Roland Piano User Manual

Page 1

OWNER’S MANUAL

Thank you, and congratulations on your choice of the Roland (FA-76).

Before using this unit, carefully read the sections entitled: “IMPORTANT SAFETY INSTRUCTIONS” (Owner’s Manual p. 2), “USING THE UNIT SAFELY” (Owner’s Manual p. 3), and “IMPORTANT NOTES” (Owner’s Manual p. 4). These sections provide important information concerning the proper operation of the unit. Additionally, in order to feel assured that you have gained a good grasp of every feature provided by your new unit, Quick Start, Owner’s Manual, Sound/ Parameter List, and Q&A should be read in its entirety. The manual should be saved and kept on hand as a convenient reference.

Page 2

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

ATTENTION: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK,

DO NOT REMOVE COVER (OR BACK).

NO USER-SERVICEABLE PARTS INSIDE.

REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.

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 - When using electric products, basic precautions should always be followed, including the following:

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 damp 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. When the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet.

WARNING: IMPORTANT:

As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying

the terminals in your plug, proceed as follows:

The wire which is coloured GREEN-AND-YELLOW must be connected to the terminal in the plug which is marked by the

letter E or by the safety earth symbol or coloured GREEN or GREEN-AND-YELLOW.

The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.

THIS APPARATUS MUST BE EARTHED THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE. GREEN-AND-YELLOW: EARTH, BLUE: NEUTRAL, BROWN: LIVE

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. Never use with a cart, stand, tripod, bracket, or table except as specified by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over.

13. Unplug this apparatus during lightning storms or when unused for long periods of time.

14. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.

For the U.K.

Page 3

Used for instructions intended to alert the user to the risk of death or severe injury should the unit be used improperly.

Used for instructions intended to alert the user to the risk of injury or material damage should the unit be used improperly.

* Material damage refers to damage or

other adverse effects caused with respect to the home and all its furnishings, as well to domestic animals or pets.

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

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

The ● symbol alerts the user to things that must be

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

001

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

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

002b

• Do not open or perform any internal modifications on the unit. (The only exception would be where this manual provides specific instructions which should be followed in order to put in place user-installable options; see p. 196.)

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

003

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

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

004

• Never use or store the unit in places that are:

• Subject to temperature extremes (e.g., direct sunlight in an enclosed vehicle, near a heating duct, on top of heat-generating equipment); or are

• Damp (e.g., baths, washrooms, on wet floors); or are

• Humid; or are

• Exposed to rain; or are

• Dusty; or are

• Subject to high levels of vibration.

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

005

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

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

006

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

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

008a

• The unit should be connected to a power supply only of the type described in the operating instructions, or as marked on the unit.

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

008e

• Use only the attached power-supply cord.

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

009

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

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

010

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

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

011

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

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

013

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

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

014

• Protect the unit from strong impact.

(Do not drop it!)

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

015

• Do not force the unit’s power-supply cord to share an outlet with an unreasonable number of other devices. Be especially careful when using extension cords—the total power used by all devices you have connected to the extension cord’s outlet must never exceed the power rating (watts/amperes) for the extension cord. Excessive

loads can cause the insulation on the cord to heat up and eventually melt through.

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

Page 4

USING THE UNIT SAFELY

016

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

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

022a

• Always turn the unit off and unplug the power cord before attempting installation of the circuit board (SRJV80/SRX Series; Quick Start p. 3–4).

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

101a

• The unit should be located so that its location or position does not interfere with its proper ventilation.

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

101c

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

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

102b

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

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

104

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

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

106

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

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

107b

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

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

108a

• Before moving the unit, disconnect the power plug from the outlet, and pull out all cords from external devices.

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

109a

• Before cleaning the unit, turn off the power and unplug the power cord from the outlet (Quick Start p. 5).

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

110a

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

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

115a

• Install only the specified circuit board(s) (SR-JV80/SRX Series). Remove only the specified screws (p. 196, p. 198).

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

118

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

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IMPORTANT NOTES

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

Power Supply

301

• Do not use this unit on the same power circuit with any device that will generate line noise (such as an electric motor or variable lighting system).

307

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

Placement

351

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

352

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

353

• Observe the following when using the unit’s floppy disk drive. For further details, refer to “Before Using Floppy Disks.”

• Do not place the unit near devices that produce a strong magnetic field (e.g., loudspeakers).

• Install the unit on a solid, level surface.

• Do not move the unit or subject it to vibration while the drive

is operating.

354a

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

355

• To avoid possible breakdown, do not use the unit in a wet area, such as an area exposed to rain or other moisture.

358

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

Page 5

IMPORTANT NOTES

Protect tab

Write (writing permitted)

Protect (writing prohibited)

Maintenance

401a

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

402

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

Additional Precautions

551

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

552

• Unfortunately, it may be impossible to restore the contents of data that was stored on a floppy disk, in the unit’s memory or another MIDI device (e.g., a sequencer) once it has been lost. Roland Corporation assumes no liability concerning such loss of data.

553

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

554

• Never strike or apply strong pressure to the display.

556

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

557

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

558a

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

559a

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

561

• Use only the specified expression pedal (EV-5; sold separately). By connecting any other expression pedals, you risk causing malfunction and/or damage to the unit.

604

• To insert a disk, push it gently but firmly into the drive—it will click into place. To remove a disk, press the EJECT button firmly. Do not use excessive force to remove a disk which is lodged in the drive.

605a

• Never attempt to remove a floppy disk from the drive while the drive is operating (the indicator is lit); damage could result to both the disk and the drive.

606

• Remove any disk from the drive before powering up or down.

607

• To prevent damage to the disk drive’s heads, always try to hold the floppy disk in a level position (not tilted in any direction) while inserting it into the drive. Push it in firmly, but gently. Never use excessive force.

608

• To avoid the risk of malfunction and/or damage, insert only floppy disks into the disk drive. Never insert any other type of disk. Avoid getting paper clips, coins, or any other foreign objects inside the drive.

Handling Floppy Disks

651

• Floppy disks contain a plastic disk with a thin coating of magnetic storage medium. Microscopic precision is required to enable storage of large amounts of data on such a small surface area. To preserve their integrity, please observe the following when handling floppy disks:

• Never touch the magnetic medium inside the disk.

• Do not use or store floppy disks in dirty or dusty areas.

• Do not subject floppy disks to temperature extremes (e.g.,

direct sunlight in an enclosed vehicle). Recommended temperature range: 10 to 50° C (50 to 122° F).

• Do not expose floppy disks to strong magnetic fields, such as those generated by loudspeakers.

652

• Floppy disks have a “write protect” tab which can protect the disk from accidental erasure. It is recommended that the tab be kept in the PROTECT position, and moved to the WRITE position only when you wish to write new data onto the disk.

Before Using Floppy Disks

Handling the Floppy Disk Drive

602

• Install the unit on a solid, level surface in an area free from vibration. If the unit must be installed at an angle, be sure the installation does not exceed the permissible range: upward, 2°; downward, 18°.

603

• Avoid using the unit immediately after it has been moved to a location with a level of humidity that is greatly different than its former location. Rapid changes in the environment can cause condensation to form inside the drive, which will adversely affect the operation of the drive and/or damage floppy disks. When the unit has been moved, allow it to become accustomed to the new environment (allow a few hours) before operating it.

653

• The identification label should be firmly affixed to the disk. Should the label come loose while the disk is in the drive, it may be difficult to remove the disk.

654

• Store all disks in a safe place to avoid damaging them, and to protect them from dust, dirt, and other hazards. By using a dirty or dust-ridden disk, you risk damaging the disk, as well as causing the disk drive to malfunction.

Page 6

How To Use This Manual

This owner’s manual is organized as follows. Before you start reading it, we’d like to suggest going through the Quick Start manual. For parameter lists, sound lists, and MIDI implementation, refer to the separate “Sound/Parameter List.” In addition, the separate “Q&A” provides answers for frequently asked questions about the Fantom, and example applications for your reference.

Overview of the Fantom

This explains the structure of the Fantom, and basic operation. Reading it is essential for understanding Fantom operational procedures.

Playing in Patch Mode

This explains how to play the Fantom in Patch mode. Reading it is essential for understanding Fantom operational procedures.

Creating a Patch

This chapter explains how to create patches, and describes what the patch parameters do and how they are composed. Read this chapter when you wish to create patches.

Creating a Rhythm Set

This chapter explains how to create rhythm sets, and describes what the rhythm set parameters do and how they are composed. Read this chapter when you wish to create rhythm sets.

Recording a Song

This explains how to record a song using the Fantom’s sequencer. Reading it is essential for understanding Fantom operational procedures.

Editing a Song

This chapter explains song editing and song settings in detail. Read this when you wish to edit a song that you’ve recorded.

Playing Phrase with One Finger (RPS Function)

This explains the settings of the RPS (Realtime Phrase Sequence) function, and how to use it for performance. Read this chapter when you wish to use the RPS.

Changing Tones in Realtime

This explains how to use the D Beam controller and realtime controllers to modify the sound, and how to make the necessary settings. Read this when you want to modify the sound in realtime.

Applying Effects

This chapter explains how to make settings for the Fantom’s onboard effects, and describes the type and operation of each effect. Be sure to read this when adding effects to patches and performances.

Playing in Performance Mode

This explains how to play the Fantom in Performance mode. Reading it is essential for understanding Fantom operational procedures.

Creating a Performance

This chapter explains how to create performances, and describes what the performance parameters do and how they are composed. Read this chapter when you wish to create performances.

Playing in Multitimbre Mode

This explains how to play the Fantom in Multitimbre mode. Reading it is essential for understanding Fantom operational procedures.

Creating a Multitimbre

This explains how to create a multitimbre, and the functions and structure of the multitimbre parameters. Read this when you wish to create a multitimbre.

Playing Back a Song

This explains how to play back a song using the Fantom’s sequencer. Reading it is essential for understanding Fantom operational procedures.

Settings Common to All Modes (System Function)

This chapter describes how the System parameters that determine the Fantom’s operation environment work and how these parameters are organized. Read it as necessary.

Disk-Related Functions (Disk Utility)

This chapter covers disk-related operations such as saving data to disk and loading data from disk. Read it as necessary.

Transmitting Sound Settings/ Restoring the Factory Settings

This explains how to transmit data to an external MIDI device or to the Fantom (Data Transfer), and how to restore all data of the Fantom to the factory settings (Factory Reset). Read it as necessary.

Installing the Wave Expansion Board

This explains how to install a Wave Expansion Board (sold separately). Read it as necessary.

Page 7

Notation Used in This Owner’s Manual

To make operation procedures easy to understand, the following notation system is adopted:

Characters and numbers in square brackets [ ] indicate buttons and knobs on the front panel. For example, [MODE] indicates the MODE button, and [CURSOR] indicates the cursor buttons ( , ,,).

(p. **) refers to pages within the manual. In this manual, when any particular parameter is referred to, the

name of the parameter is given, and this is then followed (in parenthesis) by information detailing its mode/edit group. For example: Mono/Poly parameter (PATCH/General).

Below are the meanings of the symbols preceding certain sentences in the text.

These are notes. Be sure to read them.

How To Use This Manual

The display screens printed in this owner’s manual are based on the factory settings. However, please be aware that in some cases they may differ from the actual factory settings.

These are reference memos. Read it as necessary.

These are hints for operating the Fantom. Read it as necessary.

These provide information from related reference pages. Read it as necessary.

Page 8

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

How To Use This Manual........................................................................6

Notation Used in This Owner’s Manual...................................................................................... 7

Main Features........................................................................................14

Panel Descriptions................................................................................16

Front Panel.................................................................................................................................................16

Rear Panel..................................................................................................................................................18

Overview of the Fantom .......................................................................19

How the Fantom Is Organized...............................................................................................................19

Basic Structure...............................................................................................................................19

Classification of Fantom Sound Types.......................................................................................19

About Simultaneous Polyphony................................................................................................. 21

About Memory..........................................................................................................................................22

Temporary Memory......................................................................................................................22

Rewritable Memory......................................................................................................................22

Non-Rewritable Memory............................................................................................................. 22

About the Onboard Effects ..................................................................................................................... 23

Effect Types....................................................................................................................................23

How Effects Units Work in Different Modes............................................................................23

About the Sequencer................................................................................................................................ 24

What Is a Song? .............................................................................................................................24

What Is a Track?............................................................................................................................24

Songs and the Sound Generator Mode...................................................................................... 25

How Phrase Tracks, Parts and MIDI Channels Interact.......................................................... 25

Positions for Storing a Song......................................................................................................... 26

Basic Operation of the Fantom...............................................................................................................27

Switching the Sound Generator Mode ([MODE])....................................................................27

Switching Screens from the Menu ([MENU])........................................................................... 28

Viewing a List of Patches or Other Data ([LIST]).....................................................................28

About the [1]–[8] Buttons.............................................................................................................28

Moving the Cursor........................................................................................................................29

Modifying a Value ........................................................................................................................29

Assigning a Name.........................................................................................................................30

Playing in Patch Mode..........................................................................31

About the PATCH PLAY Screen............................................................................................................31

Displaying PATCH PLAY Screen............................................................................................... 31

Selecting a Patch .......................................................................................................................................32

Selecting Favorite Patches (Favorite Sound).............................................................................33

Selecting Patches from the List....................................................................................................33

Auditioning Patches (Phrase Preview)......................................................................................34

Selecting Patches by Category (Patch Finder) ..........................................................................34

Transposing the Keyboard in Octave Units (Octave Shift)................................................................ 35

Transposing the Keyboard in Semitone Steps (Transpose)................................................................ 36

Selecting the Tones That Will Sound (Tone On/Off).......................................................................... 36

Playing Single Notes (Mono).................................................................................................................. 37

Creating Smooth Pitch Changes (Portamento) ....................................................................................37

Playing Arpeggios (Arpeggiator)...........................................................................................................38

Holding an Arpeggio.................................................................................................................... 38

Simulating a Rhythm Guitar .......................................................................................................38

Using an External MIDI Keyboard to Play Arpeggios............................................................39

Making Arpeggiator Settings......................................................................................................39

Page 9

Contents

Playing Percussion Instruments.............................................................................................................40

Selecting a Rhythm Set................................................................................................................. 40

Playing a Rhythm Set ...................................................................................................................41

Playing Rhythm Patterns from the Keyboard......................................................................................41

Holding the Playback of a Rhythm Pattern ..............................................................................41

Making Rhythm Pattern Settings................................................................................................ 41

Creating a Patch....................................................................................42

How to Make the Patch Settings ............................................................................................................42

Initializing Patch Settings (Init)................................................................................................... 43

Copying Patch Settings (Copy)...................................................................................................43

Cautions When Selecting a Waveform ......................................................................................44

Saving Patches You’ve Created (Write) ................................................................................................45

Auditioning the Save-Destination Patch (Compare) ...............................................................46

Registering a Favorite Patch (Favorite Sound).........................................................................46

Functions of Patch Parameters ...............................................................................................................47

Settings Common to the Entire Patch (General).......................................................................47

Arpeggiator Settings (Arpeggio) ................................................................................................51

Realtime Controller / D Beam Controller Settings (Controller)............................................52

Setting Effects for a Patch (Effects/MFX/MFX Control/Chorus/Reverb)..........................53

Matrix Control Settings (Matrix Ctrl)......................................................................................... 54

Changing How a Tone Is Sounded (TMT) ................................................................................56

Modifying Waveforms (Wave) ...................................................................................................59

Modifying Pitch (Pitch)................................................................................................................60

Modifying the Brightness of a Sound with a Filter (TVF).......................................................62

Adjusting the Volume (TVA) ......................................................................................................64

Modulating Sounds (LFO)........................................................................................................... 66

Creating a Rhythm Set .........................................................................69

How to Make the Rhythm Set Settings .................................................................................................69

Initializing Rhythm Set Settings (Init)........................................................................................ 69

Copying Rhythm Set Settings (Copy)........................................................................................70

Cautions When Selecting a Waveform ......................................................................................71

Saving Rhythm Sets You’ve Created (Write) .......................................................................................72

Auditioning the Save-Destination Rhythm Set (Compare) ....................................................73

Registering Favorite Rhythm Sets (Favorite Sound)................................................................ 73

Functions of Rhythm Set Parameters ....................................................................................................74

Settings Common to the Entire Rhythm Set (General)............................................................74

Rhythm Pattern Settings (Rhythm Ptn) .....................................................................................75

Realtime Controller / D Beam Controller Settings (Controller)............................................76

Setting Effects for a Rhythm Set (Effects/MFX/MFX Control/Chorus/Reverb)............... 77

Changing How a Rhythm Tone Is Sounded (WMT) ...............................................................77

Modifying Pitch (Pitch)................................................................................................................79

Modifying the Brightness of a Sound with a Filter (TVF).......................................................80

Adjusting the Volume (TVA) ......................................................................................................82

Playing in Performance Mode..............................................................84

About the PERFORMANCE PLAY Screen...........................................................................................84

Displaying PERFORMANCE PLAY Screen..............................................................................84

Selecting a Performance...........................................................................................................................85

Selecting Favorite Performances (Favorite Sound).................................................................. 86

Selecting Performances from the List......................................................................................... 86

Combining and Playing Sounds Together (Layer)..............................................................................87

Playing Different Sounds in Different Areas of the Keyboard (Split) ..............................................87

Playing Arpeggios in a Specific Region of the Keyboard...................................................................88

Playing Rhythm Patterns in a Specific Region of the Keyboard .......................................................89

Page 10

Contents

Using the Fantom As a Master Keyboard.............................................................................................90

Changing the Connections between Keyboard and Sound Generator (Zone) ....................90

Confirming MIDI Information for Each Part (Part Information) ......................................................90

Creating a Performance .......................................................................91

How to Make the Performance Settings................................................................................................91

Initializing Performance Settings (Init)......................................................................................91

Copying Performance Settings (Copy) ......................................................................................92

Saving Performance You’ve Created (Write).......................................................................................93

Registering a Favorite Performance (Favorite Sound) ............................................................ 93

Functions of Performance Parameters...................................................................................................94

Settings Common to the Entire Performance (General).......................................................... 94

Arpeggiator Settings (Arpeggio) ................................................................................................95

Rhythm Pattern Settings (Rhythm Ptn) .....................................................................................96

Realtime Controller / D Beam Controller Settings (Controller)............................................97

Zone Settings (Zone)..................................................................................................................... 98

Making Settings for Each Part (Part)........................................................................................ 100

Making Settings for Receiving MIDI (MIDI)...........................................................................103

Setting Effects for a Performance (Effects/MFX/MFX Control/Chorus/Reverb)...........104

Scale Tune Settings (Scale Tune)...............................................................................................104

Changing the Settings of the Patch Assigned to a Part..................................................................... 105

Playing in Multitimbre Mode ..............................................................106

About the MULTITIMBRE PLAY screen............................................................................................ 106

Displaying the MULTITIMBRE PLAY screen ........................................................................106

Selecting a Multitimbre..........................................................................................................................107

Selecting Multitimbres from a List ...........................................................................................107

Playing Back a Song...............................................................................................................................108

Selecting a Part to Play from the Keyboard (Current Part)..............................................................108

Selecting a Part to Play Individually (Solo)........................................................................................ 108

Silencing the Playback of a Specific Part (Mute)................................................................................ 109

Assigning a Different Patch to a Part ..................................................................................................109

Adjusting the Volume and Pan of Each Part......................................................................................109

Recording an Arpeggio Performance.................................................................................................. 110

Recording the Performance of a Rhythm Pattern..............................................................................110

Confirming MIDI Information for Each Part (Part Information).........................................111

