameters are:

• REGISTER: No Link, name of ORCHESTRA register memory 1A~13B (the FR-7x allows you to name each register memory).

• MODE: ----, Solo, Dual, Low, High, Low Trb, High Trb, Solo M, Dual M, Low M, High M, Lo.M Trb, Hi.M Trb. 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.

Mode Meaning

Solo Only the ORCHESTRA sound is played.

Dual The ORCHESTRA and accordion sounds

are played.

Low The first note you press triggers the

ORCHESTRA sound. If you hold down that key or button and play higher notes, those notes are played by the accordion sound.

High The first note you press triggers the

ORCHESTRA sound. If you hold down that key or button and play lower notes, those notes are played by the accordion sound.

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 by means of white arrows:

Low Trb Is similar to Low mode. Here, however,

the ORCHESTRA sound can be switched on/off using the Master bar.

High Trb Is similar to High mode. Here, however,

the ORCHESTRA sound can be switched on/off using the Master bar.

Solo M Is similar to Solo mode. Here, however,

you can alternate between the ORCHESTRA and accordion sounds using the Master bar.

Dual M Is similar to Dual mode. Here, however,

you can switch Dual mode on and off using the Master bar.

Low M Is similar to Low mode. Here, however,

you can switch Low mode on and off using the Master bar.

V-Accordion

2.14 Orchestra Chord Link (Advanced)

Mode Meaning

High M Is similar to High mode. Here, however,

you can switch Low mode on and off using the Master bar.

Low.M Trb Is similar to Low Trb mode. Here, however,

you can switch Low Trb mode on and off using the Master bar.

Hi.M Trb Is similar to High Trb mode. Here, how-

ever, you can switch High Trb mode on and off using the Master bar.

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] register and press register [5]. (By default, “Orchestra Link” is on.)

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).

Note: You can specify that this function should be activated automatically each time you switch the FR-7x on. See “10.13 Start-Up” on p. 92.

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.

The Orchestra Chord and Orchestra Free Bass sections are mutually exclusive (there are no chord buttons in Free Bass mode).

• CHORD-FREE BS: No Link, name of the selected 1~7 register (the FR-7x allows you to name each register) The options depend on the “2.12 Bass Link” setting, because the ORCH CHORD and ORCH FREE BASS sections are not always available:

“2.12 Bass Link”

setting

No Link No Link, name of the selected 1~7 regis-

Bass 1~7 No Link, name of the selected CHD1~7

Free 1~7 No Link, name of the selected FBS1~7

Possibilities for “2.14 Orchestra Chord Link”

ter

“Bass” and “Free Bass” are two different (and mutually exclusive) modes. In “Free Bass” mode, all bass buttons play bass accordion sounds, so that the “CHD” options 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” on p. 68), the Orchestra Free Bass sounds cannot be used. That is why you cannot even select them here.

Conversely, since “2.12 Bass Link” determines what’s possible or not, changing that parameter may correct your “2.14 Orchestra Chord Link” setting.

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 “Orchestra Chord 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 register [4]. (By default, “Orchestra Chord Link” is on.)

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 by means of white arrows:

FR-7x V-Accordion

2. Treble Edit parameters (Advanced)

2.15 MIDI TX

This page contains a series of MIDI parameters for the selected register. You need to set them one by one. See page 113 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.

2.16 Name

This parameter allows you to name the currently selected treble register for easy reference while performing with the FR-7x. The procedure is as follows:

(1) Press the [DATA÷ENTER] knob and rotate it to select

the character position you want to change.

(2) Press the [DATA÷ENTER] knob again to activate the

character position for editing.

(e) Press the [EXIT÷JUMP] button to switch off the [Del]

function.

■ Inserting characters

To insert a missing character, proceed as follows:

(a) Press the [DATA÷ENTER] knob and rotate it to select

the character position that should follow the character you are about to insert.

(b) Press the [EXIT÷JUMP] button to select [Ins].

tion, then rotate the knob to select the desired character for that position.

(d) Press the [EXIT÷JUMP] button to switch off the [Ins]

function.

The name is displayed black-on-white now. The black underline character indicates the character position you can change.

(3) Rotate the [DATA÷ENTER] knob to select the desired

character.

(4) Confirm your selection by pressing the

[DATA÷ENTER] knob (the name is displayed whiteon-black again).

(5) Rotate the [DATA÷ENTER] knob to select another

character position, then repeat steps (2)~(4) to complete your name.

■ Deleting characters

To delete characters you no longer need, proceed as follows:

(a) If the name is displayed black-on-white, press the

[DATA÷ENTER] knob.

(b) Rotate the [DATA÷ENTER] knob to select the char-

acter you want to delete.

[DATA÷ENTER] knob to select [Del].

(d) Press the [DATA÷ENTER] knob to delete the selected

character.

V-Accordion

3.1 Reed Type (Advanced)

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. See pages 62 and 63 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

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.

These parameters can only be selected when Bass mode is active (page 25).

See page 103 for how to save your changes. Also be sure to read “Important remark about saving your settings” on p. 64.

3.1 Reed Type

This parameter allows you to transform the selected register into a different instrument, and to assign different sounds to each reed the register plays.

See “2.1 Reed Type” on p. 65 for a discussion of the possibilities and the aspects you need to pay attention to. Bear in mind, however, that the parameters on this page apply to the selected bass register.

(1) 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’

(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, F-Jazz, Classic3, Bajan

To save time while changing the “TYPE” setting 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”. Now, all reeds use the “Bandoneon” setting. Now use “TYPE” 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.

(1) 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’

(2) Press the [DATA÷ENTER] knob to select the “STA-

TUS” 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: 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

This is the last parameter that can be set for each reed individually. It allows you to create the desired “mix” (volume balance) among the active reeds (see the “3.2 Register” page).

(1) 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’

FR-7x V-Accordion

3. Bass Edit parameters (Advanced)

(2) Press the [DATA÷ENTER] knob to select the “LEVEL”

parameter, then rotate the [DATA÷ENTER] knob to set the volume.

The setting range is: Off, –40~“Std”~40, Default setting: STD

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.)

(1) Press the [DATA÷ENTER] knob to select the “TYPE”

parameter.

There is only one TYPE for the entire register (i.e. all 5 reeds).

(2) Rotate the [DATA÷ENTER] knob to select the desired

setting.

The options are: Bandoneon, I-Folk, I-Folk2, Classic, Cajun, Jazz, F-Folk, D-Folk, Organetto, F-Folk2, Classic2, Studio, Tradition, Steierische, Trikitixa, F-Jazz, Classic3, Bajan.

(3) Press the [DATA÷ENTER] knob to select the “LEVEL”

parameter.

Use the “LEVEL” parameter to specify how prominent the noise should be.

(4) Rotate the [DATA÷ENTER] knob to select the desired

setting.

The setting range is: “Off”, –40~“Std”~40, Default setting: STD.

Note: Whenever you select “ALL” for “3.1 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.

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 “3.1 Reed Type” probably yields the most realistic effect – but feel free to select another one if you like it better.

(1) 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, F-Jazz, Classic3, Bajan

(2) 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 “3.1 Reed Type” and set a different reed type, this growl setting is automatically adapted to the reed type you select. It would therefore be a good idea to first select the reed type and only then change the growl type.

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-7x. 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 “3.1 Reed Type”).