Creating a Multitimbre........................................................................112

How to Make the Multitimbre Settings...............................................................................................112

Initializing Multitimbre Settings (Init).....................................................................................112

Copying Multitimbre Settings (Copy) .....................................................................................113

Saving Multitimbre You’ve Created (Write)......................................................................................114

Functions of Multitimbre Parameters..................................................................................................115

Settings Common to the Entire Multitimbre (General)......................................................... 115

Making Settings for Each Part (Part)........................................................................................ 115

Making Settings for Receiving MIDI (MIDI)...........................................................................118

Setting Effects for a Multitimbre (Effects/MFX/MFX Control/Chorus/Reverb)............120

Scale Tune Settings (Scale Tune)...............................................................................................120

Changing the Settings of the Patch Assigned to a Part..................................................................... 121

Page 11

Contents

Playing Back a Song...........................................................................122

Playing a Song Immediately from Disk (Quick Play)....................................................................... 122

Playing Back Songs Consecutively (Chain Play)...............................................................................122

Creating a Chain.......................................................................................................................... 122

Saving a Chain to Disk (Save) ...................................................................................................123

Loading a Chain from Disk (Load)........................................................................................... 124

Playing a Chain ...........................................................................................................................124

Various Playback Methods ...................................................................................................................124

Fast-Forward and Rewind During Playback ..........................................................................124

Playing Back Correctly from the Middle of the Song (MIDI Update)................................. 124

Muting the Playback of a Specific Instrument........................................................................125

Changing the Playback Tempo of a Song................................................................................125

Playing a Song Back at a Fixed Tempo (Muting the Tempo Track) ....................................125

Playing Back a S-MRC Format Song ........................................................................................125

Playing Back a Song Repeatedly (Loop Play).........................................................................125

Using the D Beam Controller to Start/Stop Song Playback .................................................126

Recording Songs ................................................................................127

Two Recording Methods............................................................................................................ 127

Before You Record a New Song ...........................................................................................................127

Select the Sound to be Used for Recording .............................................................................127

Erasing the Song from Internal Memory (Song Initialize)....................................................127

Specify the Time Signature........................................................................................................ 128

Recording Your Performance as You Play It (Realtime Recording) ...............................................129

Basic Operation for Realtime Recording .................................................................................129

Recording Tempo Changes in a Song (Tempo Recording)................................................... 130

Loop Recording and Punch-In Recording...............................................................................130

Correct the Timing of Your Playing as You Record (Recording Quantize) .......................131

Selecting the Sequencer Data that will Be Recorded (Recording Select) ............................131

Erasing Unwanted Data While You Record (Realtime Erase).............................................. 132

Auditioning Sounds or Phrases While Recording (Rehearsal Function)............................ 132

Inputting Data One Step at a Time (Step Recording)........................................................................ 132

Inputting Notes and Rests .........................................................................................................132

Assigning a Pattern to a Phrase Track .....................................................................................134

Saving a Recorded Song on Disk .........................................................................................................135

Editing Songs......................................................................................136

Loading the Song You Want to Edit.................................................................................................... 136

Using Different Sound Generators for Each Track ................................................................136

Silencing the Playback of a Track (Mute) ................................................................................137

Overall Settings for the Song................................................................................................................137

Assigning a Name to a Song (Song Name) .............................................................................137

Assigning a Name to a Pattern (Pattern Name) .....................................................................138

Assigning Markers (Locate Positions) to a Song....................................................................138

Specifying the Area of a Song that will Repeat (Loop Points)..............................................139

Editing Sequencer Data Over the Specified Range (Track Edit) .....................................................139

Basic Operation for Track Editing ............................................................................................139

Aligning a Song’s Timing (Quantize) ......................................................................................140

Erasing Unwanted Performance Data (Erase)........................................................................142

Deleting Unwanted Measures (Delete)....................................................................................143

Copying Phrases (Copy) ............................................................................................................143

Inserting a Blank Measure (Insert Measure)...........................................................................145

Transpose the Key (Transpose).................................................................................................145

Changing the Velocity (Volume) (Change Velocity) .............................................................146

Changing the MIDI Channel (Change Channel).................................................................... 147

Modifying the Length of Notes (Change Gate Time)............................................................ 147

Combining Two Phrase Tracks or Patterns into One (Merge) .............................................148

Page 12

Contents

Extracting and Moving a Part of Sequencer Data (Extract)..................................................149

Shifting Performance Data Forward and Back (Shift Clock)................................................ 150

Thinning Out the Sequencer Data (Data Thin)....................................................................... 151

Swapping Two Phrase Tracks or Patterns (Exchange).......................................................... 152

Adjusting the Song’s Playback Time (Time Fit) .....................................................................152

Deleting Blank Measures (Truncate)........................................................................................153

Editing Individual Items of Sequencer Data (Micro Edit)................................................................153

Viewing Sequencer Data (in the Microscope Window) ........................................................153

Sequencer Data Handled by a Phrase Track/Pattern............................................................ 154

Viewing sequencer data (View)................................................................................................ 155

Editing the Sequencer Data .......................................................................................................155

Inserting Sequencer Data (Create)............................................................................................156

Erasing Sequencer Data (Erase) ................................................................................................156

Moving Sequencer Data (Move) ...............................................................................................157

Copying Sequencer Data (Copy) ..............................................................................................157

Changing the Tempo Midway Through the Song .................................................................158

Changing the Time Signature Midway Through the Song................................................... 158

Playing a Phrase at the Touch of a Finger (RPS Function) ............159

Before You Use the RPS Function........................................................................................................159

Record a Pattern..........................................................................................................................159

Settings for the RPS Function.................................................................................................... 159

Using the RPS Function While You Perform...................................................................................... 160

Performing with the RPS Function from an External MIDI Keyboard............................... 161

Recording a Performance Using the RPS Function................................................................161

Modifying the Sound in Real Time ....................................................162

Waving Your Hand Over the D Beam to Modify the Sound (D Beam Controller)...................... 162

Making Settings for the D Beam Controller............................................................................ 162

Using Knobs or Buttons to Modify the Sound (Realtime Controller) ............................................ 163

Making Realtime Controller Settings....................................................................................... 163

Using a Pedal to Modify the Sound (Control Pedal)......................................................................... 164

Making Control Pedal Settings .................................................................................................164

Adding Effects.....................................................................................165

Turning Effects On and Off................................................................................................................... 165

Applying Effects in Patch Mode .......................................................................................................... 165

Specifying How the Sound Will Be Output (Effects).............................................................165

Signal Flow Diagram and Parameters .....................................................................................166

Applying Effects in Performance Mode or Multitimbre Mode.......................................................170

Specifying How the Sound Will Be Output (Effects).............................................................170

Signal Flow Diagram and Parameters .....................................................................................171

Making Multi-Effects Settings (MFX/MFX Control) ........................................................................174

Setting Procedure........................................................................................................................ 174

Functions of Parameters............................................................................................................. 175

Making Chorus Settings (Chorus) .......................................................................................................176

Setting Procedure........................................................................................................................ 176

Functions of Parameters............................................................................................................. 176

Making Reverb Settings (Reverb) ........................................................................................................177

Setting Procedure........................................................................................................................ 177

Functions of Parameters............................................................................................................. 177

Page 13

Contents

Settings Common to All Modes (System Function) ........................178

How to Make the System Function Settings....................................................................................... 178

Initializing the System Settings (Init)....................................................................................... 178

Saving the System Settings (Write)......................................................................................................178

Functions of System Parameters ..........................................................................................................179

Settings Common to the Entire System (General)..................................................................179

Sequencer Settings (Sequencer).................................................................................................180

MIDI Settings (MIDI)..................................................................................................................182

Controller Settings (Controller) ................................................................................................184

Equalizer settings (EQ)...............................................................................................................185

Phrase Preview Settings (Preview)...........................................................................................185

Scale Tune settings (Scale Tune)...............................................................................................186

Disk-Related Functions (Disk Utility)................................................187

About Disk Utility.................................................................................................................................. 187

Basic Disk Utility Operations................................................................................................................187

Selecting the Type of Files Displayed in the File List (View)........................................................... 188

Loading a File from Disk into the Fantom (Load)............................................................................. 188

Loading Individual Tracks/Patterns of Song Data................................................................ 188

Loading Individual Items of Sound Data................................................................................189

Saving Data on Disk (Save)...................................................................................................................189

Copying a File to Another Name (Copy)............................................................................................190

Renaming a File (Rename) ....................................................................................................................191

Deleting Unwanted Files (Delete)........................................................................................................191

Executing Disk-Related Functions (Tools).......................................................................................... 191

Preparing a Disk for Use by the Fantom .................................................................................191

Modifying the Name of the Disk..............................................................................................192

Checking Files Recorded on Disk............................................................................................. 192

Creating a Duplicate Disk..........................................................................................................193

Transmitting Sound Settings/Reset to Default Factory Settings ...194

Transmitting Sound Settings (Data Transfer) ....................................................................................194

Transmitting Data to an External MIDI Device......................................................................194

Transmitting Data to User Memory.........................................................................................195

Reset to Default Factory Settings (Factory Reset)..............................................................................195

Installing the Wave Expansion Board...............................................196

Cautions When Installing an Wave Expansion Board...................................................................... 196

How to Install a Wave Expansion Board............................................................................................196

Checking the Installed Wave Expansion Boards...............................................................................197

Installation de la carte d’expansion Wave

(French language for Canadian Safety Standard) ...........................198

Précautions à prendre lors de l’installation d’une carte d’expansion Wave .................................198

Installation d’une carte d’expansion Wave ........................................................................................198

Vérification des cartes d’extension audio aprés installation............................................................199

Specifications......................................................................................200

Page 14

Main Features

● A synthesizer with the operability

and playability of a musical instrument

The category of synthesizers known as “workstations”—consisting of a sound generator section that creates the sound, a controller section, and a sequencer section to produce music—has taken its own evolutionary path, adding various new functionality that opens up new possibilities of musical expression and creation. On the other hand, access to such functionality has generally been provided through a restrictive, complex interface, which has all too often hampered the creativity of the musician.

The Fantom not only features superb operability for performance, but also is comprehensively designed to support the musician’s creativity in every area, including composition. It lets you work seamlessly through every aspect of the music production process, from performance to composition, allowing you to hold onto your inspiration.

● Consolidated interface design with

large graphic LCD

The Fantom features a large quarter-VGA sized LCD. The graphical display uses four levels of grayscale to simultaneously show all relevant settings for sounds or sequencer operations, guaranteeing smooth operation.

Since a large amount of data can be displayed at once, buttons and knobs are laid out simply, letting you access a desired parameter with a minimum of operation. The interface is designed with your creativity as the first priority.

● Top-level sound generator for

maximum expressive power

The Fantom contains the same type of 64-voice/16-part multitimbral sound generator as on the XV-5080, acclaimed by music production professionals. The total of 896 preset patches include new patches that have been tuned specifically for the Fantom to take advantage of its keyboard, knobs, and other realtime controllers.

Four-level velocity switching lets you move between four stereo waves, for the same amazing expressive power as on the XV-5080. The spaciousness of the sound field, tonal changes controlled by velocity, and endless details of expressive nuance are at your fingertips. Matrix Control lets you vary large numbers of parameters at once, and can be controlled using realtime controllers such as the knobs and D Beam control. The Fantom’s dynamic expressive power can be controlled by simple operations.

Wave Expansions Boards can also be installed to freely customize your Fantom for your favorite musical styles or applications. Two slots for the SRX series expansion boards allow the addition of highquality sounds using a maximum of 64 M bytes of high-quality wave memory, and another slot lets you install one of the wide selection of SR-JV80 series expansion boards.

In addition to four parallel outputs, which can be used as two stereo pairs, S/P DIF digital out (both optical and coaxial) is also provided. The Fantom is a great match for any digital recording system.

● Power effects including COSM

effects

The effects indispensable for synthesizer sound creation are provided—in studio quality.

For reverb, a DSP equivalent to SRV-3030 quality is built-in, delivering clear reverb with smooth decays.

The total of 90 types of multi-effects (M-FX) include not only effects such as RSS, 3D delay, and slicer, but also effects that use Roland’s proprietary COSM modeling technology, such as guitar amp simulations, guitar multi’s, bass multi’s, and keyboard multi’s.

In Multitimbre mode and Performance mode, three types of M-FX can be used simultaneously, letting you use different M-FX effects on a desired part. What’s more, a two-band EQ is provided for each output jack.

● Comprehensive music production

with a superior performance sequencer based on the MRC-Pro

The Fantom contains a 16-track sequencer based on the MRC-Pro sequencer, delivering high resolution that captures every expressive detail of your performance, and providing speedy data entry and editing for both realtime and step recording. In conjunction with the power sound generator, the Fantom is a serious music production environment in a single package.

In addition, the Fantom lets you start recording immediately from any mode (whether you are editing sounds or performing), simply by pressing the [REC] button. You can record your improvisations in real time, and create songs based on your captured inspirations.

It goes without saying that you can use Micro editing to edit your recorded data in every detail. Since the large display lets you view 16 tracks of recorded data at once, editing can be performed faster, more efficiently, and in greater detail than on previous workstations.

Sequencer data can be saved and loaded in the native MRC format or as SMF. The built-in floppy disk drive makes it easy to exchange data with another sequencer or computer.

The Fantom boasts a new Multitimbre mode. By displaying 16 parts simultaneously, this lets you quickly create orchestrations, and makes song arrangements simple and intuitive.

Page 15

Main Features

● Functions that stimulate your

creativity

The Fantom provides numerous functions that enhance its playability for realtime performance, and let you develop this into musical productions.

Numerous drum patterns based in actual professional drum playing are built in. Twelve types of pattern variations including fills are assigned to an octave of the keyboard, allowing you to perform the drum part in real time. In addition, the drums can be made to play at a steady, natural tempo, regardless of the timing at which you press the keys.

A newly developed arpeggiator is also built-in. In addition to complex phrases that would be impossible to play by hand, you can also use the arpeggiator to play phrases that are similar to actual performance. Furthermore, the D Beam and other realtime controllers can be used to modify the arpeggio style. This not only makes for a dramatic leap in expressive potential during a live performance, but also supports your own playing.

Phrases played by rhythm patterns or the arpeggiator can be recorded on the sequencer just as they are played. Your realtime performance can be saved instantly as song data, or even used as a template for a step-recorded phrase.

In addition, patterns created on the sequencer can be triggered by the keyboard and played by the RPS (Realtime Phrase Sequence) function. Rhythm patterns and complex phrases created using the arpeggiator can be recorded on the sequencer, and then played in real time, for amazing live performance possibilities.

● Designed to be a true musical

instrument

In a departure from the straight-line design of previous workstations, the Fantom features a distinctive design, which proclaims its worthiness as a true musical instrument, while at the same time projecting a sense of quiet dignity.

● General MIDI- and General MIDI 2-

Compatible

The Fantom is compatible with both General MIDI and General MIDI 2 standards. Any General MIDI and/or General MIDI 2 compatible music data (GM score) can be played back on the Fantom.

General MIDI

General MIDI is a set of recommendations which seeks to provide a way to go beyond the limitations of proprietary designs, and standardize the MIDI capabilities of sound generating devices. Sound generating devices and music files that meet the General MIDI standard bear the General MIDI

logo ( ). Music files bearing the General MIDI logo can be played back using any General MIDI sound generating unit to

produce essentially the same musical performance.

General MIDI 2

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

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

Page 16

Panel Descriptions

Front Panel

Floppy Disk Drive

3.5” 2DD/2HD floppy disks can be used. To remove the disk, press the eject button located at the right of the disk drive.

Subsequently, this manual will abbreviate “floppy disk” as “disk.”

D BEAM

You can apply a variety of effects to sounds simply by moving your hand. → (p. 162)

[ON/OFF]

Switches the D Beam controller on/off.

[ ]–[ ]

The operation will depend on the parameter or function that is assigned.

Perform functions related to the arpeggiator, rhythm pattern function, and sequencer playback and recording.

[ARPEGGIO]

Switches the Arpeggiator on/off.

[RHYTHM]

Switches Rhythm pattern function on/off.

[RESET]

Moves the song position to the first measure. → (p. 124)

7 8 9

Volume Slider

Adjusts the overall volume that is output from the rear panel OUTPUT jacks and PHONES jack. → (Quick Start; p. 4)

REALTIME CONTROL

You can assign a variety of parameters and functions to the four knobs and four buttons, and use them to modify the sound in realtime. → (p. 163)

[ ]–[ ]

The operation will depend on the parameter or function that is assigned.

[BWD]

Moves the song position to the first beat of the previous measure. → (p. 124)

[FWD]

Moves the song position to the first beat of the next measure. → (p.

124)

[STOP/PLAY]

Controls sequencer stop/play. While stopped, you can hold down [SHIFT] and operate this to

perform MIDI Update. → (p. 124)

[REC]

The display changes to the Recording Standby window. → (p. 129)

Page 17

Panel Descriptions

VALUE Dial

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

29)

[DEC], [INC]

This is used to modify values. If you keep on holding down one button while pressing the other, the value change accelerates. If you press one of these buttons while holding down [SHIFT], the value will change in bigger increments. → (p. 29)

[CURSOR]

Moves the cursor location up/down/left/right. → (p. 29)

[SHIFT]/[REGISTRY]

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

REGISTRY: By holding down this button and pressing [1]–[8], you can register a favorite sound. → (p. 46, p. 73, p. 94)

[BEAT] (Beat Indicator)

This blinks in sync with the tempo and beat of the song.

Display

This displays information regarding the operation you are performing

[1]–[8]

These buttons let you select/register your favorite patches or performances. The lower part of the screen will show the names of the favorite sounds you’ve registered. → (p. 28)

During editing, these buttons execute a variety of functions, and their function will differ depending on the screen. → (p. 28)

[MODE]

Opens the MODE window. → (p. 27)

[JUMP]/[BANK]

JUMP: This button is used in conjunction with the cursor buttons to jump the cursor location.

BANK: By holding down this button and pressing [1]–[8], you can select the favorite sound bank. → (p. 33, p. 86)

[EXIT]

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

Pitch Bend/Modulation Lever

This allows you to control pitch bend or apply vibrato. → (Quick Start; p. 27)

[MENU]

Opens the MENU window. The contents of the menu will depend on the current mode. → (p. 28)

[LIST]

Opens the LIST window. The contents of the list will depend on the current location of the cursor. → (p. 28)

Page 18

Panel Descriptions

Rear Panel

fig.00-02

fig.00-03

POWER ON Switch

Press to turn the power on/off. → (Quick Start; p. 4)

AC Inlet

Connect the included power cord to this inlet. → (Quick Start; p. 3)

fig.00-04

CTL 1, CTL 2 PEDAL Jack

You can connect optional expression pedals (EV-5, etc.) to these jacks. By assigning a desired function to a pedal, you can use it to select or modify sound or perform various other control. You can also connect optional pedal switches (DP-2, DP-6, etc.) to sustain sound. → (Quick Start; p. 29)

HOLD PEDAL Jack

An optional pedal switch (DP-2, DP-6, etc.) can be connected to this jack for use as a hold pedal. → (Quick Start; p. 28)

This can also be set so it supports the use of half-pedaling techniques. So, after connecting an optional expression pedal (EV-5, etc.), you can employ pedal work to achieve even finer control in performances in which piano tones are used. → (p. 184)

fig.00-05

fig.00-06

CONTRAST Knob

Adjusts the display contrast. → (Quick Start; p. 5)

fig.00-07

MIDI Connectors (IN, OUT, THRU)

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

fig.00-08

OUTPUT A (MIX) Jacks (L (MONO), R)

These jacks output the audio signal to the connected mixer/amplifier system in stereo. For mono output, use the L jack. → (Quick Start; p.