3.7 Bass Drum

This parameter allows you to assign up to three drum/percussion sounds to the bass buttons and to set their levels. If you assign three sounds, all three will be played simultaneously whenever you press a bass button. Note that you can assign different sounds to the chord buttons (see below), so maybe try to make “complementary” selections, like selecting a bass drum for the bass buttons, the snare drum for the chord buttons, etc.

(1) Press the [DATA÷ENTER] knob to select the “LINK”

parameter, then rotate the [DATA÷ENTER] knob to select “1”, “2” or “3”.

Each “LINK” corresponds to one drum instrument you can assign.

(2) Press the [DATA÷ENTER] knob to select the “NOTE”

parameter, then rotate the [DATA÷ENTER] knob to select the sound you want to assign.

You can play a few notes to audition the sound. The setting range is: Off, 1~127. Choose “Off” if the

selected “LINK” memory should not trigger any drum percussion sound. Otherwise, choose the number that corresponds to the desired sound. See the table on page 129 for the correspondence between the numbers and the available sounds.

V-Accordion

3.8 Chord Drum (Advanced)

(3) Press the [DATA÷ENTER] knob to select the “VOL”

parameter, then rotate the [DATA÷ENTER] knob to set the desired level.

The setting range is –100~0~+100. “0” corresponds to the volume setting programmed at the factory. Negative values (–) allow you to make the selected sound softer, while positive values make the sound louder.

Note: In some cases, there may be no audible difference between the “0” and the “+100” setting, because the sound in question cannot be made any louder.

(4) Press the [DATA÷ENTER] knob and repeat steps (1)~

(3) for the remaining “LINK” memories if each bass button should trigger more than one drum/percussion sound.

3.8 Chord Drum

This parameter allows you to assign up to three drum/percussion sounds to the chord buttons and to set their levels.

If you assign three sounds, all three will be played simultaneously whenever you press a chord button. Note that you can assign different sounds to the bass buttons. See “3.7 Bass Drum” on p. 72 for the procedure.

should transmit, the other does the same for the chord buttons (the remaining buttons in the bass section).

See page 113 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.

3.14 Name

This parameter allows you to name the currently selected bass register for easy reference while performing with the FR-7x.

See “2.16 Name” on p. 70 for the procedure.

3.9 Reverb Send, 3.10 Chorus Send,

3.11 Delay Send

(0~127 for all three) Use these parameters to set the Reverb, Chorus or Delay send levels (how much effect should be applied to the bass section). The higher the value you set, the more the bass section (which includes the chord buttons) will be processed by the effect in question.

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. 82).

3.12 Bass MIDI TX, 3.13 Chord MIDI TX

These pages contain a series of MIDI parameters for the selected register. You need to set them 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)

FR-7x V-Accordion

4. Free Bass Edit parameters (Advanced)

4. Free Bass Edit parameters

The parameters of the “Free Bass Edit” group apply to the bass section when it is used in Free Bass mode (see p. 27). They can be saved to the selected Set. See pages 62 and 63 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. 65 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.

•These parameters can only be selected when Free Bass mode is active (page 27).

• See page 90 for how to select the note system for Free Bass mode. That setting is shared by all Sets.

• See page 103 for how to save your changes. Also be sure to read “Important remark about saving your settings” on p. 64.

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.

(1) 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’

(2) Press the [DATA÷ENTER] knob to select the “STA-

TUS” parameter, then rotate the [DATA÷ENTER] knob to specify whether the selected reed should sound and which bass 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).

Note: Assigning the same partial “STATUS” (“High” or “Low”) to both reeds means that only half the number of available bass buttons can be used.

4.1 Reed Type

This parameter allows you to transform the selected register into a different instrument and to 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.

(1) 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’

(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, F-Jazz, Classic3, Bajan

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.

4.3 Reed Volume

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.

(1) 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’

(2) Press the [DATA÷ENTER] knob to select the “LEVEL”

parameter, then rotate the [DATA÷ENTER] knob to set the volume.

The setting range is: Off, –40~“STD”~40, Default setting: STD.

Note: The overall volume of the Free Bass section (all registers) can be changed using the [BALANCE] knob.

V-Accordion

4.4 Button Noise (Advanced)

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.)

(1) Press the [DATA÷ENTER] knob to select the “TYPE”

parameter.

(2) Rotate the [DATA÷ENTER] knob to select the desired

setting.

The options are: Bandoneon, I-Folk, I-Folk2, Classic, Cajun, Jazz, F-Folk, D-Folk, Organetto, F-Folk2, Classic2, Studio, Tradition, Steierische, Trikitixa, F-Jazz, Classic3, Bajan.

(3) Press the [DATA÷ENTER] knob to select the “LEVEL”

parameter.

Use the “LEVEL” parameter to specify how prominent the noise should be.

(4) Rotate the [DATA÷ENTER] knob to select the desired

setting.

The setting range is: “Off”, –40~“Std”~40, Default setting: STD.

Note: Whenever you select “ALL” for “4.1 Reed Type” and set a different reed type, this noise setting is automatically adapted to the reed type you select. 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 “4.1 Reed Type” probably yields the most realistic effect, but feel free to select another one if you like it better.

(1) 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, F-Jazz, Classic3, Bajan

(2) 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 “4.1 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-7x. 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.

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 effects themselves can be edited on separate pages (see p. 82).

4.10 MIDI TX

This page contains a series of MIDI parameters for the selected register. You need to set them one by one.

4.11 Name

This parameter allows you to name the currently selected bass register for easy reference while performing with the FR-7x.

See “2.16 Name” on p. 70 for the procedure.

FR-7x V-Accordion

5. Orch.Bass Edit parameters (Advanced)

5. Orch.Bass Edit parameters

The parameters of the “ORCH.BS EDIT” group allow you to edit the ORCHESTRA BASS section. See page 32 for details. This section can also be used to play a TW organ sound (see p. 52). See pages 62 and 63 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 (see p. 68) for each treble register.

These parameters can only be selected when Orchestra Bass mode is active (page 32).

See page 103 for how to save your changes. Also be sure to read “Important remark about saving your settings” on p. 64.

5.1 Timbre

This parameter group allows you to assign the desired orchestral or organ sound to the selected register.

See “Assigning orchestral to the registers” on p. 51 for the procedure. As stated there, each register can select only one type of sound.

5.2 Lowest Note

This parameter allows you to specify the lowest note the selected sound can sound.

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:

the bass 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 bass keyboard…

…after choosing…

…these notes are transposed 1 octave up.

The ORCHESTRA BASS sound thus changes octaves. For some songs, the default setting (E) 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, F, F#, G, Ab, A, Bb, B, C; Default setting: E.

Lowest Note= E (28)

5.3 Octave

(–3~0~+3) This parameter allows you to transpose the ORCHESTRA BASS section (i.e. the selected orchestral or organ sound) up or down.

Use it if the part you want to play with the bass buttons is too low or too high for what you have in mind.

5.4 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.

Note: This parameter has no effect when a TW organ sound is assigned to the selected register.

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 on

5.5 Volume

(Off, –40~“Std”~40, Default setting: Std) This parameter allows you to set the level of the ORCHESTRA BASS part. See also page 32.

V-Accordion

5.6 Panpot (Advanced)

5.6 Panpot

(Bass 63~0 Treb 0~63 Bass) Depending on the selected sound, this parameter allows you to change the ORCHESTRA BASS part’s placement in the stereo sound field (i.e. between the left and right speakers) to create a livelier sound image. The “Treb” values mean that the sound will appear on the same side as the treble accordion sound. This setting applies to both the FR-7x’s internal speakers and the L/MONO socket.