OUTPUT B Jacks (L, R)

These jacks output the audio signal to the connected mixer/amplifier system in stereo.

INDIVIDUAL 1–4 Jacks

These jacks output audio signals in mono to an amp or mixer.

DIGITAL OUT Connectors (S/P DIF OPTICAL, S/P DIF COAXIAL)

The Fantom features both optical and coaxial digital out connectors (conforming to S/P DIF).

These connectors output a digital audio signal (stereo). The output signal is identical to the signal that is output from the OUTPUT A (MIX) jacks.

S/P DIF is a digital interface format used for consumer digital audio devices.

The setting determining whether these jacks are used as stereo OUTPUT jacks or monaural INDIVIDUAL jacks is made with the Output Assign setting (p. 168, p. 172).

PHONES Jack

This is the jack for connecting headphones (sold separately). → (Quick Start; p. 3)

Page 19

Overview of the Fantom

Pitch

Envelope

TVF

Envelope

TVA

Envelope

TVA

LFO 1 LFO 2

control signal

Tone

audio signal

How the Fantom Is Organized

Basic Structure

Broadly speaking, the Fantom consists of a keyboard controller section, a sound generator section, and a sequencer section.

These sections are internally connected via MIDI.

fig.01-01.e

Sequencer

Section

Recording

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

Playback

Keyboard Controller Section

This section consists of the keyboard, pitch bend/modulation lever, panel knobs and buttons, and D Beam controller. It also includes any pedals that may be connected to the rear panel. The performance information generated when you do things such as press/release a key, or depress the hold pedal is converted into MIDI messages and sent to the sound generator section, sequencer section, and/or an external MIDI device.

Sound Generator Section

The sound generator section produces the sound. It receives MIDI messages from the keyboard controller section and sequencer section and/or from an external MIDI device, generates musical sound according to the MIDI messages that were received, and outputs the sound as an analog signal from the output jacks or headphone jack.

Sequencer Section

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

Sound

Generator

Section

Play

Tones

On the Fantom, the tones are the smallest unit of sound. However, it is not possible to play a tone by itself. The patch is the unit of sound which can be played, and the tones are the basic building blocks which make up the patch.

fig.01-02.e

Tones consist of the following five components.

WG (Wave Generator)

Specifies the PCM waveform (wave) that is the basis of the sound, and determines how the pitch of the sound will change.

The Fantom has 1,083 different waveforms. All patches built into the Fantom consist of combinations of tones which are created based on these waveforms.

There are four wave generators for each rhythm tone (percussion instrument sounds).

TVF (Time Variant Filter)

Specifies how the frequency components of the sound will change.

TVA (Time Variant Amplifier)

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

Envelope

You use Envelope to initiate changes to occur to a sound over time. There are separate envelopes for Pitch, TVF (filter), and TVA (volume). For example if you wish to modify the way in which the sound attacks or decays over time, you would adjust the TVA envelope.

Overview of the Fantom

Classification of Fantom Sound Types

When using the Fantom, you will notice that a variety of different categories come into play when working with sounds. What follows is a simple explanation of each sound category.

LFO (Low Frequency Oscillator)

Use the LFO to create cyclic changes (modulation) in a sound. The Fantom has two LFOs. Either one or both can be applied to effect the WG (pitch), TVF (filter) and/or TVA (volume). When an LFO is applied to the WG pitch, a vibrato effect is produced. When an LFO is applied to the TVF cutoff frequency, a wah effect is produced. When an LFO is applied to the TVA volume, a tremolo effect is produced.

LFO is not included in the rhythm tones (percussion instrument sounds).

Page 20

Overview of the Fantom

Performance/Multitimbre

Part 16

Part 1

Patch/

Rhythm Set

Patches

Patches are the basic sound configurations that you play during a performance. Each patch can be configured by combining up to four tones. How the four tones are combined is determined by the Structure Type parameter (PATCH/TMT) (p. 56).

fig.01-03.e

Patch

Tone 4

Tone 3

Tone 2

Tone 1

Pitch

Envelope

LFO 1 LFO 2

TVF

Envelope

TVA

Envelope

Rhythm Sets

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

fig.01-04.e

Each percussion instrument consists of the following four elements. (For details, refer to the explanations for “Tones.”)

WG (Wave Generator) TVF (Time Variant Filter) TVA (Time Variant Amplifier) Envelope

Multitimbre

A multitimbre consists of a patch or rhythm set assigned to each of the 16 parts, and can simultaneously handle 16 sounds. This allows you to create a set of sounds for use with a song you create on the sequencer, or to enjoy ensemble performance. From the keyboard, you can play only the currently selected part (the “current part”).

Because the Fantom sound generator can control multiple sounds (instruments) it is called a Multi-timbral sound generator.

Performances

A performance is like a multitimbre in that it also has a patch or rhythm set assigned to each of the 16 parts, and can simultaneously handle 16 sounds. However, unlike a multitimbre, you can play multiple parts simultaneously from the keyboard, allowing you to play multiple patches simultaneously (Layer) or in separate regions of the keyboard (Split).

fig.01-05.e

Rhythm Set

Note Number 97 (C#7)

Note Number 36 (C2)

Note Number 35 (B1)

Rhythm Tone (Percussion instrument sound)

Pitch

Envelope

Note Number 98 (D7)

TVF

Envelope

TVA

Envelope

Part

A part is the place to which a patch or rhythm set is assigned when using the Fantom in Multitimbre mode or Performance mode. A single multitimbre/performance comprises sixteen parts, with a patch or rhythm set being assigned to each part.

Page 21

About Simultaneous Polyphony

The Fantom can play a maximum of 64 sounds simultaneously. The following paragraphs discuss what this means, and what will happen when more than 64 simultaneous voices are requested from the Fantom.

Calculating the Number of Voices Being Used

The Fantom is able to play up to 64 notes simultaneously. The polyphony, or the number of voices (sounds) does not refer only to the number of sounds actually being played, but changes according to the number of tones used in the patches, and the number of Waves used in the tones. The following method is used to calculate the number of sounds used for one patch being played.

(Number of Sounds Being Played) x (Number of tones Used by Patches Being Played) x (Number of Waves Used in the tones)

For example, with a patch combining four tones, each of which uses two Waves, the actual number of sounds being played comes to 8. Also, when playing in Multitimbre mode or Performance mode, the number of sounds for each part is counted to obtain the total number of sounds for all parts.

Overview of the Fantom

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

Overview of the Fantom

How a Patch Sounds

When the Fantom is requested to play more than 64 voices simultaneously, currently sounding notes will be turned off to make room for newly requested notes. The note with the lowest priority will be turned off first. The order of priority is determined by the Voice Priority setting (p. 47).

Voice Priority can be set either to “LAST” or “LOUDEST.” When “LAST” is selected, a newly requested note that exceeds the 64 voice limit will cause the first-played of the currently sounding notes to be turned off. When “LOUDEST” is selected, the quietest of the currently sounding notes will be turned off. Usually, “LAST” is selected.

Note Priority in Multitimbre/ Performance Mode

Since Multitimbre/Performance mode is usually used to play an ensemble consisting of several patches, it is important to decide which parts take priority. Priority is specified by the Voice Reserve settings (p. 47). When a note within a patch needs to be turned off to make room for a new note, the Voice Priority setting of the patch will apply.

Voice Reserve

The Fantom has a Voice Reserve function that lets you reserve a minimum number of notes that will always be available for each part. For example if Voice Reserve is set to “10” for part 16, part 16 will always have 10 notes of sound-producing capacity available to it even if a total of more than 64 notes (total for all parts) are being requested. When you make Voice Reserve settings, you need to take into account the number of notes you want to play on each part as well as the number of tones used by the selected patch (p. 102, p.

118).

Page 22

Overview of the Fantom

About Memory

Patch and performance settings are stored in what is referred to as memory. There are three kind of memory: temporary, rewritable, and non-rewritable.

fig.01-06.e

Fantom

Preset E (PR-E)

Preset D (PR-D)

Preset C (PR-C)

Preset B (PR-B)

Preset A (PR-A)

Patch

128

Rhythm Set

* 1

Multitimbre

* 1

Performance

* 1

Select

EXP C Slot (XP-C)

EXP B Slot (XP-B)

EXP A Slot (XP-A)

Patch

Rhythm Set

Wave Expansion Board

GM (GM2)

Patch

256

Rhythm Set

* 2

Temporary Area

System

User (USER)

Patch

128

Rhythm Set

Multitimbre

Performance

Data File (.SVD)

Patch

128

Rhythm Set

Multitimbre

Performance

System

WriteSelectSelectSelect

Load

Save

Rewritable Memory

System Memory

System memory stores system parameter settings that determine how the Fantom functions.

User Memory

User memory is where you normally store the data you need. USER memory contains 128 patches, 16 rhythm sets, 16 multitimbres, and 64 performances.

Disk (Optional: 3.5” 2DD, 2HD)

Patches, multitimbres, performances, and system settings can be stored on disk together as a single file.

Non-Rewritable Memory

Preset Memory

Data in Preset memory cannot be rewritten. However, you can call up settings from preset memory into the temporary area, modify them and then store the modified data in rewritable memory (except GM2).

Wave Expansion Boards (optional: SR-JV80/SRX Series)

The Fantom can be equipped with up to three Wave Expansion Boards (one SR-JV80 series, two SRX series). Wave Expansion Boards contain Wave data, as well as patches and rhythm sets that use this Wave data, which can be called directly into the temporary area and played.

Disk

* 1 Only in PR-A (PRST) * 2 The selected Patches/Rhythm Sets cannot be changed.

Temporary Memory

Temporary Area

This is the area that holds the data for the patch, multitimbre, or performance that you’ve selected using the panel buttons.

When you play the keyboard or play back a sequence, sound is produced based on data in the temporary area. When you edit a patch, multitimbre, or performance, you do not directly modify the data in memory; rather, you call up the data into the temporary area, and edit it there.

Settings in the temporary area are temporary, and will be lost when the power is turned off or when you select another patch/ multitimbre/performance. To keep the settings you have modified, you must write them into rewritable memory.

Page 23

Overview of the Fantom

Chorus

Reverb

TONE

Multi-Effects

Patch

Chorus

Reverb

RHYTHM

TONE

Multi-Effects

Rhythm Set

About the Onboard Effects

Effect Types

The Fantom has three built-in effect units, and you can independently edit each unit’s settings.

Multi-Effects

The multi-effects are multi-purpose effects that completely change the sound type by changing the sound itself. Contained are 90 different effects types; select and use the type that suits your aims. In addition to effects types composed of simple effects such as Distortion, Flanger, and other such effects, you can also set up a wide variety of other effects, even connecting effects in series or in parallel. Furthermore, while chorus and reverb can be found among the multi-effects types, the following chorus and reverb are handled with a different system.

Chorus

Chorus adds depth and spaciousness to the sound. You can select whether to use this as a chorus effect or a delay effect.

Reverb

Reverb adds the reverberation characteristics of halls or auditoriums. Four different types are offered, so you can select and use the type that suits your purpose.

How Effects Units Work in Different Modes

In Patch Mode

The multi-effects, chorus and reverb effects can be set up individually for each patch/rhythm set. Adjusting the signal level to be sent to each effects unit (Send Level) provides control over the effect intensity that’s applied to each tone.

fig.01-07

Overview of the Fantom

Page 24

Overview of the Fantom

In the Performance Mode or Multitimbre Mode

The multi-effects, chorus and reverb effects can be set individually for each performance and multitimbre. The intensity of each effect will be set for each part (Fig. 1), but the Send Level setting for each tone can also influence effect intensity (Fig. 2).

When you apply effects in Performance mode or Multitimbre mode, the effect settings of the patch or rhythm set assigned to each part will be ignored, and the effect settings of the performance or multitimbre will be used. Thus, the effects for the same patch or rhythm set may differ when played in Patch mode and in Performance/Multitimbre mode. However, depending on the settings, you can have effect settings for a patch or rhythm set assigned to a part applied to the entire performance/multitimbre (p. 173, p. 174). In addition, when using the multi-effects settings of a performance or multitimbre, you can use three different multi-effects simultaneously, depending on the effect type (p. 175).

fig.01-08.e

Fig.1 – When Output Assign parameter is set to “MFX” (the output settings for Tone are ignored)

Performance/Multitimbre

Part 1

Part16

Patch

TONE

Multi-Effects

Chorus Reverb

About the Sequencer

A sequencer records keyboard performance and controller movements as MIDI messages (sequencer data). As the data plays back, the recorded MIDI messages are sent to a sound generator which will produce the required sounds. The sequencer actually plays instruments instead of the musician, and since it can record a musical performance, it is a tape recorder as well.

But in reality a sequencer doesn’t record sound, but actually the steps that cause the sound generator to produce sound, so it offers several advantages. Sound quality is always excellent, the equivalent of first-generation tape, no matter how many times the data plays back; tempo changes have no effect on pitch; detailed editing is possible, etc.

What Is a Song?

For the Fantom, musical performance data for one song or composition is referred to as a song. A song combines sequencer data recorded on Phrase tracks 1–16, a Tempo track, a Beat track and a Pattern track, as discussed below.

fig.01-09.e

Song

Phrase track 16

Phrase track 2

Phrase track 1

Fig.2 – When Output Assign parameter is set to “PAT” (the output settings for Tone are valid)

Performance/Multitimbre

Part 1

Part16

Patch

TONE

Multi-Effects

Chorus Reverb

Tempo track

Beat track

Pattern track

Pattern1Pattern

Pattern

100

What Is a Track?

Each section of a song which stores musical performance data is called a track.

Phrase Tracks 1–16

Phrase tracks record the musical performance. Each Phrase track records musical performance data for 16 MIDI channels. Totally, up to 16 tracks x 16 MIDI channels of data can be recorded. It’s helpful if you’ve made decision prior to recording such as recording melody on Phrase track 1, bass on Phrase track 2, drums on Phrase track 10, and accompaniment on the remaining Phrase tracks.

Page 25

Overview of the Fantom

Tempo Track

The Tempo track records tempo changes of a song over time. It can be used for tempo changes during a song. If a song has the same tempo from beginning to end, the Tempo track can be ignored.

When a song is first recorded on the Fantom, a tempo setting at the time of recording will be stored at the beginning of the Tempo track. Therefore when song playback starts from the beginning, the song will always play back at this initial tempo.

Thus playback tempo is determined by the Tempo track setting. If you modify the tempo during playback, the overall tempo of the song will be controlled by the setting you make.

Beat Track

The Beat track records the time signature of each measure of a song. Set the Beat track when recording a new song, or when you want to change time signature during a song.

Pattern Track

You can also use the Pattern track to record musical passages, separately from the Phrase tracks. Musical data in the Pattern track is regarded as separate Patterns. Up to 100 Patterns can be created, and each Pattern can contain data for 16 MIDI channels, as with Phrase tracks.

Patterns can be assigned to a Phrase track, so if you are using repetitive phrases such as drums and bass, it is convenient to record each musical phrase in a pattern, and then use the MICROSCOPE screen to assign the pattern to the track (p. 134). In this case, the Phrase track contains only the Pattern Call numbers that refer to the desired Pattern, and not the actual Pattern data. Therefore the same Pattern can be used any number of times with a negligible increase in memory used.

The RPS function (p. 159) for immediate playback also applies to Patterns. Patterns are therefore convenient for live performance, if you’ve recorded necessary sequencer data as Patterns and take them to the gig.

Patterns also make fine scratch-pads for musical ideas.

How Phrase Tracks, Parts and MIDI Channels Interact

When the sound generator is in Multitimbre mode, you will need to be aware of how the phrase tracks, parts, and MIDI channels correspond to one another. Otherwise, you may not hear the sounds you expect, or song editing may be more difficult than it should be.

For this reason, we recommend that you always maintain the direct numerical correspondence between Phrase tracks 1–16, parts 1–16, and MIDI channels 1–16. These are the settings that will be in effect when the power is turned on, or after you perform the Song Initialize operation (p. 127).

fig.01-10.e

Sequencer

Phrase track 1 Phrase track 2 Phrase track 3 Phrase track 4 Phrase track 5 Phrase track 6 Phrase track 7 Phrase track 8

Phrase track 9 Phrase track 10 Phrase track 11 Phrase track 12 Phrase track 13 Phrase track 14 Phrase track 15 Phrase track 16

Ch 1 Ch 2 Ch 3 Ch 4 Ch 5 Ch 6 Ch 7 Ch 8

Ch 9 Ch 10 Ch 11 Ch 12 Ch 13 Ch 14 Ch 15 Ch 16

Sound Generator

Part 1 Part 2 Part 3 Part 4 Part 5 Part 6 Part 7 Part 8

Part 9 Part 10 Part 11 Part 12 Part 13 Part 14 Part 15 Part 16

Overview of the Fantom

Songs and the Sound Generator Mode

The Fantom’s sequencer can be used at any time, regardless of the mode of the sound generator (Patch/Multitimbre/Performance).

Normally, when recording or playing back a song, you will put the sound generator in Multitimbre mode. The reason for this is that in this mode, only the sound of the specified MIDI channel will be heard when you record while playing the keyboard of the Fantom, and that when the song is played back, the parts can independently play up to 16 different sounds. Thus, this mode is suitable for recording and playing back a song that uses an ensemble of multiple instruments, such as drums, bass, and piano.

If you wish to record your playing using a layered/split performance, set the sound generator to Performance mode.

If you wish to record your playing using a single sound, you can set the sound generator to Patch mode.

Page 26

Overview of the Fantom

Positions for Storing a Song

fig.01-11.e

Load Save

Sequencer Section

Internal Memory

Sound Generator Section

User Memory

Disk

Song file

Standard MIDI file

Chain file

Data file

Disk

When keeping a recorded or edited song in internal memory, save it to disk as a song file. Up to 99 songs can be saved to a single disk.

A disk can contain five file types. The three-letter symbol shown in parentheses ( ) is a file name extension that distinguishes the different file types.

Song File (.SVQ)

This file is a song created on the Fantom. It is called an MRC Pro song. Other MRC Pro songs include those created on the XP-60/80.

Standard MIDI File (.MID)

Standard MIDI File is a standard file format that allows sequencer data to be exchanged between most musical applications. Fantom files can be saved as Standard MIDI Files. This also allows you to play back commercially available music data (GM scores) that is compatible with the GM/GM2 system.

Chain File (.SVC)

Chain Play is a function that successively plays back songs stored on the disk, in the specified order.

Data File (.SVD)

This file contains Sound Generator and System settings.

Internal Memory

The sequencer has an area called internal memory that can temporarily store one song. So we call this temporary song Internal Song.

To play back a song saved to a disk with the Fantom, it doesn’t have to be loaded into internal memory. Only when you’re going to record a song or edit a song saved to disk, do you have to load it into internal memory. Since only one song can be worked on during recording or editing, all the internal memory has to do is store one song (about 120,000 notes).

The song in internal memory is volatile and will be lost when the power is turned off. To keep a song, you must save it to disk.

Page 27

Overview of the Fantom

Basic Operation of the Fantom

Switching the Sound Generator Mode ([MODE])

The Fantom has three sound generating modes: Patch mode, Multitimbre mode, and Performance mode. You can select the sound generating mode (state) that is most appropriate for how you are playing the Fantom.

Use the following procedure to switch between these modes.