The “Bass” values mean that the sound will appear on the same side as the bass accordion sound (which is not available while an ORCHESTRA BASS sound is being used). This setting applies to both the FR-7x’s internal speakers and the R/MONO socket.

Choose “0” if the ORCHESTRA BASS sound should be at the center of the stereo image.

Note: If a TW organ sound is assigned to the current ORCHESTRA BASS register, the “VALUE” parameter will read “Rotary” to signal that the “VALUE” parameter cannot be set.

5.7 Bass Drum

5.11 MIDI TX

This page contains a series of MIDI parameters for the ORCHESTRA BASS part you need to set one by one.

See page 113 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.

5.8 Reverb Send, 5.9 Chorus Send,

5.10 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 ORCHESTRA BASS section).

The higher the value you set, the stronger 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.

The effects themselves can be edited on separate pages (see p. 82).

Note: If a TW organ sound is assigned to the current ORCHESTRA BASS register, the “LEVEL” value will read “Rotary” to signal that the register is not processed by the FR-7x’s “general effects” (see p. 55). In this case, the “LEVEL” parameter cannot be set.

FR-7x V-Accordion

6. Orchestra Edit parameters (Advanced)

6. Orchestra Edit parameters

This is a relative parameter, which means that its value is added to or subtracted from the standard value (“Std”).

The parameters of the ORCH. EDIT group apply to the ORCHESTRA section. See page 29 for details about the ORCHESTRA section. You may remember that the FR-7x allows you to choose from 26 sounds (because each register provides access to an “A” and a “B” sound). See pages 62 and 63 for how to select and adjust the parameters. Press [UP] and [DOWN] simultaneously to select the value that is indicated as “Default setting”.

Important notes

•The selection of ORCHESTRA sounds and modes can be automated for each treble register memory using the “2.13 Orchestra Link” parameter (page 68).

• Remember to press the register you want to edit once (“A”) or twice (“B”) before you start changing the settings.

•These parameters can only be selected when ORCHESTRA mode is active (page 29).

• See page 103 for how to save your changes. Also be sure to read “Important remark about saving your settings” on p. 64.

6.1 Timbre

This parameter group allows you to assign the desired orchestral or organ sound to the selected register.

See “Assigning orchestral to the registers” on p. 51 for the procedure. As stated there, each register can select only one type of sound. If you select a TW organ sound, you can also edit and name it.

6.2 Octave

(–3~0~+3) This parameter allows you to transpose the ORCHESTRA section (i.e. the currently selected orchestral or organ sound) up or down.

This can be interesting when you are using the Orchestra part in Dual mode (page 30) and want it to sound above or below the selected treble accordion register.

6.3 Volume

(Off, –40~“Std”~40, Default setting: Std) This parameter allows you to set the ORCHESTRA section’s volume.

6.4 Panpot

(Bass 63~0 Treb 0~63 Bass) Depending on the selected sound, this parameter allows you to change the ORCHESTRA part’s placement in the stereo sound field (i.e. between the left and right speakers) to create a livelier sound image. The “Treb” values mean that the sound will appear on the same side as the treble accordion sound. This setting applies to both the FR-7x’s internal speakers and the L/MONO socket.

The “Bass” values mean that the sound will appear on the same side as the bass accordion sound. This setting applies to both the FR-7x’s internal speakers and the R/ MONO socket.

Choose “0” if the ORCHESTRA sound should be at the center of the stereo image.

Note: If a TW organ sound is assigned to the current ORCHESTRA register, the “VALUE” parameter will read “Rotary” to signal that the “VALUE” parameter cannot be set.

6.5 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.

6.6 Reverb Send, 6.7 Chorus Send, 6.8 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.

The other sections 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. 82).

Note:

If a TW organ sound is assigned to the current ORCHESTRA register memory, the “LEVEL” value will read “Rotary” to signal that the register is not processed by the FR-7x’s “general effects” (see p. 55). In this case, the “LEVEL” parameter cannot be set.

6.9 Aftertouch Pitch

(Off, 1/4 Down, 1/2 Down, 1/4 Up, 1/2 Up, Default setting: Off) The treble keyboard of the piano-type model generates aftertouch messages (on the button-type model, aftertouch can be generated with the Master bar). “Aftertouch” refers to the fact that you press a key even further down after playing a note. 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 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 ORCHESTRA notes that are sounding simultaneously. (MIDI buffs call this “channel aftertouch”.)

Note:

For organ sounds, 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.

6.10 MIDI TX

This page contains a series of MIDI parameters for the Orchestra section you need to set one by one. See page 113 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

6.9 Aftertouch Pitch (Advanced)

7. Orch. Chord Edit parameters

The parameters of the “Orch. Chord Edit” group apply to the chord button rows of the Bass section. As stated earlier, the FR-7x allows you to play and accordion sound with the bass rows and an orchestral or organ sound with the chord rows of the bass keyboard (and vice versa). See page 33 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 62 and 63 for how to select and adjust the parameters. Press

[UP]

and

[DOWN]

value that is indicated as “Default setting”.

Important notes

•The selection of ORCHESTRA CHORD mode can be automated using the “2.14 Orchestra Chord Link” parameter (page 69).

•These parameters can only be selected if an ORCHESTRA CHORD register is selected (page 33).

• See page 103 for how to save your changes. Also be sure to read “Important remark about saving your settings” on p. 64.

7.1 Timbre

This parameter group allows you to assign the desired orchestral or organ sound to the selected register.

See “Assigning orchestral to the registers” on p. 51 for the procedure. As stated there, each register can select only one type of sound.

If you select a TW organ sound, you can also edit and name it.

7.2 Lowest note

This parameter allows you to specify the lowest note the selected sound can sound.

The ORCHESTRA CHORD sounds are PCM waveforms (samples) of acoustic instruments. Each acoustic instrument has a set range: it cannot sound notes below or above that range.

simultaneously to select the

FR-7x V-Accordion

7. Orch. Chord Edit parameters (Advanced)

The ORCHESTRA CHORD sound thus changes octaves. For some songs, the default setting (E) 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, F, F#, G, Ab, A3, Bb, B, C; Default setting: E.

7.3 Octave

(–3~0~+3) This parameter allows you to transpose the ORCHESTRA CHORD section (i.e. the currently selected orchestral or organ sound) up or down.

7.4 Volume

(Off, –40~“Std”~40, Default setting: Std) This parameter allows you to set the volume of the ORCHESTRA CHORD section.

This is a relative parameter, which means that its value is added to or subtracted from the standard value (“Std”).

7.5 Panpot

(Bass 63~0 Treb 0~63 Bass) Depending on the selected sound, this parameter allows you to change the ORCHESTRA CHORD part’s placement in the stereo sound field (i.e. between the left and right speakers) to create a livelier sound image. The “Treb” values mean that the sound will appear on the same side as the treble accordion sound. This setting applies to both the FR-7x’s internal speakers and the L/MONO socket.

The “Bass” values mean that the sound will appear on the same side as the bass accordion sound. This setting applies to both the FR-7x’s internal speakers and the R/ MONO socket.

Choose “0” if the ORCHESTRA CHORD sound should be at the center of the stereo image.

Note: If a TW organ sound is assigned to the current ORCHESTRA CHORD register, the “VALUE” parameter will read “Rotary” to signal that the “VALUE” parameter cannot be set.