1. Press [MODE].

The Mode window appears.

fig.01-12_50

2. Press or to select the desired mode, and then press [8 (Select)].

When you select a mode, the PLAY screen of the corresponding mode appears. In each mode, the upper left of the PLAY screen will indicate the mode.

fig.01-13

Multitimbre Mode

fig.01-15

Overview of the Fantom

This mode is suitable when you are using the sequencer to create a song, or when playing song data. When creating songs or playing song data, a different MIDI channel is assigned for each patch used in a part. Such a set of sounds selected for each part to play is called a multitimbre.

The keyboard controller section and the sound generator section are connected by a single MIDI channel (the receive channel of the current part).

Performance Mode

fig.01-16

Patch Mode

fig.01-14

This mode is used to play individual sounds (patches or rhythm sets) from the keyboard. If a rhythm set is selected, you can play percussion instruments from the keyboard.

The keyboard controller section and the sound generator section are connected by a single MIDI channel (the patch receive channel).

This mode allows you to combine multiple sounds (patches or rhythm sets) to create complex setups, or to use the Fantom as a master keyboard. You can play patches together (Layer) or divide the keyboard into two regions and play different patches in each region (Split).

The keyboard controller section and sound generator section are connected according to the zone settings.

Page 28

Overview of the Fantom

Switching Screens from the Menu ([MENU])

The Fantom has a variety of screens and windows in which its numerous functions can be executed, and you can move between these screens as desired.

Use the following procedure to access the desired screen or window.

1. Press [MENU].

The Menu window appears.

fig.01-17_50

2. Press or to select the desired screen/window, and then press [8 (Select)].

The screen/window for the desired function appears.

The screens/windows that can be selected from the Menu window will depend on the mode of the sound generator.

Window

The somewhat smaller screens that appear temporarily on top of the normal screens are called windows. Various types of windows appears according to the situation. Some display lists, others allow you to make settings, and still others ask you to confirm an operation.

fig.01-17a.e

Viewing a List of Patches or Other Data ([LIST])

The Fantom can display sound lists and favorite lists. You can select and audition patches from these lists, and register your own favorite patches.

Use the following procedure to display these lists.

1. Use [CURSOR] to move the cursor to the object (e.g., patch number) for which you wish to view a list.

2. Press [LIST].

The desired list window appears, according to the cursor location.

fig.01-18_50

About the [1]–[8] Buttons

In the PLAY screen, the eight [1]–[8] buttons located below the display allow you to select/register your favorite patches or performances, and the lower area of the display will show the names of the sounds that are registered as favorite sounds.

In other screens, these buttons execute various functions, and their operation will differ depending on the screen.

fig.01-19

Window

Press [EXIT] to close the window. Some windows will close automatically when an operation is performed.

Page 29

Overview of the Fantom

Moving the Cursor

A single screen or window displays multiple parameters or items for selection. To edit the setting of a parameter, move the cursor to the value of that parameter. To select an item, move the cursor to that item. The cursor is a black rectangle, and the parameter value or item you select with the cursor will be highlighted (displayed in inverse video).

fig.01-19a.e

Cursor

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

fig.01-20

Modifying a Value

To modify the value, use the VALUE dial or the [INC]/[DEC] buttons.

fig.01-21

In each screen of the Fantom, you can use the cursor to move the area displayed as black characters on white background, and modify its value.

Each parameter has its own range of possible values, so you cannot set any value smaller than the minimum value or greater than the maximum value.

Overview of the Fantom

: moves the cursor up.

: moves the cursor down. : moves the cursor to the left. : moves the cursor to the right.

• By holding down [SHIFT] and pressing a cursor button, you can make the cursor location jump to the edge of the same block.

• By holding down [JUMP] and pressing a cursor button, you can make the cursor location jump to another block.

• If you hold down one cursor button while you also press the cursor button for the opposite direction, the cursor will move more rapidly in the direction of the first-pressed cursor button.

VALUE Dial

Rotating the VALUE dial clockwise increases the value, counterclockwise decreases the value. Holding down [SHIFT] as you move the VALUE dial increases value increments so you can make large value changes faster.

[INC] and [DEC]

Pressing [INC] increases the value, and [DEC] decreases it. Keep the button pressed for continuous adjustment. For faster value increases, keep [INC] pressed down and press [DEC]. For decreasing value faster, keep [DEC] pressed down and press [INC].

If you press [INC] or [DEC] while holding down [SHIFT], the value increments will get bigger.

Page 30

Overview of the Fantom

Assigning a Name

On the Fantom, you can assign names to each patch, rhythm set, multitimbre, performance, Song, and Pattern. The procedure is the same for any type of data.

1. Press [CURSOR] to move the cursor to the location where you wish to input a character.

2. Turn the VALUE dial, or press [INC]/[DEC] to specify the character.

Available characters/symbols are: space, A–Z, a–z, 0–9, ! " # $ % & ’ ( ) * + , - . / : ; < = > ? @ [ \ ] ^ _

` { | } → ←

File names and volume label names may not contain lowercase characters or certain symbols (" * + , . / : ; < = > ? [ \ ] | → ←).

Assigning a Name Using a Name Window

You can use a Name window to assign a name. As the Name window displays a list of characters that can be entered, you can quickly select a desired character.

1. In a naming screen, move the cursor to the text input location, and press [LIST].

The Name window appears.

fig.01-22_50

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

3. Either turn the VALUE dial or use [INC], [DEC], , to select the character that you wish to input.

To insert a space at the cursor location, press [3 (Insert)]. To delete the character at the cursor position, press [4 (Delete)].

4. Repeat steps 2 and 3 as necessary.

5. Press [8 (OK)] to finalize the name.

Page 31

Playing in Patch Mode

Indicates the current sound generating mode.

Displays the type of effect used.

Indicates the song file name.

Indicates the name of the currently selected song, the measure location, the time signature, and the sequencer status.

Indicates the group of the selected patch.

Patch/rhythm set select switch Determines whether you will be selecting patches or rhythm sets.

Indicates the MIDI transmit channel (Tx Ch) and receive channel (Rx Ch).

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

Indicates/sets the tempo at which the song, Arpeggio or rhythm pattern is played.

Indicates the tone On/Off status.

Indicates/selects the patch category.

Selects whether the patch category will be locked.

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

Indicates the functions that are assigned to each realtime controller knob (●) and button (■). The value will be displayed when you turn the knob.

Indicates the names of the patches or rhythm sets that can be selected by [1]–[8].

Sets the Octave Shift (Oct) and the Transpose (Trans).

Switches multi-effects (MFX), chorus (CHO), and reverb (REV) on and off.

Turns the RPS function on/off (RPS). Turns Loop Play on/off (LOOP).

Patch mode is the mode in which you can play the keyboard using a single sound (patch or rhythm set). If a rhythm set is selected, you can play percussion instruments from the keyboard.

About the PATCH PLAY Screen

Displaying PATCH PLAY Screen

To access the PATCH PLAY screen, use the following procedure.

1. Press [MODE].

The Mode window appears.

fig.01-12_50

2. Press or to select a “PATCH,” and then press [8 (Select)].

You will enter Patch mode, and the PATCH PLAY screen appears.

fig.PATCH_50

Functions in the PATCH PLAY Screen

fig.02-01.e

Playing in Patch Mode

Page 32

Playing in Patch Mode

Selecting a Patch

The Fantom has six patch groups, including the User group and Preset groups A–E and GM, with each group storing 128 patches (256 in GM), for a total of 1,024 patches. What’s more, you can further expand your options by installing up to three optional Wave Expansion Boards (one SR-JV80, two SRX series), enabling you to select from a huge assortment of available patches.

USER

This is the group inside the Fantom which can be rewritten. patches you yourself create can be stored in this group. The Fantom includes 128 preset patches.

PR-A–E (Preset A–E)

This is the group inside the Fantom which cannot be rewritten. However you may modify the settings of the currently selected patch, and then store the modified patch in User memory. Banks A– E already contain 128 prepared patches each, for a total of 640 patches.

GM (GM2)

This is an internal group of patches compatible with General MIDI 2, a system of MIDI function specifications designed to transcend differences between makers and types of devices; these patches cannot be overwritten. Furthermore, settings of currently selected patches from this group cannot be changed. The Fantom includes 256 preset patches.

XP-A–C (Wave Expansion Boards installed in EXP-A–C Slots)

These are groups used when using patches from Wave Expansion Boards installed in the EXP A–C slots, and cannot be rewritten. However you may modify the settings of the currently selected patch, and then store the modified patch in User memory. The number of onboard patches depends on the specific Wave Expansion Boards installed.

1. Access the PATCH PLAY screen (p. 31).

fig.02-02.e

Patch group

Patch number

2. Make sure that the patch/rhythm set select switch is set to

“PATCH.”

If it is set to “RHYTHM,” turn the VALUE dial or press [DEC] to change it to “PATCH.”

3. Press [CURSOR] to move the cursor to the patch group.

4. Turn the VALUE dial, or press [INC]/[DEC] to select a patch

group. USER: User PR-A–E: Preset A–E GM: GM (GM2) XP-A–C: Wave Expansion Boards installed in EXP-A–C Slots

5. Press [CURSOR] to move the cursor to the patch number.

6. Turn the VALUE dial, or press [INC]/[DEC] to select a patch

number.

XP-A–C patches can be selected only if a Wave Expansion Board is installed in the corresponding slot.

XP-A (EXP A slot): SR-JV80 series (sold separately) XP-B, C (EXP B, C slots): SRX series (sold separately)

Page 33

Selecting Favorite Patches (Favorite Sound)

You can bring together your favorite and most frequently used patches in one place by registering them in the Favorite sound. By using this function, you can rapidly select favorite patches from internal memory or a Wave Expansion Board.

If a patch stored in a Wave Expansion Board has been registered as a Favorite Sound, it cannot be selected unless the corresponding wave expansion board is installed.

Playing in Patch Mode

By pressing [7 (Prevu)] you can audition the sound of the patch, by means of a phrase preselected as being suitable for that particular type (category) of patch (Phrase Preview).

4. To switch banks, press to move the cursor to the “Bank 1–8” tab, and press or to select the desired bank.

5. After switching the bank, press to move the cursor within the list, and press or to select the patch.

6. When you press [8 (Select)], the patch will be selected, and the Favorite List window will close.

Playing in Patch Mode

For instructions on how to register to the Favorite Sounds, refer to “Registering a Favorite Patch (Favorite Sound)” (p. 46).

Selecting from [1]–[8]

1. Access the PATCH PLAY screen (p. 31).

2. Press [1]–[8] to select a patch.

fig.02-03.e

Press [1]–[8] to select a patch

3. To switch the favorite sound bank, hold down [JUMP] and press [1]–[8].

Selecting from the Favorite List Window

1. In the PATCH PLAY screen, make sure that the cursor is

located at the patch group or patch number.

2. While holding down [SHIFT], press [LIST]

The Favorite List window appears.

fig.02-04_50

Selecting Patches from the List

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

1. In the PATCH PLAY screen, make sure that the cursor is located at the patch group or patch number.

2. Press [LIST].

The Patch List window appears.

fig.01-18_50

3. Press or to choose the patch.

4. To switch patch groups, press to move the cursor to the

patch group tab, and press or to select the patch group.

5. After switching the patch group, press to move the cursor within the list, and press or to select the patch.

6. Press [EXIT] to close the Patch List window.

In the Patch List window, you can press [7 (Ctg)] to add a check mark (✔) and switch to viewing a list organized by category. Here you can select patches by category (p. 34).

3. Press or to choose the patch.

Page 34

Playing in Patch Mode

Auditioning Patches (Phrase Preview)

The Fantom allows you to preview patches by hearing a phrase appropriate for each type of patch.

1. Access the Patch List window (p. 33).

fig.01-18_50

2. Press and hold [8 (Prevu)].

The patch selected in the Patch List window will be sounded.

3. Release your finger from [8 (Prevu)], and the phrase will stop playing.

• If you wish to change the phrase that is played by Phrase Preview, you can edit the Patch Category parameter (PATCH/ General) (p. 47).

• If you wish to change how the phrase is played by Phrase Preview, you can edit the Preview Mode parameter (SYSTEM/ General) (p. 185).

5. Press to move the cursor to “Lock,” and turn the VALUE

dial or press [INC] to add a check mark (✔).

fig.02-05

Now you can select patches within the category you selected in step 4.

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

When the cursor is located at the Patch group, you can select the group. When the cursor is located at the Patch number, you can specify the number.

Selecting from the Patch List Window

1. Access the Patch List window (p. 33).

fig.01-18_50

Selecting Patches by Category (Patch Finder)

The Fantom provides a “Patch Search function” (Patch Finder) which allows you to specify a type (category) of patch so that you can quickly find the desired patch. There are a total of 38 categories.

1. Access the PATCH PLAY screen (p. 31).

2. Make sure that the patch/rhythm set select switch is set to

“PATCH.”

If it is set to “RHYTHM,” turn the VALUE dial or press [DEC] to change it to “PATCH.”

3. Use [CURSOR] to move the cursor to “Category.”

4. Turn the VALUE dial, or press [INC]/[DEC] to select the

desired category.

2. Press [7 (Ctg)] to add a check mark (✔).

The display will show a list of patches organized by category.

fig.02-06_50

3. Press to move the cursor to the category tab, and press or to select the category.

A list of the patches in the selected category will be displayed.

4. Press to move the cursor in the list, and press or to select a patch.

By pressing [8 (Prevu)] you can audition the sound of the patch being played by a phrase suitable for the corresponding type (category) of patch (Phrase Preview).

Page 35

Playing in Patch Mode

5. Press [EXIT] to close the Patch List window.

The following categories can be selected.

Category Contents

- - - No Assign No assign PNO AC.Piano Acoustic Piano EP EL.Piano Electric Piano KEY Keyboards Other Keyboards

(Clav, Harpsichord etc.) BEL Bell Bell, Bell Pad MLT Mallet Mallet ORG Organ Electric and Church Organ ACD Accordion Accordion HRM Harmonica Harmonica, Blues Harp AGT AC.Guitar Acoustic Guitar EGT EL.Guitar Electric Guitar DGT DIST.Guitar Distortion Guitar BS Bass Acoustic & Electric Bass SBS Synth Bass Synth Bass STR Strings Strings ORC Orchestra Orchestra Ensemble WND Wind Winds (Oboe, Clarinet etc.) FLT Flute Flute, Piccolo BRS AC.Brass Acoustic Brass SBR Synth Brass Synth Brass SAX Sax Sax HLD Hard Lead Hard Synth Lead SLD Soft Lead Soft Synth Lead HIT Hit&Stab Orchestra Hit, Hit TEK Techno Synth Techno Synth PLS Pulsating Pulsating Synth FX Synth FX Synth FX (Noise etc.) SYN Other Synth Poly Synth BPD Bright Pad Bright Pad Synth SPD Soft Pad Soft Pad Synth VOX Vox Vox, Choir PLK Plucked Plucked (Harp etc.) ETH Ethnic Other Ethnic FRT Fretted Fretted Inst (Mandolin etc.) PRC Percussion Percussion SFX Sound FX Sound FX BTS Beat&Groove Beat and Groove DRM Drums Drum Set CMB Combination Other patches which use Split and

Layer

Transposing the Keyboard in Octave Units (Octave Shift)

The Octave Shift function transposes the pitch of the keyboard in 1 octave units (-3– +3 octaves).

For playing a bass part more easily using your right hand, transpose the keyboard down by 1 or 2 octaves.

1. Access the PATCH PLAY screen (p. 31).

2. Use [CURSOR] to move the cursor to “Oct.”

fig.02-07

3. Either turn the VALUE dial or use [INC]/[DEC] to specify the amount of pitch shift (-3–+3 octaves).

There is a single Octave Shift setting (Setup parameter) for the entire Fantom. The changed setting will be remembered even if you switch patches or performances.

If you assign “OCT UP/DOWN” as a function to be controlled by the realtime control buttons ([ ]–[ ]), you can easily change the Octave Shift by pressing these buttons.

Playing in Patch Mode

Page 36

Playing in Patch Mode

Transposing the Keyboard in Semitone Steps (Transpose)

Transpose changes keyboard pitch in units of semitones. This function is useful when you play transposed instruments such

as trumpet or clarinet following a printed score.

1. Access the PATCH PLAY screen (p. 31).

2. Use [CURSOR] to move the cursor to “Trans.”

fig.02-08

3. Either turn the VALUE dial or use [INC]/[DEC] to adjust the Transpose setting (G–F#: -5–+6 semitones).

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

Since a patch is a combination of up to four tones, you can switch unwanted (tones out of the four) off and get just the sound of a specific tone.

1. Access the PATCH PLAY screen (p. 31).

2. Press [MENU] to open the Menu window.

3. Press or to select a “Patch Edit,” and then press [8

(Select)].

The Patch Edit screen appears.

4. Use [CURSOR] to move the cursor to “Tone Switch.”

fig.02-09

There is a single Transpose setting (Setup parameter) for the entire Fantom. The changed setting will be remembered even if you switch patches or performances.

If you assign “TRNS UP/DOWN” as a function to be controlled by the realtime control buttons ([ ]–[ ]), you can easily change the Transpose by pressing these buttons.

5. Turn the VALUE dial or press [INC]/[DEC] to turn each tone on/off. From the left, these are Tone Switches 1–4. Assigning a check mark (✔) will turn the tone on, and removing the check mark will turn it off.

• If you want just one or two tones to sound in a patch, turn the others off and store that setting on a patch. This cuts nonessential use of the Fantom’s simultaneous voices.

• By holding down [JUMP] and pressing [1]–[4], you can switch a tone on/off.

Page 37

Playing in Patch Mode

Playing Single Notes (Mono)

When using a patch for a naturally monophonic instrument such as sax or flute, it is effective to play in mono.

1. Access the PATCH PLAY screen (p. 31).

2. Press [MENU] to open the Menu window.

3. Press or to select a “Patch Edit,” and then press [8

(Select)].

The Patch Edit screen appears.

4. Press [1 (▲)] or [2 (▼)] to select the “General” tab.

A screen like the one shown below appears.

fig.03-01_50

5. Use [CURSOR] to move the cursor to “Mono/Poly.”

6. Turn the VALUE dial or press [DEC] to select “MONO.”

Now you can play in mono mode.

If you assign “MONO/POLY” as a function to be controlled by the realtime control buttons ([ ]–[ ]), you can easily switch between mono/poly by pressing a button.

Creating Smooth Pitch Changes (Portamento)

Portamento is an effect which smoothly changes the pitch from the first-played key to the next-played key. By applying portamento when Mono mode is selected (see the preceding item), you can simulate performance effects such as slurring on a violin.

1. Access the PATCH PLAY screen (p. 31).

2. Press [MENU] to open the Menu window.

3. Press or to select a “Patch Edit,” and then press [8

(Select)].

The Patch Edit screen appears.

4. Press [1 (▲)] or [2 (▼)] to select the “General” tab.

A screen like the one shown below appears.

fig.03-01_50

5. Use [CURSOR] to move the cursor to “Portamento Switch.”

6. Turn the VALUE dial or press [INC] to select “ON.”

You’re ready to play portamento.

7. When you want to change the portamento setting, edit the following parameters in the screen of step 4.

Portamento Mode, Portamento Type, Portamento Start, Portamento Time

Playing in Patch Mode

See (p. 48) for each parameter’s functions.

8. Turn the VALUE dial or press [INC]/[DEC] to get the value you want.

9. Press [EXIT] to return to the PATCH PLAY screen and play.

If you assign “CC65 (Portamento)” as a function to be controlled by the realtime control buttons ([ ]–[ ]), you can use a button to easily turn portamento on/off.