7.7 Reverb Send, 7.8 Chorus Send, 7.9 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 ORCHESTRA CHORD section). The higher the value you set, the stronger the ORCHESTRA CHORD section will be processed by the effect in question.

The other sections 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. 82).

Note: If a TW organ sound is assigned to the current ORCHESTRA CHORD register, the “LEVEL” value will read “Rotary” to signal that the register is not processed by the FR-7x’s “general effects” (see p. 55). In this case, the “LEVEL” parameter cannot be set.

7.10 MIDI TX

7.6 Chord Drum

This parameter allows you to assign up to three drum/percussion sounds to the chord buttons and to set their levels.

If you assign three sounds, all three will be played simultaneously whenever you press a chord button. See “3.7 Bass Drum” on p. 72 for the procedure.

V-Accordion

8.1 Timbre (Advanced)

8. Orch.FBass Edit parameters

The parameters of the “ORCH.FBASS EDIT” group apply to the bass buttons while Free Bass mode is active. See page 34 for details about the ORCHESTRA FREE BASS section. This section is not available while bass mode is active. See pages 62 and 63 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 69).

•These parameters can only be selected if an ORCHESTRA FREE BASS register is selected (page 33).

• See page 103 for how to save your changes. Also be sure to read “Important remark about saving your settings” on p. 64.

8.1 Timbre

This parameter group allows you to assign the desired orchestral or organ sound to the selected register.

See “Assigning orchestral to the registers” on p. 51 for the procedure. As stated there, each register can select only one type of sound.

If you select a TW organ sound, you can also edit and name it.

8.2 Octave

(–3~0~+3) This parameter allows you to transpose the ORCHESTRA FREE BASS section (i.e. the currently selected orchestral or organ sound) up or down.

8.4 Panpot

(Bass 63~0 Treb 0~63 Bass) Depending on the selected sound, this parameter allows you to change the ORCHESTRA FREE BASS part’s placement in the stereo sound field (i.e. between the left and right speakers) to create a livelier sound image. The “Treb” values mean that the sound will appear on the same side as the treble accordion sound. This setting applies to both the FR-7x’s internal speakers and the L/ MONO socket.

The “Bass” values mean that the sound will appear on the same side as the bass accordion sound (which is not currently available). This setting applies to both the FR-7x’s internal speakers and the R/MONO socket.

Choose “0” if the ORCHESTRA FREE BASS sound should be at the center of the stereo image.

Note: If a TW organ sound is assigned to the current ORCHESTRA FREE BASS register, the “VALUE” parameter will read “Rotary” to signal that the “VALUE” parameter cannot be set.

8.5 Reverb Send, 8.6 Chorus Send, 8.7 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).

The effects themselves can be edited on separate pages (see p. 82).

8.3 Volume

(Off, –40~“Std”~40, Default setting: Std) This parameter allows you to set the volume of the ORCHESTRA FREE BASS section.

This is a relative parameter, which means that its value is added to or subtracted from the standard value (“Std”).

8.8 MIDI TX

This page contains a series of MIDI parameters for the ORCHESTRA FREE BASS section you need to set one by one. See page 113 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.

FR-7x V-Accordion

9. Set Common parameters (Advanced)

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 notes

• Never switch off the FR-7x before saving the settings you wish to keep, because doing so will erase your changes.

• See page 103 for how to save your changes. Also be sure to read “Important remark about saving your settings” on p. 64.

About the effects parameters

The settings you perform here apply to all sections that use the general reverb, chorus or delay effect. They do not apply to the TW reverb, chorus or delay processors, i.e. the effects available for organ sounds. The TW effects cannot be edited.

The connection of the sections to the general effects processors is as follows:

Chorus

Send

Reverb

Send

Delay

Section

Volume

(e.g. Treble)

Note: See page 56 for the connection of the organ parts to the TW effects. Those effects are not related to the processors discussed here.

Send

9.1 Reverb Macro

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 97.

(1) 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: it recalls suitable preset values for all Reverb parameters (Pre-LPF~RevPre DlyTm) on the “Reverb

Chorus

Reverb

Delay

STEREO OUTPUT

sockets

Level

Parameters” page. The Macro therefore also selects a “Character”. In many instances, editing only the parameters on this page is enough.

The available options are:

Macro name Meaning

Room1, Room2, Room3

Hall1, Hall2 These types simulate the reverberation of

Plate This effect type simulates a plate reverb (a

Delay This is a conventional delay that produces

Panning Dly This is a special delay in which the delayed

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.

studio device using a metal plate to simulate natural reverb).

echo effects.

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 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. 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. Always first select the parameter you want to change and then set its value.

(1) Press the [DATA÷ENTER] knob to select the “TYPE”

parameter, then rotate the [DATA÷ENTER] knob to select a parameter.

Parameter Explanation

Character (0~7)

This parameter specifies the reverb type you need (see the table above). It does not load preset values for the Pre-LPF~ RevPreDlyTm parameters.

V-Accordion

9.3 Chorus Macro (Advanced)

Parameter Explanation

Pre-LPF (0~7)

Time (0~127) This parameter sets the duration of the

Level (0~127) This parameter sets the output volume of

Dly Fback (0~127)

Pre-Dly T. (0~127)

(2) Press the

parameter, then rotate the

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. This parameter only applies to the signals that are sent to the Reverb processor. It does not alter the sound of the active sections.

reverb effect. Higher values result in longer reverberation.

the Reverb processor. It is linked to its namesake on the “Reverb Macro” page. Higher values result in louder reverberation.

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.

This parameter sets the time interval between the original (“dry”) signal and the onset of the selected reverb effect. Higher values result in a longer pre-delay time, simulating a larger reverberant space.

[DATA÷ENTER]

knob to select the “VALUE”

[DATA÷ENTER]

set the parameter value (see the indications between brackets in the table 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.

knob to

9.3 Chorus Macro

Chorus broadens the spatial image of the sound, adding richness. You can choose from 8 types of chorus.

Note:

You can also copy the Cho-

rus (or even all effects) settings from another Set. See page 97.

(1) Press the

parameter, then rotate the select an effect type.

The “TYPE” parameter on this page is a “Macro” function: 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:

Parameter Explanation

Chorus 1~4

FBack Chr This is a chorus with a Flanger-like effect

Flanger This is an effect that sounds somewhat like

Short Delay This is a delay with a short delay time.

ShortDly FB This is a short delay with many repeats.

(2) Press the

parameter, then rotate the set the Chorus processor’s output volume (0~127).

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]

If one of them is set to “0”, there will be no chorus. If the Send level of a section is set to “0”, only that section will have no chorus. Other sections If the “LEVEL” parameter on this page is set to “0”, the Chorus processor is effectively off for all sections.

[DATA÷ENTER]

knob to select the “TYPE”

[DATA÷ENTER]

These are conventional chorus effects that add spaciousness and depth to the sound.

and a soft sound.

a jet airplane taking off or landing.

[DATA÷ENTER]

knob to select the “LEVEL”

[DATA÷ENTER]

knob.

knob to

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 to recall the factory setting for the currently active parameter.

[UP]

and

[DOWN]

buttons

FR-7x V-Accordion

9. Set Common parameters (Advanced)

9.4 Chorus Parameters

This page contains several parameters that need to be selected using the “TYPE” entry.

(1) Press the [DATA÷ENTER]

knob to select the “TYPE” parameter, then rotate the [DATA÷ENTER] knob to select a parameter.

Parameter Explanation

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. 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” page. Higher values result in a more prominent chorus effect.

Feedback (0~127)

Delay (0~127)

Rate (0~127) This parameter sets the speed (frequency)

Depth (0~127)

Chr > Rev (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.

This parameter sets the delay of the chorus effect. Higher values will cause greater deviation in pitch of the chorus sound.

at which the chorus sound is modulated. Higher values result in faster modulation.

This parameter sets the depth at which the chorus sound is modulated. Higher values result in a more pronounced modulation.

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”.

Chr > Rev

Section

(e.g. Treble)

Chorus

Send

Volume

Reverb

Send

Delay

Send

Chorus

Reverb

Delay

STEREO OUTPUT

sockets

Level

Chr > Dly

Level

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, 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.

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”.

V-Accordion

9.5 Delay Macro (Advanced)

9.5 Delay Macro

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).

Note: You can also copy the Delay (or even all effects) settings from another Set. See page 97.

(1) 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:

Parameter Explanation

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 The delay signal moves between the left and

(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 is set to “0”, the sound of that section is not repeated. 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.

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.

(1) Press the [DATA÷ENTER]

knob to select the “TYPE” parameter, then rotate the [DATA÷ENTER] knob to select a parameter.

Parameter Explanation

Pre-LPF (0~7)

Level (0~127)

Time C (ms) (0.1~1000)

Time L/R (%) (4~500)

Level C/L/R (0~127)

Feedback (–64~0~+63)

Dly > Rev (0~127)

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.

This parameter sets the overall volume of the three delay lines (center, left and right). Higher values result in a louder delay effect.

The delay effect of the FR-7x 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.

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).

These parameters set the volume of the central, left and right delays individually, allowing you to create the desired “mix”.

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.

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.

FR-7x V-Accordion

10. System parameters (Advanced)

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”, your changes are lost and replaced by the settings of the newly selected macro.

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.

See “Name” on p. 63 for how to enter names.

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. This is only possible while the Treble section is in Solo mode (page 30) or while the ORCHESTRA part is set to “CANCEL”.

In all other cases (Dual, High, Low modes), the Master bar is used to mute the ORCHESTRA part. In Solo mode, the first press allows you to return from the ORCHESTRA part (if it’s on) to the treble section.

Note: If you also take advantage of the Treble register’s “Link” functions (see p. 68), this “Recall” parameter actually allows you to reconfigure your entire FR-7x 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-7x contains 44 preset icons (stored in its internal memory).

Level

10. System parameters

The “System” group contains parameters that are related to all Sets and all sections: they apply to the FR-7x as a whole.

See pages 62 and 63 for how to select and adjust the parameters. Press [UP] and [DOWN] simultaneously to select the value that is indicated as “Default setting”.

10.1 LCD Contrast

(0~12, Default setting: 12) This parameter allows you to change the contrast if the FR-7x’s display is difficult to read. The smaller the value, the darker the display becomes.

10.2 Bellows Curves

(Fixed Low, Fixed Med, Fixed High, X-Light, Light, Standard, Heavy, X-Heavy) This parameter allows you to specify how the FR-7x should respond 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, 6.5 Bellows Detune,

6.1.5 Bellows Crescendo). 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. When you select one of these three options, 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 “10.15 Orchestra Touch” or “10.16 Orchestra Bs&Ch Touch” no longer works, because the FR-7x no longer monitors the bellows’ movements.

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” refers to a normal response. “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.

V-Accordion

10.3 Pedal Controller (Advanced)

10.3 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 device that understands the messages transmitted by the FBC-7.

Note: The assignments you program here are only meaningful if you connect the FR-7x to the supplied FBC-7.

(1) 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 to define.

(2) Press the [DATA÷ENTER] knob to select the

“ASSIGN” parameter, then rotate the [DATA÷ENTER] knob to select one of the following functions:

Parameter Explanation

Set Up/ Set Down

Regist Up/ Regist Down

Sust.A* The footswitch can be used to hold the

Sust.B* The footswitch can be used to hold the

Orch.On/Off The footswitch allows you to switch the

Start/Stop* Pressing the footswitch once will cause

The footswitch allows you to select the next (Down) or previous (Up) Set memory. After selecting Set 01 (or 80), pressing the footswitch again takes you to Set 80 (or

01). These are the default functions of footswitches [1] and [2].

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 messages the selected section (page 88) transmits via MIDI. You can then release the keys or buttons – the notes go on sounding until you release the footswitch.

ORCHESTRA section on and off.

the external device to start playback. Press the footswitch again to stop playback.

Parameter Explanation

Intro* 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* The footswitch can be used to select a fill-

in pattern of the active Music Style. If the instrument being controlled provides several fill-in patterns, you can select them one after the other in ascending order.

Note: You cannot cycle back to the lowest level (which is called “Original” on older Roland arranger instruments).

Note: The MIDI message transmitted by this footswitch is PC81 (program change) on MIDI channel 10.

Fill Down* The footswitch can be used to select a fill-

in pattern of the active Music Style. If the instrument being controlled provides several fill-in patterns, you can select them one after the other in descending order.

Note: You cannot cycle back to the highest level (which is called “Variation” on older Roland arranger instruments).

Note: The MIDI message transmitted by this footswitch is PC82 (program change) on MIDI channel 10.

Ending* The footswitch can be used to select the

“Ending” pattern of the active Music Style.

Note: The MIDI message transmitted by this footswitch is PC84 (program change) on MIDI channel 10.

PitchUp 1/2 PitchUp 1

PitchDwn 1/2 PitchDwn 1

Rtry Sw** The footswitch allows you to switch the

Rtry SlowFast**

Rtry Slow** The footswitch allows you to select the

The selected footswitch allows you to bend the notes you are playing a semitone (“1/2”) or two semi-tones (“1”) up. When you release the footswitch, the pitch returns to its regular level.

The selected footswitch allows you to bend the notes you are playing a semitone (“1/2”) or two semi-tones (“1”) down. When you release the footswitch, the pitch returns to its regular level.

Rotary effect (see p. 55) on and off.

The footswitch allows you to alternate between the slow and fast rotation speeds.

Note: The function is only meaningful if the Rotary effect is currently on.

slow rotation speed.

Note: The function is only meaningful if the Rotary effect is currently on.

FR-7x V-Accordion

10. System parameters (Advanced)

Parameter Explanation

Rtry Fast** The footswitch allows you to select the

fast rotation speed.

Note: The function is only meaningful if the Rotary effect is currently on.

Brake OnOff**

Brake On** When you press the footswitch, the pitch

Brake Off** When you press the footswitch, the pitch

Modul. The footswitch allows you to add vibrato

Play/Pause The footswitch can be used to start and

Skip BWD The footswitch allows you to return to the

The footswitch allows you to switch the TW organ part’s brake effect on and off. This simulates the effect you get when you switch a tonewheel organ off (“On”) or on (“Off”) while playing.

will gradually fall.

will gradually rise from a lower to the regular level.

to the notes you are currently playing.

temporarily stop playback of the selected audio file (see p. 38).

beginning of the currently selected audio file. Press it twice to jump to the beginning of the previous file in alphabetical order. It can also be used to select the previous step of the selected playlist (see p. 42).

(1) Press the [DATA÷ENTER] knob to select the “PART”

parameter, then rotate the [DATA÷ENTER] knob to select a parameter.

Possibilities for “PART”: All, Treble, Bass, Chord, Orch., Orch.Bs, Orch.BsCh, Orch.FBs.

(2) Press the [DATA÷ENTER] knob again to select the

“VALUE” parameter, then rotate the [DATA÷ENTER] knob to set the value.