Page 38

Playing in Patch Mode

Playing Arpeggios (Arpeggiator)

The Arpeggiator provides for the play of the various notes in chords. With the Arpeggiator, you can play arpeggios that use the component notes of a chord, just by pressing the chord. In addition to normal arpeggios, you can also accurately simulate rhythm guitar or strumming techniques depending on the Arpeggiator settings. The Arpeggiator can in fact be used as a handy automatic arranger.

1. Access the PATCH PLAY screen (p. 31).

2. Press [ARPEGGIO] to turn the Arpeggiator on.

3. Play a chord on the keyboard.

The Fantom will play an arpeggio, according to the notes forming the chord you have just voiced.

4. To finish playing arpeggios, press [ARPEGGIO] again so the indicator turns off.

Holding an Arpeggio

By using the following procedure, you can produce arpeggios even without continuing to press the keyboard.

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

The [ARPEGGIO] indicator will begin blinking.

2. Play a chord.

3. If you play a different chord or notes while the arpeggio is

being held, the arpeggio will change accordingly.

4. To cancel Arpeggio Hold, hold down [SHIFT] and press [ARPEGGIO] simultaneously once again.

Simulating a Rhythm Guitar

You can simulate a rhythm guitar by following the procedure below.

1. Access the PATCH PLAY screen, and select a guitar patch (p. 31).

2. Hold down [JUMP] and press [ARPEGGIO].

The Arpeggio window appears.

fig.02-12_50

3. Use [CURSOR] to move the cursor to “Style.”

4. Either turn the VALUE dial or use [INC]/[DEC] to select the

one you want from “AG CUTTING PHR.”

5. Press [ARPEGGIO] to turn the Arpeggiator on.

6. Play a chord on the keyboard.

Guitar strumming will begin according to the notes in the chord you pressed.

If you assign Cutoff (CC74) or Resonance (CC71) to the realtime control knobs (p. 163) and turn these knobs while you play, you can apply a wah effect to the guitar strumming.

When Using a Hold Pedal

If you play an arpeggio while pressing the hold pedal, the arpeggio will continue to be played even if you release the chord.

1. Connect an optional pedal switch (DP-2, DP-6, etc.) to the HOLD PEDAL jack.

2. Press [ARPEGGIO] to turn the Arpeggiator on.

3. Play a chord while pressing the hold pedal.

4. If you play a different chord or notes while the arpeggio is

being held, the arpeggio will change accordingly.

Page 39

Playing in Patch Mode

Using an External MIDI Keyboard to Play Arpeggios

You can also use the keyboard of an external MIDI instrument to play arpeggios.

1. Use a MIDI cable to connect the Fantom’s MIDI IN connector to the MIDI OUT connector of the external MIDI keyboard.

2. Access the PATCH PLAY screen (p. 31).

3. Press [ARPEGGIO] to turn the Arpeggiator on.

4. Press [MENU] to open the Menu window.

5. Press or to select a “System Edit,” and then press

[8 (Select)].

The System Edit screen appears.

6. Press [1 (▲)] or [2 (▼)] to select the “MIDI” tab.

A screen like the one shown below appears.

fig.02-13_50

7. Use [CURSOR] to move the cursor to “Remote Keyboard Sw.”

8. Turn the VALUE dial or press [INC] to select “ON.”

9. Play your external MIDI keyboard.

Making Arpeggiator Settings

1. Hold down [JUMP] and press [ARPEGGIO].

The Arpeggio window appears.

fig.02-12_50

Playing in Patch Mode

In this window you can set the following arpeggiator parameters.

Switch: Switches the Arpeggiator on/off. Hold: Switch between Hold On/Hold Off for the Arpeggiator

performance.

Style: Specify the basic performance style of the arpeggio. Variation: Select the variation (performance pattern) for each

arpeggio style. Motif: Specify the order in which the component notes of the

chord will be sounded. Key Trigger: Specify the timing at which the arpeggio is to

begin playing.

Tempo (=SEQ): Specify the tempo of an arpeggio. Accent Rate: Vary the strength and note length of the accents to

modify the rhythmic feel (groove) of the performance. Shuffle Rate: Create shuffle rhythms by modifying the timing at

which notes are sounded. Shuffle Resolution: Specify the timing of the notes in terms of

note value.

Velocity: Specify the note strength of the keys you play. Octave Range: Specify the range of the arpeggio performance,

in octave units.

In arpeggio settings, the Style (Arpeggio Style) is particularly important. The playback pattern of the arpeggio is determined mainly by this selection.

For details regarding each parameter, refer to “Arpeggiator Settings (Arpeggio)” (p. 51).

2. Press [CURSOR] to move the cursor to each parameter, and either turn the VALUE dial or press [INC] or [DEC] to make the setting.

3. Press [8 (Close)] to close the Arpeggio window.

Arpeggiator settings can be saved with each patch as part of the patch settings. This means that you can create patches that contain the most effective settings.

Page 40

Playing in Patch Mode

Playing Percussion Instruments

In Patch mode, you can play percussion instruments from the keyboard by selecting a rhythm set. As the rhythm tone assigned to each key varies by the rhythm set selected, you can play a wide range of percussion instruments.

Selecting a Rhythm Set

The Fantom has three rhythm set groups, including the User group, Preset group and GM group, with 16 rhythm sets in the User group, 16 rhythm sets in Preset group, and 9 rhythm sets in GM group, for a total of 41 rhythm sets. What’s more, you can further expand your options by installing up to three optional Wave Expansion Boards (one SR-JV80, two SRX series), enabling you to select from a large selection of rhythm sets.

USER

This is the group inside the Fantom which can be rewritten. rhythm sets you yourself create can be stored in this group. The Fantom includes 16 preset rhythm sets.

PRST (Preset)

This is the group inside the Fantom which can be rewritten. However, you can modify the settings of the currently selected rhythm set, and then save the modified settings in User memory. The Fantom contains 16 preset rhythm sets.

1. Access the PATCH PLAY screen (p. 31).

2. Use [CURSOR] to move the cursor to “PATCH.”

fig.02-14

3. Turn the VALUE dial, or press [INC] to select “RHYTHM.”

A screen like the following appears, allowing you to select a rhythm set.

fig.02-15.e

Rhythm set group

Rhythm set number

GM (GM2)

This is an internal group of rhythm sets compatible with General MIDI 2, a system of MIDI function specifications designed to transcend differences between makers and types of devices; these rhythm sets cannot be overwritten. Furthermore, settings of currently selected rhythm sets from this group cannot be changed. The Fantom includes nine preset rhythm sets.

XP-A–C (Wave Expansion Boards installed in EXP-A–C Slots)

These groups are for when using rhythm sets from a Wave Expansion Board installed in slots EXP A–C, and cannot be rewritten. However, you can modify the settings of the currently selected rhythm set, and then save the modified settings in User memory. The number of onboard rhythm sets depends on the specific Wave Expansion Boards installed.

A Rhythm Set XP-A–C cannot be accessed if the Wave Expansion Board it belongs to has not been installed.

XP-A (EXP A slot): SR-JV80 series (sold separately) XP-B, C (EXP B, C slots): SRX series (sold separately)

4. Press [CURSOR] to move the cursor to the rhythm set group.

5. Turn the VALUE dial or press [INC]/[DEC] to select the rhythm set group.

USER: User PRST: Preset GM: Preset GM (GM2) XP-A–C: Wave Expansion Boards installed in EXP-A–C Slots

6. Press [CURSOR] to move the cursor to the rhythm set number.

7. Turn the VALUE dial or press [INC]/[DEC] to select the rhythm set number.

You can select favorite rhythm sets in the same way as when selecting patches. For details on the procedure, refer to “Selecting Favorite Patches (Favorite Sound)” (p. 33).

Page 41

Playing in Patch Mode

Playing a Rhythm Set

1. Select the rhythm set that you wish to play.

2. Press a key on the keyboard to play a percussion

instrument.

Below the rhythm set name, the screen shows the note name of the key you pressed, and the name of the percussion instrument (rhythm tone name) assigned to that key.

fig.02-16.e

Note name

Rhythm tone name

Playing Rhythm Patterns from the Keyboard

The Fantom contains various Rhythm patterns. Simply by pressing a single key, you can play the Rhythm patterns.

1. Access the PATCH PLAY screen, and select a rhythm set (p.

40).

2. Press [RHYTHM] to make the indicator light.

3. Press a key to which a Rhythm pattern is assigned.

The Rhythm pattern assigned to the key you pressed will sound.

4. To stop playing Rhythm patterns, press [RHYTHM] once again to make the indicator go dark.

Holding the Playback of a Rhythm Pattern

If you perform the following operation, you can play the Rhythm pattern without having to continue holding down the key.

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

The [RHYTHM] indicator will begin blinking.

2. Press a key to which a Rhythm pattern is assigned.

3. If you press another key while Hold is in effect, the Rhythm

pattern will change accordingly.

4. To cancel Rhythm Pattern Hold, hold down [SHIFT] and press [RHYTHM] simultaneously once again.

When Using a Hold Pedal

By holding down the Hold pedal while you play the Rhythm pattern, you can make the Rhythm pattern continue sounding even after you release the key.

1. Connect an optional pedal switch (DP-2, DP-6, etc.) to the HOLD PEDAL jack.

2. Press [RHYTHM].

3. Hold down the Hold pedal, and press a key to which a

Rhythm pattern is assigned.

4. If you press another key while Hold is in effect, the Rhythm pattern will change accordingly.

Making Rhythm Pattern Settings

1. Hold down [JUMP] and press [RHYTHM].

The Rhythm Pattern window appears.

fig.02-17_50

In this window you can set the following Rhythm pattern parameters.

Switch: Switch Rhythm pattern playback on/off. Hold: Switch between Hold On/Hold Off for the Rhythm

pattern playback. Style: Specify the basic performance style of the Rhythm

pattern. Key Trigger: Specify the timing at which the Rhythm pattern is

to begin playing.

Tempo (=SEQ): Specify the tempo of Rhythm pattern playback. Accent Rate: Adjust the accent strength or note length to

modify the rhythm feel (groove) of the performance. Shuffle Rate: Adjust the note timing to produce shuffle

rhythms. Shuffle Resolution: Specify the timing of the notes in terms of a

note value.

Velocity: Specify the note strength for the keys you play. Note Assign: Specify the keyboard note that will play the

Rhythm pattern.

In rhythm pattern parameters, the Style (Rhythm Pattern Style) setting is particularly important. The playback pattern of the rhythm is determined mainly by this selection.

For details regarding each parameter, refer to “Rhythm Pattern Settings (Rhythm Ptn)” (p. 75).”

2. Press [CURSOR] to move the cursor to each parameter, and either turn the VALUE dial or press [INC] or [DEC] to make the setting.

3. Press [8 (Close)] to close the Rhythm Pattern window.

Rhythm pattern settings can be saved with each rhythm set as part of the rhythm set settings. This allows you to create a rhythm set that uses the most effective settings.

Playing in Patch Mode

Page 42

Creating a Patch

With the Fantom, you have total control over a wide variety of settings. Each item that can be set is known as a parameter. When you change the values of parameters, you are doing what is referred to as Editing. This chapter explains the procedures used in creating patches, and the functions of the patch parameters.

How to Make the Patch Settings

Start with an existing patch and edit it to create a new patch. Since a patch is a combination of up to any four tones, you should listen to how the individual tones sound before you edit.

Four Tips for Editing Patches

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

create (p. 32).

It’s hard to create a new sound that’s exactly what you want if you just select a patch and modify its parameters at random. It makes sense to start with a patch whose sound is related to what you have in mind.

● Decide which tones will sound (p. 36). When creating a patch, it is important to decide which tones

you are going to use. In the Patch Edit screen, set Tone Switch 1–4 to specify whether each tone will sound (on), or not (off). It is also important to turn off unused tones to avoid wasting voices, unnecessarily reducing the number of simultaneous notes you can play. Tones for which the Tone Switch displays a check mark (✔) will sound.

● Check the Structure setting (p. 56). The important Structure parameter (PATCH/TMT) determines

how the four tones combine. Before you select new tones, make sure you understand how the currently selected tones are affecting each other.

● Turn Effects off (p. 165). Since the Fantom effects have such a profound impact on its

sounds, turn them off to listen to the sound itself so you can better evaluate the changes you’re making. Since you will hear the original sound of the patch itself when the effects are turned off, the results of your modifications will be easier to hear. Actually, sometimes just changing effects settings can give you the sound you want.

1. Access the PATCH PLAY screen, and select the patch whose settings you wish to modify (p. 32).

You cannot edit the patches in the PR-E (GM2) group.

If you want to create all your patches from the ground up, rather than the patches that have already been prepared, carry out the Initialize operation (p. 43).

2. Press [MENU].

The Menu window appears.

fig.01-17_50

3. Press or to select a “Patch Edit,” and then press [8 (Select)].

The Patch Edit screen appears.

fig.02-10_50

4. The parameters are organized into several editing groups. Press [1 (▲)] or [2 (▼)] to select the tab for the editing group that contains the parameter you wish to edit.

For details on how the parameters are grouped, refer to “Parameter list” (Sound/Parameter List).

5. Use [CURSOR] to move the cursor to the parameter you wish to modify.

• Some of the parameters have a “” symbol. This indicates that if you press [LIST] when setting one of these parameters, the related window will appear. For example if you press [LIST] at a parameter that requires you to specify a name, the Name window will appear.

• When all the parameters cannot be shown within a single settings screen, a scroll bar will be displayed at the right side of the screen. In such cases, press to scroll the screen downward.

Page 43

• If you have selected a screen for parameters that can be set for each tone, first move the cursor to the parameter that you want to edit, and then press or to select a tone. From the left, this is tone 1–4.

• If you want to simultaneously edit the same parameter for multiple tones, move the cursor to “Tone Select” in the upper part of the Patch Edit screen, and assign a check mark (✔) to each tone that you want to edit. From the left, these correspond to Tone Select 1–4.

• To switch a tone on/off, move the cursor to the “Tone Switch” in the upper part of the Patch Edit screen, and make the desired settings. From the left, these are Tone Switches 1–4. Assigning a check mark (✔) will turn the tone on, and removing the check mark will turn it off.

6. Turn the VALUE dial or press [INC]/[DEC] to get the value you want.

If you’ve selected two or more tones, your editing will modify the parameter values for all selected tones by the same amount.

7. Repeat steps 4–6 to complete a patch.

8. If you wish to save the changes you’ve made, press [6

(Write)] to perform the Save operation (p. 45). If you do not wish to save changes, press [EXIT] to return to the PATCH PLAY screen.

If you return to the PATCH PLAY screen without saving, the display will indicate “EDITED,” reminding you that the patch settings have been modified.

If you turn off the power or select a different sound while the display indicates “EDITED,” your edited patch will be lost.

Initializing Patch Settings (Init)

“Initialize” means to return the settings of the currently selected sound to a standard set of values or to the factory settings.

The Initialize operation will affect only the currently selected sound; the sounds that are stored in user memory will not be affected. If you wish to restore all of the Fantom’s settings to their factory values, perform a Factory Reset (p. 195).

1. Access the PATCH PLAY screen, and select the patch that you wish to initialize (p. 32).

2. Access the Patch Edit screen (p. 42).

3. Press [7 (Init)].

The Patch Initialize window appears.

fig.03-02_50

4. Move the cursor to “Type,” and select the initialization type.

Creating a Patch

Type (Initialize Type)

There are three initialize methods. Select either of them depending on the application.

DEFAULT: Resets the currently selected patch in the Temporary memory to the standard values. This is called a Initial Data. Use this setting when you wish to create a sound from scratch.

PRESET: Resets the currently selected patch in user memory to the factory settings.

MFX TEMPLATE: The multi-effect settings of the currently selected patch will be set to the MFX template settings.

If the currently selected patch is preset memory (PR-A–E) data, initializing with the “PRESET” setting will set the values to those of the identically numbered user memory.

For details regarding MFX template, refer to “MFX Template List” (Sound/Parameter List).

5. If you’ve set the initialization type to “MFX TEMPLATE,” move the cursor to “Template” and select an MFX template.

6. Press [8 (Execute)].

The initialization will be carried out, and you’ll be returned to the Patch Edit screen.

Copying Patch Settings (Copy)

This operation copies the settings of any desired patch to the currently selected patch. You can use this feature to make the editing process faster and easier.

Basic Procedure for Patch Copy

1. Access the PATCH PLAY screen, and select the copy-

destination patch (p. 32).

2. Access the Patch Edit screen (p. 42).

3. Press [8 (Copy)].

The Patch Copy window appears.

fig.03-03_50

4. Move the cursor to “Mode,” and select the data that you wish to copy.

Three types of copy are available: Patch Name Copy, Patch Effects Copy, and Patch Tone Copy. You should select the one

that is relevant to the type of data you wish to copy. For details refer to “Types of Patch Copy” (following section).

5. Move the cursor to “Source,” and select the copy-source sound.

6. Press [8 (Execute)] to execute the copy.

7. Press [EXIT] to return to the Patch Edit screen.

Creating a Patch

Page 44

Creating a Patch

Types of Patch Copy

Patch Name Copy (NAME)

The name of the patch, rhythm set, multitimbre, or performance will be copied to the currently selected patch.

fig.03-03_50

Patch Effects Copy (MFX/CHORUS/REVERB)

The effect settings of the patch, rhythm set, multitimbre, or performance will be copied to the currently selected patch.

fig.03-04_50

Effect contents that will be copied (Mode)

MFX: Multi-effects settings CHORUS: Chorus settings REVERB: Reverb settings If you want to copy the multi-effect settings of a multitimbre or

performance, select the MFX (MFX-A–MFX-C) whose data will be copied.

Patch Tone Copy (TONE)

Tone settings of a patch will be copied to the tone you specify of the current patch.

fig.03-05.e

Copy-source tone Copy-destination tone

To specify the currently selected patch as the copy source, set “Source” to “TEMP.”

The Compare Function

For the Patch Effect Copy and Patch Tone Copy operations, you can use the Compare function.

The Compare function allows you to play the copy-source patch. To do so, press [1 (Compare)] to open the following window. The copy-source patch can be switched in this window as well, but it is not possible to select GM group patches. After selecting the desired patch, return to the previous window by pressing [1 (Copy)].

fig.03-06_50

• The Compare function cannot be used with Patch Effect

Copy if “RHYTHM,” “MULTITIMBRE” or

“PERFORMANCE” is selected as the copy source (Source).

• The patch auditioned using the Compare function may

sound slightly different than when it is played normally.

Cautions When Selecting a Waveform

The sounds of the Fantom are based on complex PCM waveforms, and if you attempt to make settings that are contrary to the type of the original waveform, the results will not be as you expect.

The internal waveforms of the Fantom fall into the following two groups.

One-shot: These waveforms contain sounds that have short decays. A one-shot waveform records the initial rise and fall of the sound. Some of the Fantom’s one-shot waveforms are sounds that are complete in themselves, such as percussive instrument sounds. The Fantom also contains many other one-shot waveforms that are elements of other sounds. These include attack components such as piano-hammer sounds and guitar fret noises.

Looped: These waveforms include sounds with long decays as well as sustained sounds. Loop waveforms repeatedly play back (loop) the portion of the waveform after the sound has reached a relatively steady state. The Fantom’s looped waveforms also include components of other sounds, such as piano-string resonant vibrations and the hollow sounds of brass instruments.

Page 45

Creating a Patch

The following diagram shows an example of sound (electric organ) that combines one-shot and looped waveforms.

fig.03-07.e

TVA ENV for looped Organ waveform (sustain portion)

Level

TVA ENV for one-shot Key

-click waveform (attack portion)

Resulting TVA ENV change

Time

Note off

Cautions When Using a One-shot Waveform

It is not possible to use the envelope to modify a one-shot waveform to create a decay that is longer than the original waveform, or to turn it into a sustaining sound. If you were to program such an envelope, you would be attempting to shape a portion of the sound that simply doesn’t exist, and the envelope would have no effect.