Possibilities for “VALUE”: On, Off. Select “On” to control the section shown below

“PART” with the FBC-7 footswitch that acts as “Sust.A” or “Sust.B”. Select “Off” for sections that you do not want to control in this way.

10.6 Function Switch

This parameter allows you to use the bass button column closest to the FR-7x logo to select or control the desired functions. When this parameter is set to “On”, the buttons in question can no longer be used to play notes or chords.

Skip FWD The footswitch allows you to jump to the

next audio file in alphabetical order (“FWD”). It can also be used to select the next step of the selected playlist.

REC Start/ Stop

Set 1~80 The selected footswitch can be used to

Null The footswitch has no function.

* This setting only makes sense if you connect the FBC-7’s MIDI

OUT socket to the MIDI IN socket of an arranger module, drum machine, etc.

** This is only meaningful if you are using an orchestra register

that plays a TW organ sound.

The footswitch allows you to start and stop the FR-7x’s audio recorder (see p. 47).

recall the specified Set (i.e. the Set whose number you choose).

The footswitch can be used to recall the selected Treble register. That is why you must specify a number here.

10.4 Sustain Routing A, 10.5 Sustain Routing B

(All, Treble, Bass, Chord, Orch., Orch.Bs, Orch.BsCh, Orch.FBs) The parameters on these pages allow you to specify whether or not the available sections (see “PART”) should be controlled by the footswitch that has the “Sust.A” (“Sustain Routing A”) or “Sust.B” (“Sustain Routing B”) function (page 87).

[1] [6]

At first, the buttons will have the following factory default settings (they can be changed with the parameter discussed below):

Bass button Function

[1] Pitch Down

[2] Modulation

[3] Sustain

[4] Brake Off

[5] Brake On

[6] Rotary Slow/Fast

10.7 Function Switches Edit

The parameters on this page allow you to assign the desired functions to the bass buttons that can be used as function switch. Remember that these functions are only used when the “Function Switch” parameter (see above) is set to “On”.

V-Accordion

10.8 Bass&Chd Mode (Advanced)

(1) Press the [DATA÷ENTER] knob to select the

“SWITCH” parameter, then rotate the [DATA÷ENTER] knob to select the bass button whose function you wish you define.

(2) Press the [DATA÷ENTER] knob again to select the

“ASSIGN” parameter, then rotate the [DATA÷ENTER] knob to select one of the available functions.

The functions you can assign are the same as for the footswitches of the supplied FBC-7 unit. Please refer to page 87.

10.8 Bass&Chd Mode

(Default setting: 2 Bs Rows) This parameter allows you to specify the number of button rows available 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 90.

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 90).

The “Bx-7th” option reverses the “B-7th” settings (from right to left), so that the C3 note moves from 9th to 12th position.

Note: This shift does not apply to Free Bass mode, which is an altogether different mode.

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 90).

Note: The FR-7x is supplied with several reference caps designed to help you locate the bass and chord buttons without looking at them. See also page 27.

FR-7x V-Accordion

10. System parameters (Advanced)

10.8 Bass&Chd Mode

“7th”= 1-3-7; “5dim”= 3-5-7

ORCH BASS

ORCH FREE BS ORCH CHORD

ORCH FREE BS

ORCH CHORD

FREE BASS

E3A3D3G3

B3E3A3D3G3

“7th”= 1-3-7; “5dim”= 3-5-7

ORCH BASS

“7th”= 1-3-7

10.9 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.

Your FR-7x contains the 5 most popular ones (see the illustration on page 91). Be aware that the system you select here is only used when you activate the FR-7x’s Free Bass mode. It is of no consequence for the “regular” Bass mode.

Note: The FR-7x is supplied with several reference caps designed to help you locate the bass buttons without looking at them. See also page 27.

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

10.10 Stereo Width

(–63~–1, Natural, Wide, Default setting: –15) As stated on p. 17, 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.

“Wide” represents the widest stereo image. “Natural” 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.

V-Accordion

FREE BASS

ORCH BASS

FREE BASS

ORCH BASS

FREE BASS

ORCH BASS

FREE BASS

ORCH BASS

FREE BASS

ORCH BASS

Finnish

Fifth

Ab2 Eb2 Bb2 F2

FREE BASS

ORCH 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

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

ORCH CHORD

ORCH FREE BS

ORCH CHORD

ORCH FREE BS

ORCH CHORD

ORCH FREE BS

ORCH CHORD

ORCH FREE BS

ORCH CHORD

ORCH FREE BS

ORCH CHORD

ORCH FREE BS

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

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

(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.

10.9 Free Bass Mode

10.10 Stereo Width (Advanced)

FR-7x V-Accordion

10. System parameters (Advanced)

10.11 Output Level

(–12dB, –6dB, 0dB) This parameter is only meaningful when the FR-7x is connected to an amplifier, a HiFi mixing console or a commercially available wireless system. If the FR-7x’s output signal distorts even if the [VOLUME] knob is set to the minimum value (or close to it), try “–6dB”. If that is still “too hot”, set this parameter to “–12dB”.

Note: This parameter has no effect on the FR-7x’s internal speakers.

10.12 Auto Power Off

(Disabled, 10 min, 15 min, 20 min, Default setting: 10 min) This parameter allows you to specify how long the FR-7x should wait before switching itself off while you are not using it.

This is meant to preserve battery power and only applies when the FR-7x is not connected to the FBC-7. To “wake” the FR-7x, press its [POWER] button. Select “Dis-

abled” to switch this function off. WARNING: Be aware that any unsaved changes are lost

when the FR-7x is switched off by this function. Be sure to save all important settings as soon as you can.

10.13 Start-Up

This page allow you to specify what the FR-7x should do when you switch it on.

(1) Press the [DATA÷ENTER]

knob to select “TYPE”, then rotate the [DATA÷ENTER] knob to choose the type you want to set. The possibilities are:

TYPE ASSIGN Meaning

Set 1~80

Bass Link On, Off

Orch.Link On, Off

(2) Press the [DATA÷ENTER] knob again to select the

“ASSIGN” parameter, then rotate the [DATA÷ENTER] knob to select the desired setting.

Allows you to specify which Set should be loaded at power-on.

Allow you to specify which Link function (see p. 68) should be activated at power-on: Orchestral Link, Orchestral Chord Link, Orchestra Free Bass Link, and/or Bass Link.

10.14 Start-Up Name

This parameter allows you to enter a short message (your name, for example) that is displayed each time you switch the FR-7x on.

See p. 70 for details about entering names. You can enter up to 8 characters.

10.15 Orchestra Touch

(Fixed Low, Fixed Med., Fixed High, Low, Medium, High, Fixed Low+Bellows, Fixed Med.+Bellows, Fixed High+Bellows, Bellows, Default setting: Medium) This parameter allows you to specify the velocity sensitivity of the Treble keys when they are used to play orchestral sounds. It has no effect on the “TW Upper” organ sound.

There are three “Fixed” curves that always use the same value, no matter how hard or lightly you press the keys (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 key 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.

“Medium” is in the middle. “Fixed Low+Bellows”, “Fixed Med.+Bellows” and “Fixed High+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 keys.

Note: By selecting a “Fixed” option for “10.2 Bellows Curves” on p. 86, you effectively switch off the bellows sensor. This also means that any setting that includes “Bellows” no longer works, because the FR-7x no longer “listens” to the bellows’ movements.