Cautions When Using a Loop Waveform

With many acoustic instruments such as piano and sax, extreme timbral changes occur during the first few moments of each note. This initial attack is what defines much of the instrument’s character. For such waveforms, it is best to use the complex tonal changes of the attack portion of the waveform just as they are, and to use the envelope only to modify the decay portion. If you attempt to use the envelope to modify the attack portion as well, the characteristics of the original waveform may prevent you from getting the sound that you intend.

fig.03-08.e

Level

Tone change stored

with the wave

Looped portion

Saving Patches You’ve Created (Write)

Changes you make to sound settings are temporary, and will be lost if you turn off the power or select another sound. If you want to keep the modified sound, you must save it in the internal USER group (user memory)

When you modify the settings of a patch, the PATCH PLAY screen will indicate “EDITED.” Once you save the patch into internal memory (user memory), the “EDITED” indication goes away.

When you perform the save procedure, the data that previously occupied the save destination will be lost. However, the factory setting data can be recovered by performing the Initialization procedure (p. 43).

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

2. Press [MENU].

The Menu window appears.

fig.01-17_50

3. Press or to select a “Patch Edit,” and then press [8 (Select)].

The Patch Edit screen appears.

fig.02-10_50

Creating a Patch

Envelope

for the TVF filter

Resulting

tone change

Time

4. Press [6 (Write)].

The Patch Write window appears.

fig.03-09.e

Save-destination patch

5. Press or to specify the save-destination patch.

Page 46

Creating a Patch

By pressing [7 (Compare)] you can check the save-destination patch (Compare function).

6. Press [8 (Execute)].

The display will indicate Are you sure?.”

7. Press [8 (OK)] to execute the save operation. To cancel the operation, press [EXIT].

Auditioning the Save-Destination Patch (Compare)

Before you save a patch, you can audition the patch which currently occupies the save destination to make sure that it is one you don’t mind overwriting. This can help prevent important patches from being accidentally overwritten and lost.

1. Follow the procedure in “Saving Patches You’ve Created (Write)” through step 5 to select the save destination.

2. Press [7 (Compare)].

The Patch Compare window appears, making it possible to sound the currently selected save destination patch.

fig.03-10.e

Save-destination patch

Using [1]–[8] to Register

1. Access the PATCH PLAY screen, and select the patch that

you wish to register (p. 32).

2. Hold down [JUMP (BANK)] and press a [1]–[8] to select the bank in which you wish to register the sound.

3. Hold down [SHIFT (REGISTRY)] and press a [1]–[8] to select the button at which you wish to register the sound.

The display will indicate “Register OK?.”

4. Press [8 (OK)] to execute the registration. To cancel the operation, press [EXIT].

Using the Favorite List Window to Register

1. Access the PATCH PLAY screen to select the patch that you

wish to register (p. 32).

2. Make sure that you are in the PATCH PLAY screen, and that the cursor is located at the patch group or the patch number.

3. While holding down [SHIFT], press [LIST]

The Favorite List window appears.

fig.02-04_50

3. Play the keyboard to sound the save destination patch, then check whether you really want to overwrite it.

The patch auditioned using the Compare function may sound slightly different than when it is played normally.

4. If you wish to change the save destination, re-specify the save-destination patch by using [INC]/[DEC].

5. Press [7 (Write)] to return to the Patch Write window.

6. Press [8 (Execute)] once again to execute the Save

operation.

Registering a Favorite Patch (Favorite Sound)

You can bring together your favorite and most frequently used patches in one place by registering them in the Favorite sound. By using this function you can rapidly select favorite patches from internal memory or a Wave Expansion Board. You can register a total of 64 sounds (8 sounds x 8 banks) as favorite sounds.

For details on selecting a favorite sound, refer to “Selecting Favorite Patches (Favorite Sound)” (p. 33).

4. Press to move the cursor to the “Bank 1–8” tab, and press or to select the bank in which you wish to register the patch.

5. Press to move the cursor within the list, and press or to select the number to which you wish to register. The number you select here corresponds to [1]–[8].

6. Press [5 (Regist)] to execute the registration.

• By pressing [6 (Remove)] you can cancel the patch registration that is selected in the Favorite List window.

• By pressing [7 (Prevu)] you can audition the sound of the registered patch (Phrase Preview).

7. When you have finished registering favorite sounds, press [EXIT] to close the Favorite List window.

Page 47

Creating a Patch

Functions of Patch Parameters

This section explains the functions the different patch parameters have, as well as the composition of these parameters.

Parameters marked with a “★” can be controlled using specified MIDI messages (Matrix Control). Settings in the Control screen will determine how these parameters are controlled (p. 54).

Settings Common to the Entire Patch (General)

fig.03-01_50

For details on the setting, refer to “How to Make the Patch Settings” (p. 42).

Voice Priority

This determines how notes will be managed when the maximum polyphony is exceeded (64 voices).

Value LAST: The last-played voices will be given priority, and currently

sounding notes will be turned off in order, beginning with the firstplayed note.

LOUDEST: The voices with the loudest volume will be given priority, and currently sounding notes will be turned off, beginning with the lowest-volume voice.

Analog Feel (Analog Feel Depth)

Specifies the depth of 1/f modulation that is to be applied to the patch. (1/f modulation is a pleasant and naturally-occurring ratio of modulation that occurs in a babbling brook or rustling wind.)

By adding this “1/f modulation,” you can simulate the natural instability characteristic of an analog synthesizer.

Value: 0–127

Mono/Poly

Specifies whether the patch will play polyphonically (POLY) or monophonically (MONO). The “MONO” setting is effective when playing a solo instrument patch such as sax or flute.

Value MONO: Only the last-played note will sound. POLY: Two or more notes can be played simultaneously.

Creating a Patch

General

Patch Name

You can assign a name of up to 12 characters to the patch. Value: space, A–Z, a–z, 0–9, ! " # $ % & ’ ( ) * + , - . / : ; < = > ? @ [ \ ]

^ _ ` { | } → ←

For details on assigning names, refer to “Assigning a Name” (p.

30).

Patch Category

Specifies the type (category) of the patch. The Patch Finder uses this setting. It also determines the phrase that

will be sounded when using the Phrase Preview function.

For details on the possible category names, refer to (p. 35).

Cutoff Offset

Cutoff Frequency Offset alters the cutoff frequency of the overall patch, while preserving the relative differences between the cutoff frequency values set for each tone in the Cutoff Freq parameters (PATCH/TVF) (p. 62).

Range: -63– +63

* Cutoff Frequency: the frequency at which the filter begins to have an

effect on the waveform’s frequency components.

This value is added to the cutoff frequency value of a tone, so if the cutoff frequency value of any tone is already set to “127” (maximum), positive “+” settings here will not produce any change.

Resonance Offset

Resonance Offset alters the resonance of the overall patch, while preserving the relative differences between the resonance values set for each tone in the Resonance parameter (PATCH/TVF) (p. 63).

Range: -63– +63

* Resonance: emphasizes the overtones in the region of the cutoff

frequency, adding character to the sound.

This value is added to the resonance value of a tone, so if the resonance value of any tone is already set to “127” (maximum), positive “+” settings here will not produce any change.

Page 48

Creating a Patch

Attack Time Offset

Attack Time Offset alters the attack time of the overall patch, while preserving the relative differences between the attack time values set for each tone in the Env Time 1 parameters (PATCH/TVA) (p. 66).

Range: -63– +63

* Attack Time: The time it takes for a sound to reach maximum volume

after the key is pressed and sound begun.

This value is added to the attack time value of a tone, so if the attack time value of any tone is already set to “127” (maximum), positive “+” settings here will not produce any change.

Release Time Offset

Release Time Offset alters the release time of the overall patch, while preserving the relative differences between the release time values set for each tone in the Env Time 4 parameters (PATCH/TVA) (p.

66). Range: -63– +63

* Release Time: The time from when you take your finger off the key

until the sound disappears.

This value is added to the release time value of a tone, so if the release time value of any tone is already set to “127” (maximum), positive “+” settings here will not produce any change.

Velocity Sens Offset (Velocity Sensitivity Offset)

Velocity Sensitivity Offset alters the Velocity Sensitivity of the overall patch while preserving the relative differences between the Velocity Sensitivity values set for each tone in the parameters below.

Cutoff V-Sens parameter (PATCH/TVF) (p. 63) Level V-Sens parameter (PATCH/TVA) (p. 65) Range: -63– +63

* Velocity: Pressure with which the key is pressed.

Tempo (Patch Tempo)

When Patch Clock Source is set to “PATCH,” this setting value is effective.

Value: 20–250

The Patch Tempo Clock does not transmit clock messages from the MIDI OUT connector.

Legato Switch (Solo Legato Switch)

Solo Legato is valid when the Mono/Poly parameter (PATCH/ General) is set to “MONO.” This setting specifies whether the Solo Legato function will be used (ON) or not (OFF).

Value: OFF, ON With the Legato Switch parameter “ON,” pressing a key while

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

Legato Retrigger (Legato Retrigger Switch)

The Legato Retrigger is valid when the Mono/Poly parameter (PATCH/General) is set to “MONO” and the Legato Switch parameter is set to “ON.” The setting determines whether sounds are replayed (ON) or not (OFF) when performing legato. Normally you will leave this parameter “ON.” When “OFF,” when one key is held down and another key is then pressed, only the pitch changes, without the attack of the latter key being played. Set this to “OFF” when performing wind and string phrases or when using modulation with the mono synth keyboard sound.

Value: OFF, ON

Portamento Switch

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

Value: OFF, ON

This value is added to the velocity sensitivity value of a tone, so if the velocity sensitivity value of any tone is already set to “+63” (maximum), positive “+” settings here will not produce any change.

Clock Source (Patch Clock Source)

The LFO cycle, multi-effects changes, Phrase Loop, and Tone Delay time can be synchronized to a clock (tempo). When this is used by the patch, this Clock Source setting determines the clock which will be used.

Value PATCH: The Patch Tempo will be used. SEQUENCER: Synchronize to the clock of the Fantom’s sequencer

or of an external sequencer.

For details on using clock (tempo), refer to (Q&A p. 16).

Portamento

Portamento is an effect which smoothly changes the pitch from the first-played key to the next-played key. By applying portamento when the Mono/Poly parameter (PATCH/General) is “MONO,” you can simulate slide performance techniques on a violin or similar instrument.

Page 49

Creating a Patch

Portamento Mode

Specifies the performance conditions for which portamento will be applied.

Value NORMAL: Portamento will always be applied. LEGATO: Portamento will be applied only when you play legato

(i.e., when you press the next key before releasing the previous key).

Portamento Type

Specifies the type of portamento effect.

Value RATE: The time it takes will depend on the distance between the

two pitches. TIME: The time it takes will be constant, regardless of how far apart

in pitch the notes are.

Portamento Start

When another key is pressed during a pitch change produced by portamento, a new pitch change will begin. This setting specifies the pitch at which the change will begin.

Value PITCH: Starts a new portamento when another key is pressed while

the pitch is changing.

fig.Potra-1.e

Pitch

Portamento Time

When portamento is used, this specifies the time over which the pitch will change. Higher settings will cause the pitch change to the next note to take more time.

Value: 0–127

Bend Range Up (Pitch Bend Range Up)

Specifies the degree of pitch change in semitones when the Pitch Bend lever is all the way right. For example, if this parameter is set to “12,” the pitch will rise one octave when the pitch bend lever is moved to the right-most position.

Value: 0– +48

Bend Range Down (Pitch Bend Range Down)

Specifies the degree of pitch change in semitones when the Pitch Bend lever is all the way left. For example if this is set to “-48” and you move the pitch bend lever all the way to the left, the pitch will fall 4 octaves.

Value: -48–0

Patch Tone

Env Mode (Tone Envelope Mode)

When a loop waveform (p. 44) is selected, the sound will normally continue as long as the key is pressed. If you want the sound to decay naturally even if the key remains pressed, set this to “NO SUS.”

Range: NO SUS, SUST

Creating a Patch

D4 C4

Time

press D4 key

press C5 key

press C4 key

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

fig.Potra-2.e

Pitch

D4 C4

Time

press D4 key

press C5 key

press C4 key

If a one-shot type Wave (p. 44) is selected, it will not sustain even if this parameter is set to “SUST.”

Delay Mode (Tone Delay Mode)

Selects the type of tone delay.

fig.Delay Mode.e

No Tone Delay

Note on

Note off

Page 50

Creating a Patch

Tone Delay

This produces a time delay between the moment a key is pressed (or released), and the moment the tone actually begins to sound. You can also make settings that shift the timing at which each tone is sounded. This differs from the Delay in the internal effects, in that by changing the sound qualities of the delayed tones and changing the pitch for each tone, you can also perform arpeggio-like passages just by pressing one key.

You can also synchronize the tone delay time to the specified tempo (Patch Tempo), or to the tempo of the sequencer (p. 48).

OFF-N: Rather than being played while the key is pressed, the tone begins to play once the period of time specified in the Delay Time parameter has elapsed after release of the key. This is effective in situations such as when simulating noises from guitars and other instruments.

fig.OFF-N.e

Delay time

Note on

Note off

• If you are not going to use Tone Delay, set the Delay Mode parameter to “NORM” and Delay Time parameter to “0.”

• If the Structure parameter (PATCH/TMT) is set in the range of “2”–”10,” the output of tones 1 and 2 will be combined into tone 2, and the output of tones 3 and 4 will be combined into tone 4. For this reason, tone 1 will follow the settings of tone 2, and tone 3 will follow the settings of tone 4 (p. 56).

Value NORM: The tone begins to play after the time specified in the Delay

Time parameter has elapsed.

fig.NORM.e

Delay time

Note on

Note off

HOLD: Although the tone begins to play after the time specified in the Delay Time parameter has elapsed, if the key is released before the time specified in the Delay Time parameter has elapsed, the tone is not played.

fig.HOLD.e

OFF-D: Rather than being played while the key is pressed, the tone begins to play once the period of time specified in the Delay Time parameter has elapsed after release of the key. Here, however, changes in the TVA Envelope begin while the key is pressed, which in many cases means that only the sound from the release portion of the envelope is heard.

fig.OFF-D.e

Delay time

Note on

Note off

If you have selected a waveform that is a decay-type sound (i.e., a sound that fades away naturally even if the key is not released), selecting “OFF-N” or “OFF-D” may result in no sound being heard.

Delay Time (Tone Delay Time)

Specifies the time from when the key is pressed (or if the Delay Mode parameter is set to “OFF-N” or “OFF-D,” the time from when the key is released) until when the tone will sound.

Value: 0–127, Note Tone Delay Time specifies the beat length for the synchronized

tempo when the tempo that specifies the elapsed time until the tone is sounded (Patch Tempo) is synchronized with the tempo set in a sequencer.

(Example) For a tempo of 120 (120 quarter notes occur in 1 minute (60 seconds))

Note on

Delay time

Note off

No sound played

Setting Delay time

(half note) (quarter note) (eighth note)

1 second (60 / 60 =1 (second))

0.5 seconds (60 / 120= 0.5 (seconds))

0.25 seconds (60 / 240= 0.25 (seconds))

Rx Bender (Tone Receive Pitch Bend Switch)

For each tone, specify whether MIDI Pitch Bend messages will be received (ON), or not (OFF).

Value: OFF, ON

Page 51

Creating a Patch

Rx Expression (Tone Receive Expression Switch)

For each tone, specify whether MIDI Expression messages will be received (ON), or not (OFF).

Value: OFF, ON

Rx Hold-1 (Tone Receive Hold-1 Switch)

For each tone, specify whether MIDI Hold-1 messages will be received (ON), or not (OFF).

Value: OFF, ON

If “NO SUS” is selected for Env Mode parameter (PATCH/ General), this setting will have no effect.

Rx Pan Mode

For each tone, specify how pan messages will be received.

Value CONT: Whenever Pan messages are received, the stereo position of

the tone will be changed. K-ON: The pan of the tone will be changed only when the next note

is played. If a pan message is received while a note is sounding, the panning will not change until the next key is pressed.

The channels cannot be set so as not to receive Pan messages.

Redamper Sw (Tone Redamper Switch)

You can specify, on an individual tone basis, whether or not the sound will be held when a Hold 1 message is received after a key is released, but before the sound has decayed to silence. If you want to sustain the sound, set this “ON.” When using this function, also set the Rx Hold-1 parameter “ON.” This function is effective for piano sounds.

Value: OFF, ON

Arpeggiator Settings (Arpeggio)

fig.03-11_50

Arpeggio

Switch (Arpeggio Switch)

Switches the Arpeggiator on/off. Value: OFF, ON

Hold (Arpeggio Hold Switch)

Switch between Hold On/Hold Off for the Arpeggiator performance.

Value: OFF, ON

Style (Arpeggio Style)

Specifies the basic way in which the arpeggio will be played.

For details regarding Arpeggio Style, refer to “Arpeggio Style List” (Sound/Parameter List).

Variation (Arpeggio Variation)

The arpeggiator provides several variations (performance patterns) for each arpeggio style. This parameter selects the variation number. The number of variations will differ according to the arpeggio style.

Motif (Arpeggio Motif)

Sets the order in which notes of the chord will sound.

Value UP: Notes you press will be sounded, beginning from low to high. DOWN: Notes you press will be sounded, from high to low. UP&DOWN: Notes you press will be sounded, from low to high, and

then back down from high to low.

RANDOM: Notes you press will be sounded, in random order. NOTE ORDER: Notes you press will be sounded in the order in

which you pressed them. By pressing the notes in the appropriate order you can produce melody lines. Up to 128 notes will be remembered.

GLISSANDO: Each chromatic step between the highest and lowest notes you press will sound in succession, repeating upward and downward. Press only the lowest and the highest notes.

CHORD: All notes you press will sound simultaneously. AUTO1: The timing at which keys will sound will be assigned

automatically, giving priority to the lowest key that was pressed. AUTO2: The timing at which keys will sound will be assigned

automatically, giving priority to the highest key that was pressed. PHRASE: Pressing a single key will sound the phrase based on the

pitch of that key. If multiple keys are pressed, the last-pressed key will be valid.

Creating a Patch

For details on the setting, refer to “How to Make the Patch Settings” (p. 42).

Accent Rate (Arpeggio Accent Rate)

Modifies the strength of accents and the length of the notes to adjust the “groove” feel of the arpeggio. A setting of “100%” will produce the most pronounced groove feel.

Value: 0–100%

Page 52

Creating a Patch

Shuffle Rate (Arpeggio Shuffle Rate)

This setting lets you modify the note timing to create shuffle rhythms.

With a setting of “50%” the notes will be spaced evenly. As the value is increased, the note timing will have more of a “dotted” (shuffle) feel.

Value: 0–100%

fig.Shuffle Rate

Shuffle Rate = 50%

50 50 50 50

Shuffle Rate = 90%

90 10 90 10

Shuffle Resolution (Arpeggio Shuffle Resolution)

Specify the timing resolution in terms of a note value. The note value can be specified as either an 16th note or a eighth note.

Value: ,

Keyboard Velocity (Arpeggio Keyboard Velocity)

Specifies the loudness of the notes that you play. If you want the velocity value of each note to depend on how

strongly you play the keyboard, set this parameter to “REAL.” If you want each note to have a fixed velocity regardless of how strongly you play the keyboard, set this parameter to the desired value (1–

127). Value: REAL, 1–127

Octave Range (Arpeggio Octave Range)

Sets the key range in octaves over which arpeggio will take place. If you want the arpeggio to sound using only the notes that you actually play, set this parameter to “0.” To have the arpeggio sound using the notes you play and notes 1 octave higher, set this parameter to “+1.” A setting of “-1” will make the arpeggio sound using the notes you play and notes 1 octave lower.