10.16 Orchestra Bs&Ch Touch

(Fixed Low, Fixed Med., Fixed High, Low, Medium, High, Fixed Low+Bellows, Fixed Med.+Bellows. Fixed High+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 orchestral sounds. It has no effect on the “TW Lower” or “TW Pedal” organ sounds.

See above for an explanation of the various options.

V-Accordion

Release T(ime)

Release

T(ime)

This is where you hit

the cymbal

The sound disappears

gradually.

This is where you hit

the cymbal

Short sound

This is where you choke the cymbal

10.17 Start/Stop MIDI TX (Advanced)

10.17 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-7x with a MIDI sequencer, a drum machine, or an arranger module. Note that this function is only available if you connect the FR-7x 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 “10.3 Pedal Controller” on p. 87.

Just think of the difference between a cymbal you hit with and without muting (“choking”) it:

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 release time doesn’t change.

10.19 Expansion

The FR-7x allows you to add new sounds to the internal sounds. The new sounds (files with the “.bin” extension) must be copied to a USB storage device, after which you can load them with the FR-7x. “Loading” means that they will be copied to a permanent internal memory area. There are two such memory areas (“A” and “B”).

(1) Press the [DATA÷ENTER] knob to select the “Expan-

sion” parameter.

(2) Rotate the [DATA÷ENTER] knob to select [A] or [B].

Watch the “NAME” line below this parameter. If it is empty, the memory area in question can be used to load new sounds. Otherwise, see “How to erase an expansion memory area” below.

(3) Press the [DATA÷ENTER] knob to select the [LOAD]

field, then press it again to load the sounds.

10.18 Treble Release T.

(–64~0~63, Default setting: 0) This parameter that allows you to shorten the Treble accordion sounds if you feel the virtual reeds linger a bit long after you release a key. 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.

■ How to erase an expansion memory area

If you want to replace the contents of the “A” or “B” memory areas with other sounds while the “NAME” line is not empty, you must first erase the contents of that area:

(a) Press the [DATA÷ENTER] knob, then rotate it to

select [ERASE].

(b) Press the [DATA÷ENTER] knob to erase the selected

memory area.

The following message appears:

ory area.

After an “Executing…” message the display will show the “Expansion” page again. The selected memory area is now empty.

FR-7x V-Accordion

10. System parameters (Advanced)

(d) Repeat steps (1)~(3) to load the desired sounds.

10.20 Treble Mode (only for button-type)

(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-7x 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.

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. (You can, however, unscrew the buttons and install them in the right places so as to make the white and black buttons correspond to the notes being played.)

The FR-7x 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.

10.20 Treble Mode (only for button-type) (Advanced)

C-Griff Europe C-Griff 2 B-Griff Bajan

10.20 Treble Mode (1/2)

V-Accordion

FR-7x V-Accordion

10. System parameters (Advanced)

10.20 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 pack status), several parameters that allow you to copy settings and several parameters for archiving your settings. See pages 62 and 63 for how to select and adjust the parameters.

11.1 Battery Status

The FR-7 comes with an NiMh battery pack that allows you to use it without connecting it to the supplied FBC-7.

Depending on how the FR-7x is powered, the display shows one of the following:

This message means that the FR-7x is powered by the battery pack in its compartment. The battery icon shows how much power is left

(maximum charge in our example). 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.

This indication means that the battery pack is being recharged by the FBC-7 (the charge indication blocks

flash to indicate that this operation is still in progress). This is not performed automatically. You need to connect the FR-7x’s “TO FBC-7” socket to the “TO V-ACCORDION” socket on the FBC-7 and press the BATTERY CHARGER button (so that it lights). Please see “Recharging the battery pack without removing it from the FR-7x” on p. 59.

This message means that the FR-7x

contains a battery pack, which is not

used, because the FR-7x is con-

nected 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.

11.2 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 “ 11.5 Export Set” before proceeding.

V-Accordion

11.1 Battery Status (Advanced)

(1) On the page shown above, press the [DATA÷ENTER]

button, then turn it to select the Set whose settings you wish to copy.

By default, the FR-7x selects the number of the Set you are currently using.

(2) 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…

(3) Press [MENU÷WRITE] to copy the settings.

The display confirms this operation:

11.3 Copy Effects

This parameter allows you to copy the settings of the desired effects processors from one Set to another. This may help you save time, because the effects processors contain an impressive number of parameters.

Note: This function does not effect the TW organ effects.

(1) Press the [DATA÷ENTER] knob to select the “TYPE”

parameter.

(2) Rotate the [DATA÷ENTER] knob to select one of the

following settings:

Setting Meaning

ALL Copy the effects settings of all three gen-

eral effects processors.

Reverb Copy the effects settings of the Reverb

processor (page 82).

Chorus Copy the effects settings of the Chorus

processor (page 83).

Delay Copy the effects settings of the Delay pro-

cessor (page 85).

(3) Press the [DATA÷ENTER] knob to select the “FROM

SET” parameter.

(4) Rotate the [DATA÷ENTER] knob to select the Set

whose effects settings you wish to copy.

(5) Press the [DATA÷ENTER] knob to select the “TO SET”

parameter.

(6) Rotate the [DATA÷ENTER] knob to select the Set to

which you want to copy the selected effects settings.

(7) Press [MENU÷WRITE] to copy the settings.

FR-7x V-Accordion

11. Utility parameters (Advanced)

The display confirms this operation:

11.4 Export All FR-7x

This parameter allows you to archive all of the FR-7x’s settings on the connected USB storage device. These settings can be loaded at a later stage (either on your or someone else’s FR-7x) using the “Import All FR-7x” function.

(1) Connect a USB storage device to the FR-7x’s USB

port.

(2) Press the [DATA÷ENTER] knob to select the [FOLDER]

field.

(3) Press the [DATA÷ENTER] knob.

(4) Rotate the [DATA÷ENTER] knob to select the loca-

tion where you want to save your settings.

To open an existing folder, select it by rotating the [DATA÷ENTER] knob, then press the [DATA÷ENTER] knob. You can also select the “(level up)” entry and press the [DATA÷ENTER] knob to return to a higher level (i.e. leave the current folder).

(5) Select the “OK” field and press the [DATA÷ENTER]

knob to confirm your choice.

(6) Press the [DATA÷ENTER] knob and rotate it to select

the file name in the bottom row.

(7) Rotate the [DATA÷ENTER] knob to select the charac-

ter you want to change.

The briefly shows the following message and then confirms this operation.

If a file of the same name already exists, the following message is displayed:

To overwrite that file, press the [MENU÷WRITE] but- ton.

11.5 Export Set

This function allows you to save the settings of the selected Set to the connected USB storage device. In this case, only the parameters of the various register types and the “Set Common” parameters are saved.

(1) Connect a USB storage device to the FR-7x’s USB

port.

(2) Press the [DATA÷ENTER] knob to select the “Export

SET” parameter.

(3) Rotate the [DATA÷ENTER] knob to select the Set

whose settings you want to export.

Note: The Set will be exported with the settings that are currently in effect (i.e. in its edited state). These settings do not necessarily correspond to the last setting you saved for this Set.

(4) Press the [DATA÷ENTER] knob to select the [FOLDER]

field.

(5) Press the [DATA÷ENTER] knob.

(8) Press the [DATA÷ENTER] knob.

(9) Enter the desired name for your archive.

See page 70 for how to enter names.

(10) Press [MENU÷WRITE] to archive your settings.

(11) Press the [MENU÷WRITE] button again.