Value: -3– +3

Realtime Controller / D Beam Controller Settings (Controller)

fig.03-12_50

For details on the setting, refer to “How to Make the Patch Settings” (p. 42).

Knob

Assign 1–4 (Realtime Control Knob Assign 1–4)

Specify the functions that will be controlled by the [ ]–[ ] knobs.

Value OFF: The realtime control knob will not be used. CC01–31, 33–95: Controller numbers 1–31, 33–95

For more information about Control Change messages, please refer to “MIDI Implementation” (Sound/Parameter List).

PITCH BEND: Pitch Bend AFTERTOUCH: Aftertouch TEMPO: Tempo ARP VAR: Arpeggio Variation ARP ACCENT: Arpeggio Accent Rate ARP SHFFLE: Arpeggio Shuffle Rate ARP OCTAVE: Arpeggio Octave Range

Key Trigger (Arpeggio Key Trigger)

Turn this “ON” if you want the arpeggio to start at the moment that you press the key. If you want the arpeggio to start playing in synchronization with the sequencer or rhythm pattern, turn this “OFF.”

Value: OFF, ON

Switch

Assign 1–4 (Realtime Control Button Assign 1–

Specify the functions that will be controlled by the [ ]–[] buttons.

Value OFF: The realtime control button will not be used. CC01–31, 33–95: Controller numbers 1–31, 33–95

For more information about Control Change messages, please refer to “MIDI Implementation” (Sound/Parameter List).

Page 53

Creating a Patch

BEND UP: Raises the pitch in semitone steps (up to 4 octaves higher).

BEND DOWN: Lowers the pitch in semitone steps (up to 4 octaves lower).

AFTERTOUCH: Aftertouch OCT UP: Raises the key range in octave steps (up to 3 octaves

higher). OCT DOWN: Lowers the key range in octave steps (up to 3 octaves

lower). TRNS UP: Raises the key range in semitone steps (up to 6 semitones

higher). TRNS DOWN: Lowers the key range in semitone steps (up to 5

semitones lower). TAP TEMPO: Tap tempo (a tempo specified by the interval at which

you press the button). MONO/POLY: Pressed to toggle between polyphonic (POLY) and

monophonic (MONO) play of a patch. ARP HOLD: Switch between Hold On/Hold Off for the Arpeggiator

performance.

Mode 1–4 (Realtime Control Button Mode 1–4)

Specify how the [ ]–[ ] buttons are to operate.

Value MOMENTARY: The button will be on only while you are pressing

(holding) it, and will be off when you release your finger from the button.

LATCH: The button will switch on/off each time you press it.

BEND UP: Raises the pitch in semitone steps (up to 4 octaves

higher). BEND DOWN: Lowers the pitch in semitone steps (up to 4 octaves

lower).

AFTERTOUCH: Aftertouch NOTE: Play the sound of the most recently pressed key. OCT UP: Raises the key range in octave steps (up to 3 octaves

higher). OCT DOWN: Lowers the key range in octave steps (up to 3 octaves

lower).

START/STOP: Starts/Stops the sequencer. TAP TEMPO: Tap tempo (a tempo specified by the interval at which

you move your hand over the D Beam controller).

ARP SWITCH: Switches the Arpeggiator on/off. ARP VAR: Arpeggio Variation ARP ACCENT: Arpeggio Accent Rate ARP SHFFLE: Arpeggio Shuffle Rate ARP OCT UP: The range in which the arpeggio is sounded will rise

in steps of an octave (maximum 3 octaves). ARP OCT DW: The range in which the arpeggio is sounded will

lower in steps of an octave (maximum 3 octaves).

Polarity (D Beam Polarity)

Switch the polarity of the D Beam controller. With a setting of “REVERSE,” the direction of control for the D Beam

controller will be inverted. Range: STANDARD, REVERSE

Creating a Patch

D Beam

Switch (D Beam Switch)

Switches the D Beam controller on/off. Value: OFF, ON

Assign (D Beam Assign)

Specifies the function controlled by the D Beam controller.

Value OFF: The D Beam controller will not be used. CC01–31, 33–95: Controller numbers 1–31, 33–95

For more information about Control Change messages, please refer to “MIDI Implementation” (Sound/Parameter List).

Range Lower (D Beam Range Lower)

Specify the lower limit of the range of the D Beam controller. Values below this setting will not be output.

Value: 0–UPPER

Range Upper (D Beam Range Upper)

Specify the upper limit of the range of the D Beam controller. Values above this setting will not be output.

Value: LOWER–127

Setting Effects for a Patch (Effects/ MFX/MFX Control/Chorus/Reverb)

For details regarding effect settings, refer to the pages shown below.

• “Applying Effects in Patch Mode” (p. 165)

• “Making Multi-Effects Settings (MFX/MFX Control)” (p. 174)

• “Making Chorus Settings (Chorus)” (p. 176)

• “Making Reverb Settings (Reverb)” (p. 177)

Page 54

Creating a Patch

Matrix Control Settings (Matrix Ctrl)

fig.03-13_50

For details on the setting, refer to “How to Make the Patch Settings” (p. 42).

Matrix Control

Ordinarily, if you wanted to change tone parameters using an external MIDI device, you would need to send System Exclusive messages—MIDI messages designed exclusively for the Fantom. However, System Exclusive messages tend to be complicated, and the amount of data that needs to be transmitted can get quite large.

For that reason, a number of the more typical of the Fantom’s tone parameters have been designed so they accept the use of Control Change (or other) MIDI messages for the purpose of making changes in their values. This provides you with a variety of means of changing the way patches are played. For example, you can use the Pitch Bend lever to change the LFO cycle rate, or use the keyboard’s touch to open and close a filter.

The function which allows you use MIDI messages to make these changes in realtime to the tone parameters is called the Matrix Control. Up to four Matrix Controls can be used in a single patch.

To use the Matrix Control, specify which MIDI message (Source parameter) will be used to control which parameter (Destination parameter), and how greatly (Sns parameter), and the tone to which the effect is applied (Tone parameter).

Source 1–4 (Matrix Control Source 1–4)

Sets the MIDI message used to change the tone parameter with the Matrix Control.

Value OFF: Matrix control will not be used. CC01–31, 33–95: Controller numbers 1–31, 33–95

For more information about Control Change messages, please refer to “MIDI Implementation” (Sound/Parameter List).

PITCH BEND: Pitch Bend AFTERTOUCH: Aftertouch SYS CTRL1–SYS CTRL4: MIDI messages used as common matrix

controls.

VELOCITY: Velocity (pressure you press a key with) KEYFOLLOW: Key follow (keyboard position with C4 as 0) TEMPO: The specified tempo (patch tempo/sequencer tempo) or the

tempo of an external MIDI sequencer.

LFO1: LFO 1 cycle rate LFO2: LFO 2 cycle rate PITCH ENV: Pitch envelope TVF ENV: TVF envelope TVA ENV: TVA envelope

Velocity and Key follow correspond to Note messages.

• You can use the tempo as a Matrix Control. This lets you change the tone settings in realtime according to changes in the Tempo.

When synchronizing to the patch tempo, set the Clock Source parameter (PATCH/General) to “PATCH,” and specify the patch tempo with the Tempo parameter (PATCH/General).

To synchronize to the sequencer tempo, set the Clock Source parameter (PATCH/General) to “SEQUENCER,” set the Sync Mode parameter (SYSTEM/Sequencer) to “MASTER,” and

specify the sequencer tempo with “ =**” in the upper part of the PLAY screen.

When synchronizing to the tempo of the connected MIDI sequencer, set the Clock Source parameter (PATCH/General) to “SEQUENCER,” and set the Sync Mode parameter (SYSTEM/ Sequencer) to “SLAVE MIDI.”

• Although there are no MIDI messages for LFO 1 through TVA Envelope, they can be used as Matrix Control. In this case, you can change the tone settings in realtime by playing patches.

• If you want to use common controllers for the entire Fantom, select “SYS CTRL1”–”SYS CTRL4.” MIDI messages used as System Control 1–4 are set with the Sys Ctrl 1–4 Source parameters (SYSTEM/Control) (p. 184).

Page 55

• There are parameters that determine whether or not Pitch Bend, Controller Number 11 (Expression) and Controller Number 64 (Hold 1) are received (p. 51). When these settings are “ON,” and the MIDI messages are received, then when any change is made in the settings of the desired parameter, the Pitch Bend, Expression, and Hold 1 settings also change simultaneously. If you want to change the targeted parameters only, then set these to “OFF.”

• There are parameters that let you specify whether specific MIDI messages will be received for each channel in a multitimbre or performance (p. 103, p. 119). When a patch with Matrix Control settings is assigned to a part, confirm that any MIDI messages used for the Matrix Control will be received. If the Fantom is set up such that reception of MIDI messages is disabled, then the Matrix Control will not function.

Destination 1–4 (Matrix Control Destination 1–

Matrix Control Destination selects the tone parameter that is to be controlled when using the Matrix Control. The following parameters can be controlled. When not controlling parameters with the Matrix Control, set this to “OFF.” Up to four parameters can be specified for each Matrix Control, and controlled simultaneously.

In this manual, Parameters that can be controlled using the Matrix Control are marked with a “H.”

Creating a Patch

● Changing the Pitch Envelope

PIT ENV A-TIME: Changes the Env Time 1 parameter of the pitch envelope.

PIT ENV D-TIME: Changes the Env Time 2 and Env Time 3 parameters of the pitch envelope.

PIT ENV R-TIME: Changes the Env Time 4 parameter of the pitch envelope.

● Changing the TVF Envelope

TVF ENV A-TIME: Changes the Env Time 1 parameter of the TVF envelope.

TVF ENV D-TIME: Changes the Env Time 2 and Env Time 3 parameters of the TVF envelope.

TVF ENV R-TIME: Changes the Env Time 4 parameter of the TVF envelope.

● Changing the TVF Envelope

TVA ENV A-TIME: Changes the Env Time 1 parameter of the TVA envelope.

TVA ENV D-TIME: Changes the Env Time 2 and Env Time 3 parameters of the TVA envelope.

TVA ENV R-TIME: Changes the Env Time 4 parameter of the TVA envelope.

● Splitting Tones That Are Played

TMT

Creating a Patch

● Opening and Closing the Filter

CUTOFF: Changes the cutoff frequency. RESONANCE: Emphasizes the overtones in the region of the cutoff

frequency, adding character to the sound.

● Changing the Volume, Pan, and Pitch

LEVEL: Changes the volume level. PAN: Changes the pan. PITCH: Changes the pitch.

● Changing How the Effects Are Applied

DRY LEVEL: Changes the volume of dry sounds. CHORUS SEND: Changes the amount of chorus. REVERB SEND: Changes the amount of reverb.

● Applying LFO to Modulate Sounds

LFO1/LFO2 PCH DEPTH: Changes the vibrato depth. LFO1/LFO2 TVF DEPTH: Changes the wah depth. LFO1/LFO2 TVA DEPTH: Changes the tremolo depth. LFO1/LFO2 PAN DEPTH: Changes the effect that the LFO will have

on pan. LFO1/LFO2 RATE: Changes the speed of the LFO cycles.

• If the Matrix Control is used to split tones, set the TMT Vel Control parameter (PATCH/TMT) to “OFF,” and the TMT Control Sw parameter (PATCH/Matrix Ctrl) to “ON” (p. 56, p.

58).

• If the Matrix Control is used to split tones, we recommend setting the Matrix Control Sens to “+63.” Selecting a lower value may prevent switching of the tones. Furthermore, if you want to reverse the effect, set the value to “-63.”

• If you want to use matrix control to switch smoothly between tones, use the Key Fade Lower and Key Fade Upper parameters (PATCH/TMT) (p. 58). The higher the values set, the smoother the switch is between the tones.

● Changing the Depth of Frequency

Modulation for FXM

FXM DEPTH

● Changing Specific Multi-Effects Parameters

MFX CTRL1–4: Change the parameter that was specified by MFX Control 1–4 Assign parameter.

No effects are available, even with the Matrix Control, when the settings are such that no multi-effects are applied.

Page 56

Creating a Patch

Sns 1–4 (Matrix Control Sens 1–4)

Sets the amount of the Matrix Control’s effect that is applied. If you wish to modify the selected parameter in a positive (+) direction – i.e., a higher value, toward the right, or faster etc. – from its current setting, select a positive (+) value. If you wish to modify the selected parameter in a negative (-) direction – i.e., a lower value, toward the left, or slower etc. – from its current setting, select a negative (-) value. When both positive and negative are selected, the changes are greater as the value increases. Set it to “0” if you don’t want this effect.

Value: -63– +63

Tone 1–4 (Tone Control Switch 1–4)

Matrix Control Tone selects the tone to which the effect is applied when using the Matrix Control.

Value ✔: The effect will be applied. R: The effect will be applied in reverse.

TMT Control Sw (TMT Control Switch)

Use the Matrix Control to enable (ON), or disable (OFF) sounding of different tones.

Value: OFF, ON

You can also cause different tones to sound in response to notes played at different strengths (velocity) on the keyboard (p. 58). However, the Matrix Control and the keyboard velocity cannot be used simultaneously to make different tones to sound. When you want to make the different tones to sound, set the TMT Vel Control parameter (PATCH/TMT) to “OFF.”

Changing How a Tone Is Sounded (TMT)

fig.03-14_50

For details on the setting, refer to “How to Make the Patch Settings” (p. 42).

TMT

Structure 1 & 2, 3 & 4 (Structure Type 1 & 2, 3 & 4)

Determines how tone 1 and 2, or tone 3 and 4 are connected. Value: 1–10 The following 10 different Types of combination are available.

fig.Struct-01

TYPE 1

TONE 1 (3)

TONE 2 (4)

TVATVF

TVF TVA

With this type, tones 1 and 2 (or 3 and 4) are independent. Use this type when you want to preserve PCM sounds or create and combine sounds for each tone.

fig.Struct-02

TYPE 2

TONE 1 (3)

TONE 2 (4)

TVA

TVF

TVF TVA

This type stacks the two filters together to intensify the characteristics of the filters. The TVA for tone 1 (or 3) controls the volume balance between the two tones.

fig.Struct-03

TYPE 3

TONE 1 (3)

TONE 2 (4)

TVA TVF

TVF TVA

This type mixes the sound of tone 1 (3) and tone 2 (4), applies a filter, and then applies a booster to distort the waveform.

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Creating a Patch

fig.Struct-04

TYPE 4

TONE 1 (3)

TONE 2 (4)

TVA TVF

TVF TVA

This type applies a booster to distort the waveform, and then combines the two filters. The TVA for tone 1 (or 3) controls the volume balance between the two tones and adjusts booster level.

fig.Struct-05

TYPE 5

TONE 1 (3)

TONE 2 (4)

TVA TVF

TVF TVA

This type uses a ring modulator to create new overtones, and combines the two filters. The tone 1 (3) TVA will control the volume balance of the two tones, adjusting the depth of ring modulator.

fig.Struct-06

TYPE 6

TONE 1 (3)

TONE 2 (4)

TVA TVF

TVF TVA

This type uses a ring modulator to create new overtones, and in addition mixes in the sound of tone 2 (4) and stacks the two filters. Since the ring-modulated sound can be mixed with tone 2 (4), tone 1 (3) TVA can adjust the amount of the ring-modulated sound.

fig.Struct-07

TYPE 7

TONE 1 (3)

TONE 2 (4)

TVATVF

TVF TVA

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

fig.Struct-08

TYPE 8

TONE 1 (3)

TONE 2 (4)

TVATVF

TVF TVA

This type sends the filtered tone 1 (3) and tone 2 (4) through a ring modulator, and then mixes in the sound of tone 2 (4) and applies a filter to the result.

fig.Struct-09

TYPE 9

TONE 1 (3)

TONE 2 (4)

TVATVF

TVF TVA

This type passes the filtered sound of each tone through a ring modulator to create new overtones. The tone 1 (3) TVA will control the volume balance of the two tones, adjusting the depth of ring modulator.

fig.Struct-10

TYPE 10

TONE 1 (3)

TONE 2 (4)

TVATVF

TVF TVA

This type passes the filtered sound of each tone through a ring modulator to create new overtones, and also mixes in the sound of tone 2 (4). Since the ring-modulated sound can be mixed with tone 2 (4), tone 1 (3) TVA can adjust the amount of the ring-modulated sound.

• If you select a tone while on the Structure screen, the tone paired with the selected tone will also be selected.

• When TYPE 2–10 is selected and one tone of a pair is turned off, the other tone will be sounded as TYPE 1 regardless of the displayed setting.

• If you limit the keyboard area in which a tone will sound (Keyboard Range p. 58) or limit the range of velocities for which it will sound (Velocity Range p. 59), the result in areas or ranges where the tone does not sound is just as if the tone had been turned off. This means that if TYPE 2–10 is selected and you create a keyboard area or velocity range in which one tone of a pair does not sound, notes played in that area or range will be sounded by the other tone as TYPE 1 regardless of the displayed setting.

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

When a Structure Type of TYPE 3 or TYPE 4 is selected, you can adjust the depth of the booster. The booster increases the input signal in order to distort the sound. This creates the distortion effect frequently used with electric guitars. Higher settings will produce more distortion.

Value: 0, +6, +12, +18

Creating a Patch

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Creating a Patch

Range Lower

Range Upper

Fade Lower

Fade Upper

Level

Pitch

Booster

The Booster is used to distort the incoming signal.

fig.Booster-1.e

Booster level

In addition to using this to create distortion, you can use the waveform (WG1) of one of the tones as an LFO which shifts the other waveform (WG2) upward or downward to create modulation similar to PWM (pulse width modulation). This parameter works best when you use it in conjunction with the Wave Gain parameter (PATCH/Wave) (p. 59).

fig.Booster-2.e

Uses WG1 as LFO

WG1

TVA

Adjusts WG1 output

Booster

WG2

Adds to WG1

Distorted area of the

Waveform changes

Key Fade Lower (Keyboard Fade Width Lower)

This determines what will happen to the tone’s level when a note that’s lower than the tone’s specified keyboard range is played. Higher settings produce a more gradual change in volume. If you don’t want the tone to sound at all when a note below the keyboard range is played, set this parameter to “0.”

Value: 0–127

Key Range Lower (Keyboard Range Lower)

Specifies the lowest note that the tone will sound for each tone. Value: C-1–UPPER

Key Range Upper (Keyboard Range Upper)

Specifies the highest note that the tone will sound for each tone. Value: LOWER–G9

If you attempt to raise the lower key higher than the upper key, or to lower the upper key below the lower key, the other value will be automatically modified to the same setting.

Key Fade Upper (Keyboard Fade Width Upper)

This determines what will happen to the tone’s level when a note that’s higher than the tone’s specified keyboard range is played. Higher settings produce a more gradual change in volume. If you don’t want the tone to sound at all when a note below the keyboard range is played, set this parameter to “0.”

Value: 0–127

fig.Key Range.e

Shift in waveform by WG1

Ring Modulator

A ring modulator multiplies the waveforms of two tones with each other, generating many new overtones (inharmonic partials) which were not present in either waveform. (Unless one of the waveforms is a sine wave, evenly-spaced frequency components will not usually be generated.)

As the pitch difference between the two waveforms changes the harmonic structure, the result will be an unpitched metallic sound. This function is suitable for creating metallic sounds such as bells.

fig.Ring Mod

TMT Vel Control (TMT Velocity Control Switch)

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

When set to “RND,” the patch’s constituent tones will sound randomly, regardless of any Velocity messages.