(6) Rotate the [DATA÷ENTER] knob to select the loca-

tion where you want to save your settings.

(7) Select the “OK” field and press the [DATA÷ENTER]

knob to confirm your choice.

V-Accordion

11.6 Import All FR-7x (Advanced)

(8) Press the [DATA÷ENTER] knob twice and rotate it to

select the file name in the bottom row.

(9) Rotate the [DATA÷ENTER] knob to select the charac-

ter you want to change.

(10) Press the [DATA÷ENTER] knob.

(11) Enter the desired name for your archive.

See page 70 for how to enter names.

(12) Press [MENU÷WRITE] to archive your settings.

The display shows the following message:

(13) Press [MENU÷WRITE] again to confirm your inten-

tion.

The display confirms this operation:

If a file of the same name already exists, the following message is displayed:

(5) Press the [DATA÷ENTER] knob to import the set-

tings.

The display shows “Press WRITE to proceed”.

(6) Press the [MENU÷WRITE] button.

After an “Executing… Do NOTE Power Off” message, the FR-7x imports all Sets.

11.7 Import Set

This function allows you to import the settings of a Set file. You can choose the Set memory the settings should be loaded to.

Note: You cannot select single Sets of a file archived with “11.4 Export All FR-7x” on p. 98.

(1) Connect a USB storage device to the FR-7x’s USB

port.

(2) Press the [DATA÷ENTER] knob and rotate it to select

the Set memory that should contain the Set settings you are about to load.

(3) Press the [DATA÷ENTER] knob to select the “FILE”

field.

(4) Press the [DATA÷ENTER] knob to confirm the files

selection.

(5) Rotate the [DATA÷ENTER] knob to select the file to

import and press it to confirm.

(6) Press the [DATA÷ENTER] knob to import the set-

tings.

The display shows the following message:

To overwrite that file, press the [MENU÷WRITE] but- ton.

11.6 Import All FR-7x

This parameter allows you to load all settings of the selected FR-7x archive. Be aware that doing so will over-

write the entire memory contents of the FR-7x.

(1) Connect a USB storage device to the FR-7x’s USB

port.

(2) Press the [DATA÷ENTER] knob to select the “FILE”

field.

(3) Press the [DATA÷ENTER] knob to confirm the file

selection.

(4) Rotate the [DATA÷ENTER] knob to select the files

and press it to confirm.

(7) Press [MENU÷WRITE] to confirm your intention.

After an “Executing… Do NOTE Power Off” message, the FR-7x imports the selected Set.

11.8 Restore Data

(All, Master Tune, Scale Tune, System, MIDI, All Sets, Set 1~ Set 80) This function allows you to undo all or some changes you made after last saving your settings by reloading the last version you saved. This can be handy when it turns out that your changes don’t yield the expected result and that starting all over again would be quicker than changing the parameters back.

Note: This function does not necessarily load the factory settings: it loads the settings stored in the selected memory area(s).

FR-7x V-Accordion

11. Utility parameters (Advanced)

(1) Press the [DATA÷ENTER] knob to select the “TYPE”

field.

(2) Rotate the [DATA÷ENTER] knob to select the set-

tings you want to restore:

Setting Meaning

ALL Restores all of the FR-7x’s settings.

Master Tune Restores the last “1.1 Master Tune” setting

you saved (page 64).

Scale Tune Restores the last “1.4 Scale Edit” (page 64)

and “1.5 Scale Assign” settings you saved (page 65).

System Restores the last “10. System” settings you

saved (page 86).

MIDI Restores the last “12. MIDI” settings you

saved (page 107).

All Sets Restores the settings of all Sets and the

registers they contain.

Set 1~80 Restores the settings of the selected Set.

(3) Press the [DATA÷ENTER] knob to confirm your set-

tings.

(4) Press the [MENU÷WRITE] button to copy the set-

tings.

The display confirms this operation.

(5) Press the [DATA÷ENTER] knob to import the set-

tings.

(6) Press the [MENU÷WRITE] button to load the set-

tings.

After an “Executing… Do NOTE Power Off” message, the display shows “Function Complete”.

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.

(1) Select the Set whose Treble registers you want to

edit simultaneously.

(2) Press the [DATA÷ENTER] knob and rotate it to select

the parameter 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, MusDetune

11.9 FR-7/5 Import

This function allows you to load MIDI bulk data of an FR-7/5 V-Accordion from a USB storage device. You therefore first need to copy the file in question to a USB storage on your computer.

Parameters that don’t exist on the FR-7/5 are reset to their factory defaults (on the FR-7x), and Sets 41~80 are left untouched (the FR-7/5 only has 40 Set memories).

(1) Connect a USB storage device to the FR-7x’s USB

port.

(2) Press the [DATA÷ENTER] knob to select the “FILE”

field.

(3) Press the [DATA÷ENTER] knob to select the file

whose bulk settings you want to load.

(4) Rotate the [DATA÷ENTER] knob to select a file and

press it to confirm.

The “IMPORT” field is now selected.

If you selected “Reed ALL” or “Vol ALL”, the following warning may be displayed:

This only occurs if the “VALUE” next to it is currently “---”, which means that the reeds of your Set use different settings. By proceeding with “ALL”, you would assign the same value to all registers of the current Set.

(a) Press the [DATA÷ENTER] knob to set the same value

for all reeds.

(b) Press the [EXIT÷JUMP] button to stop the operation.

(3) Press the [DATA÷ENTER] knob to select “VALUE”,

then rotate the [DATA÷ENTER] knob to select the desired setting.

100

Roland FR-7x User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

1. Important notes

Contents

2. Features

3. Panel descriptions

Treble control panel

Bass control panel

Display and master bar

Battery compartment and USB port

Connection panel

Installing the battery pack

Other connections

Switching the power on and off

Turning the power off

Listening through headphones

5. Listening to the demo songs

Practical information

Bellows resistance regulator

About the main page

Bass strap

7. Using Sets

Direct Set selection

Treble section (right hand)

Bass and chord section (left hand)

Using the Sordina

Playing in Free Bass mode

Reference caps

Playing the bass part with your right hand (Bass-to-Treble)

Orchestral sounds for the treble section

About the ‘HighLand’ and ‘Zampogna’ sounds

Velocity and aftertouch

Selecting ORCHESTRA mode

Setting the volume of the (treble) orchestral sound

Quickly adding and muting the orchestral sound

Orchestral sounds for the bass section

Setting the volume of the ORCH BASS sound

Orchestral sounds for the Chord section

Setting the volume of the ORCH CHORD sound

Orchestral sounds for the Free Bass section

Setting the volume of the ORCH FREE BS sound

10. Other practical functions

General remark

Transpose

Musette Detune

Scale (Tuning)

Noise Edit (Valve & Button)

11. Using the audio player

Connecting an optional USB memory

Playing back audio files

Playing back audio files

Playlist function

Programming your playlists

Changing the playback volume

Saving your playlist

Naming the playlist

Preparation for saving

Saving the playlist

Using playlists

Editing playlists

Adding steps

Assigning a different song to an existing step

Deleting steps

Clearing all steps

Managing playlists

General procedure

Specifying the playback behavior (Chain)

Repeating all playlist steps (Repeat)

Deleting a playlist

Renaming a playlist

12. Recording your performance as audio data

Recording

Saving your recording

In case you decide not to save the audio file…

13. Managing audio files on a USB memory

Deleting a song file

Renaming a song file

14. Assigning orchestral to the registers