Value: OFF, ON, RND

Instead of using Velocity, you can also have tones substituted using the Matrix Control (p. 55). However, the keyboard velocity and the Matrix Control cannot be used simultaneously to make different tones to sound. When using the Matrix Control to switch tones, set the TMT Vel Control parameter to “OFF.”

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Creating a Patch

Vel Fade Lower (Velocity Fade Width Lower)

This Determines what will happen to the tone’s level when the tone is played at a velocity lower than its specified velocity range. Higher settings produce a more gradual change in volume. If you want notes played outside the specified key velocity range to not be sounded at all, set this to “0.”

Value: 0–127

Vel Range Lower (Velocity Range Lower)

This sets the lowest velocity at which the tone will sound. Make these settings when you want different tones to sound in response to notes played at different strengths.

Value: 1–UPPER

Vel Range Upper (Velocity Range Upper)

This sets the highest velocity at which the tone will sound. Make these settings when you want different tones to sound in response to notes played at different strengths.

Value: LOWER–127

If you attempt to set the Lower velocity limit above the Upper, or the Upper below the Lower, the other value will automatically be adjusted to the same setting.

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

Vel Fade Upper (Velocity Fade Width Upper)

This determines what will happen to the tone’s level when the tone is played at a velocity greater than its specified velocity range. Higher settings produce a more gradual change in volume. If you want notes played outside the specified key velocity range to not be sounded at all, set this to “0.”

Value: 0–127

fig.Vel Range.e

Level

Velocity

For details on the setting, refer to “How to Make the Patch Settings” (p. 42).

Wave

Wave Group

Selects the group for the waveform that is to be the basis of the tone.

Value INT: Waveforms stored in internal memory XP-A: Waveform stored in a Wave Expansion Board (SR-JV80 series)

installed in EXP-A slots. XP-B: Waveforms residing on a Wave Expansion Board (SRX series)

installed in the EXP B slot XP-C: Waveforms residing on a Wave Expansion Board (SRX series)

installed in the EXP C slot

You cannot select a waveform group of a Wave Expansion Board that is not installed.

Wave No. (L) (Wave Number (L)) Wave No. (R) (Wave Number (R))

Selects the basic waveform for a tone. Along with the Wave number, the Wave name appears at the lower part of the display.

When in monaural mode, only the left side (L) is specified. When in stereo, the right side (R) is also specified.

Value: ----, 1–1083

Gain (Wave Gain)

Sets the gain (amplification) of the waveform. The value changes in 6 dB (decibel) steps—an increase of 6 dB doubles the waveform’s gain. If you intend to use the Booster to distort the waveform’s sound, set this parameter to its maximum value (p. 57).

Value: -6, 0, +6, +12

FXM Switch

This sets whether FXM will be used (ON) or not (OFF). Value: OFF, ON

Creating a Patch

Fade Lower

Range Lower

Fade Upper

Range Upper

Modifying Waveforms (Wave)

fig.03-15_50

FXM

FXM (Frequency Cross Modulation) uses a specified waveform to apply frequency modulation to the currently selected waveform, creating complex overtones. This is useful for creating dramatic sounds or sound effects.

FXM Color

Specifies how FXM will perform frequency modulation. Higher settings result in a grainier sound, while lower settings result in a more metallic sound.

Value: 1–4

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Creating a Patch

FXM Depth ★

Specifies the depth of the modulation produced by FXM. Value: 0–16

Tempo Sync (Wave Tempo Sync)

When you wish to synchronize a Phrase Loop to the clock (tempo), set this to “ON.” This is valid only when an optional Wave Expansion Board, such as “SR-JV80-10: BASS&DRUMS,” is installed, and you have selected a tone which uses a waveform that displays tempo (BPM).

Value: OFF, ON

• When the Tempo Sync parameter is set to “ON,” settings related to Pitch (p. 60) and FXM (p. 59) are disabled.

• When the Tempo Sync parameter is set to “ON,” set the Delay Time parameter (PATCH/General) to “0.” With other settings, a delay effect will be applied, and you will be not be able to play as you expect.

Phrase Loop

Phrase loop refers to the repeated playback of a phrase that’s been pulled out of a song (e.g., by using a sampler). One technique involving the use of Phrase Loops is the excerpting of a Phrase from a pre-existing song in a certain genre, for example dance music, and then creating a new song with that Phrase used as the basic motif. This is referred to as “Break Beats.”

Patch F Tune (Patch Fine Tune)

Adjusts the pitch of the patch’s sound up or down in 1-cent steps (+/

-50 cents). Value: -50– +50

One cent is 1/100th of a semitone.

Octave Shift

Adjusts the pitch of the patch’s sound up or down in units of an octave (+/-3 octaves).

Value: -3– +3

Stretch Tune (Stretch Tune Depth)

This setting allows you to apply “stretched tuning” to the patch. (Stretched tuning is a system by which acoustic pianos are normally tuned, causing the lower range to be lower and the higher range to be higher than the mathematical tuning ratios would otherwise dictate.) With a setting of “OFF,” the patch’s tuning will be equal temperament. A setting of “3” will produce the greatest difference in the pitch of the low and high ranges.

Value: OFF, 1–3 The diagram shows the pitch change relative to equal temperament

that will occur in the low and high ranges. This setting will have a subtle effect on the way in which chords resonate.

fig.Stretch.e

Pitch difference from equal temperament

Parameter value

3 2

Modifying Pitch (Pitch)

fig.03-16_50

For details on the setting, refer to “How to Make the Patch Settings” (p. 42).

Pitch

Patch C Tune (Patch Coarse Tune) ★

Adjusts the pitch of the patch’s sound up or down in semitone steps (+/-4 octaves).

Value: -48– +48

OFF

1 2

Low note range

High note range

OFF

Tone C Tune (Tone Coarse Tune) ★

Adjusts the pitch of the tone’s sound up or down in semitone steps (+/-4 octaves).

Value: -48– +48

Tone F Tune (Tone Fine Tune) ★

Adjusts the pitch of the tone’s sound up or down in 1-cent steps (+/50 cents).

Value: -50– +50

One cent is 1/100th of a semitone.

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Creating a Patch

T1 T2 T3 T4

Note off

Pitch

Time

Note on

T: Time L: Level

Rnd Pitch Depth (Random Pitch Depth)

This specifies the width of random pitch deviation that will occur each time a key is pressed. If you do not want the pitch to change randomly, set this to “0.” These values are in units of cents (1/100th of a semitone).

Value: 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 20, 30, 40, 50, 60, 70, 80, 90, 100, 200, 300, 400, 500, 600, 700, 800, 900, 1000, 1100, 1200

Pitch KF (Pitch Key Follow)

This specifies the amount of pitch change that will occur when you play a key one octave higher (i.e., 12 keys upward on the keyboard).

If you want the pitch to rise one octave as on a conventional keyboard, set this to “+100.” If you want the pitch to rise two octaves, set this to “+200.” Conversely, set this to a negative value if you want the pitch to fall. With a setting of “0,” all keys will produce the same pitch.

Value: -200, -190, -180, -170, -160, -150, -140, -130, -120, -110, -100, -90,

-80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80, +90, +100, +110, +120, +130, +140, +150, +160, +170, +180, +190, +200

fig.Pitch KF.e

Pitch

+200

+100

+50

-50

Env T4 V-Sens (Pitch Envelope Time 4 Velocity Sensitivity)

Use this parameter when you want key release speed to impact on Time 4 value of the pitch envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

Value: -63– +63

Env Time KF (Pitch Envelope Time Key Follow)

Use this setting if you want the pitch envelope times (Time 2–Time

4) to be affected by the keyboard location. Based on the pitch envelope times for the C4 key, positive (+) settings will cause notes higher than C4 to have increasingly shorter times, and negative (-) settings will cause them to have increasingly longer times. Larger settings will produce greater change.

Value: -100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80, +90, +100

fig.Time KF.e

Time

+100

+50

-50

-100

C4C3C2C1 C5 C6 C7

Key

Creating a Patch

C4C3C2C1 C5 C6 C7

-100-200

Env Depth (Pitch Envelope Depth)

Adjusts the effect of the Pitch Envelope. Higher settings will cause the pitch envelope to produce greater change. Negative (-) settings will invert the shape of the envelope.

Value: -12– +12

Env V-Sens (Pitch Envelope Velocity Sensitivity)

Keyboard playing dynamics can be used to control the depth of the pitch envelope. If you want the pitch envelope to have more effect for strongly played notes, set this parameter to a positive (+) value. If you want the pitch envelope to have less effect for strongly played notes, set this to a negative (-) value.

Value: -63– +63

Env T1 V-Sens (Pitch Envelope Time 1 Velocity Sensitivity)

This allows keyboard dynamics to affect the Time 1 of the Pitch envelope. If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

Value: -63– +63

Key

Env Level 0–4 (Pitch Envelope Level 0–4)

Specify the pitch envelope levels (Level 0–Level 4). It determines how much the pitch changes from the reference pitch (the value set with Coarse Tune or Fine Tune on the Pitch screen) at each point. Positive (+) settings will cause the pitch to be higher than the standard pitch, and negative (-) settings will cause it to be lower.

Value: -63– +63

Env Time 1–4 (Pitch Envelope Time 1–4) ★

Specify the pitch envelope times (Time 1–Time 4). Higher settings will result in a longer time until the next pitch is reached. (For example, Time 2 is the time over which the pitch changes from Level 1 to Level 2.)

Value: 0–127

fig.Pitch Env.e

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Creating a Patch

Modifying the Brightness of a Sound with a Filter (TVF)

fig.03-17_50

For details on the setting, refer to “How to Make the Patch Settings” (p. 42).

TVF

Filter Type

Selects the type of filter. A filter is a function that cuts off a specific frequency band to change a sounds brightness, thickness, and other qualities.

Value OFF: No filter is used. LPF: Low Pass Filter. This reduces the volume of all frequencies

above the cutoff frequency (Cutoff Freq). in order to round off, or un-brighten, the sound. This is the most common filter used in synthesizers.

BPF: Band Pass Filter. This leaves only the frequencies in the region of the cutoff frequency (Cutoff Freq), and cuts the rest. This can be useful when creating distinctive sounds.

HPF: High Pass Filter. This cuts the frequencies in the region below the cutoff frequency (Cutoff Freq). This is suitable for creating percussive sounds emphasizing their higher ones.

PKG: Peaking Filter. This emphasizes the frequencies in the region of the cutoff frequency (Cutoff Freq). You can use this to create wahwah effects by employing an LFO to change the cutoff frequency cyclically.

LPF2: Low Pass Filter 2. Although frequency components above the Cutoff frequency (Cutoff Freq) are cut, the sensitivity of this filter is half that of the LPF. This makes it a comparatively warmer low pass filter. This filter is good for use with simulated instrument sounds such as the acoustic piano.

LPF3: Low Pass Filter 3. Although frequency components above the Cutoff frequency (Cutoff Freq) are cut, the sensitivity of this filter changes according to the Cutoff frequency. While this filter is also good for use with simulated acoustic instrument sounds, the nuance it exhibits differs from that of the LPF2, even with the same TVF Envelope settings.

If you set “LPF2” or “LPF3,” the setting for the Resonance parameter will be ignored.

Cutoff Freq (Cutoff Frequency) ★

Selects the frequency at which the filter begins to have an effect on the waveform’s frequency components.

Value: 0–127 With “LPF/LPF2/LPF3” selected for the Filter Type parameter,

lower cutoff frequency settings reduce a tone’s upper harmonics for a more rounded, warmer sound. Higher settings make it sound brighter.

If “BPF” is selected, harmonic components will change depending on the TVF Cutoff Frequency setting. This can be useful when creating distinctive sounds.

With “HPF” selected, higher Cutoff Frequency settings will reduce lower harmonics to emphasize just the brighter components of the sound.

With “PKG” selected, the harmonics to be emphasized will vary depending on Cutoff Frequency setting.

To edit the overall patch while preserving the relative differences in the Cutoff Frequency values set for each tone, set the Cutoff Offset parameter (PATCH/General) (p. 47).

Cutoff KF (Cutoff Frequency Key Follow)

Use this parameter if you want the cutoff frequency to change according to the key that is pressed. Relative to the cutoff frequency at the C4 key (center C), positive (+) settings will cause the cutoff frequency to rise for notes higher than C4, and negative (-) settings will cause the cutoff frequency to fall for notes higher than C4. Larger settings will produce greater change.

Value: -200, -190, -180, -170, -160, -150, -140, -130, -120, -110, -100, -90,

-80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80, +90, +100, +110, +120, +130, +140, +150, +160, +170, +180, +190, +200

fig.Cutoff KF.e

Cutoff frequency (Octave)

+200

-1

-2

C4C3C2C1 C5 C6 C7

The cutoff frequency key follow setting appearing at the lower part of the TVF settings screen graphically depict the current values of the settings. Solid lines represent the cutoff frequency key follow setting, while dotted lines are used for the TVA bias settings. This lets you compare the TVF cutoff frequency key follow setting and the TVA bias settings while you make settings.

+100

+50

-50

-100-200

Key

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Creating a Patch

1234567

Cutoff V-Curve (Cutoff Frequency Velocity Curve)

Selects one of the following seven curves that determine how keyboard playing dynamics (velocity) influence the cutoff frequency. Set this to “FIXED” when the Cutoff frequency is not to be changed according to the force with which the keys are pressed.

Value: FIXED, 1–7

fig.Curve-7

1234567

Cutoff V-Sens (Cutoff Velocity Sensitivity)

Use this parameter when changing the cutoff frequency to be applied as a result of changes in playing velocity. If you want strongly played notes to raise the cutoff frequency, set this parameter to positive (+) settings. If you want strongly played notes to lower the cutoff frequency, use negative (-) settings.

Value: -63– +63

To edit the overall patch while preserving the relative differences in the Cutoff Frequency Velocity Sensitivity values set for each tone, set the Velocity Sens Offset parameter (PATCH/General) (p. 48). However, this setting is shared by the Level V-Sens parameter (PATCH/TVA) (p. 65).

Resonance ★

Emphasizes the portion of the sound in the region of the cutoff frequency, adding character to the sound. Excessively high settings can produce oscillation, causing the sound to distort.

Value: 0–127

To edit the overall patch while preserving the relative differences in the Resonance values set for each tone, set the Resonance Offset parameter (PATCH/General) (p. 47).

fig.Resonance.e

LPF BPF HPF PKG

Level

High

Frequency

Cutoff frequency

parameter value

Reso V-Sens (Resonance Velocity Sensitivity)

This allows keyboard velocity to modify the amount of Resonance. If you want strongly played notes to have a greater Resonance effect, set this parameter to positive (+) settings. If you want strongly played notes to have less Resonance, use negative (-) settings.

Value: -63– +63

Env Depth (TVF Envelope Depth)

Specifies the depth of the TVF envelope. Higher settings will cause the TVF envelope to produce greater change. Negative (-) settings will invert the shape of the envelope.

Value: -63– +63

Env V-Curve (TVF Envelope Velocity Curve)

Selects one of the following 7 curves that will determine how keyboard playing dynamics will affect the TVF envelope. Set this to “FIXED” when the amount of TVF Envelope applied is not to be changed according to the force with which the keys are pressed.

Value: FIXED, 1–7

fig.Curve-7

Env V-Sens (TVF Envelope Velocity Sensitivity)

Specifies how keyboard playing dynamics will affect the depth of the TVF envelope. Positive (+) settings will cause the TVF envelope to have a greater effect for strongly played notes, and negative (-) settings will cause the effect to be less.

Value: -63– +63

Env T1 V-Sens (TVF Envelope Time 1 Velocity Sensitivity)

This allows keyboard dynamics to affect the Time 1 of the TVF envelope. If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

Value: -63– +63

Env T4 V-Sens (TVF Envelope Time 4 Velocity Sensitivity)

The parameter to use when you want key release speed to control the Time 4 value of the TVF envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

Value: -63– +63

Creating a Patch

Low

Page 64

Creating a Patch

C-1 G9

+ 0

–

C-1 G9

+ 0

–

C-1 G9

+ 0

–

C-1 G9

+ 0

–

+ 0

–

LOWER

LO&UP

UPPER

ALL

Bias Point

Level

Key

Bias Point

Env Time KF (TVF Envelope Time Key Follow)

Use this setting if you want the TVA envelope times (Time 2–Time 4) to be affected by the keyboard location. Based on the TVF envelope times for the C4 key (center C), positive (+) settings will cause notes higher than C4 to have increasingly shorter times, and negative (-) settings will cause them to have increasingly longer times. Larger settings will produce greater change.

Value: -100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80, +90, +100

fig.Time KF.e

Time

+100

+50

-50

-100

C4C3C2C1 C5 C6 C7

Key

Env Level 0–4 (TVF Envelope Level 0–4)

Specify the TVF envelope levels (Level 0–Level 4). These settings specify how the cutoff frequency will change at each point, relative to the standard cutoff frequency (the cutoff frequency value specified in the TVF screen).

Value: 0–127

Env Time 1–4 (TVF Envelope Time 1–4) ★

Specify the TVF envelope times (Time 1–Time 4). Higher settings will lengthen the time until the next cutoff frequency level is reached. (For example, Time 2 is the time over which Level 1 will change to Level 2.)

Value: 0–127

fig.TVF Env.e

T1 T2 T3 T4

Adjusting the Volume (TVA)

fig.03-18_50

For details on the setting, refer to “How to Make the Patch Settings” (p. 42).

TVA

Patch Level

Specifies the volume of the patch. Value: 0–127

Tone Level ★

Sets the volume of the tone. This setting is useful primarily for adjusting the volume balance between tones.

Value: 0–127

Bias

Bias causes the volume to be affected by the keyboard position. This is useful for changing volume through keyboard position (pitch) when playing acoustic instruments.

fig.Bias.e

Cutoff

Frequency

The envelopes appearing at the lower part of the TVF settings screen graphically depict the current values of the settings. Solid lines represent the TVF envelope, while dotted lines are used for the TVA envelope. This lets you compare the TVF and TVA envelopes while you make settings.

Note on

T: Time L: Level

L2 L4

Note off

Time

Bias Level

Adjusts the angle of the volume change that will occur in the selected Bias Direction. Larger settings will produce greater change. Negative (-) values will invert the change direction.

Value: -100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80, +90, +100

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Creating a Patch

Bias Position

Specifies the key relative to which the volume will be modified. Value: C-1–G9

Bias Direction

Selects the direction in which change will occur starting from the Bias Position.

Value LOWER: The volume will be modified for the keyboard area below

the Bias Point. UPPER: The volume will be modified for the keyboard area above

the Bias Point. LO&UP: The volume will be modified symmetrically toward the left

and right of the Bias Point. ALL: The volume changes linearly with the bias point at the center.

The bias settings appearing at the lower part of the TVA settings screen graphically depict the current values of the settings. Solid lines represent the bias settings, while dotted lines are used for the TVF cutoff frequency key follow setting. This lets you compare the TVA bias settings and the TVF cutoff frequency key follow setting while you make settings.

Level V-Curve (TVA Level Velocity Curve)

You can select from seven curves that determine how keyboard playing strength will affect the volume. If you do not want the volume of the tone to be affected by the force with which you play the key, set this to “FIXED.”

Value: FIXED, 1–7

fig.Curve-7

Tone Pan ★

Sets the pan of the tone. “L64” is far left, “0” is center, and “63R” is far right.

Value: L64–0–63R

Pan KF (Pan Key Follow)

Use this parameter if you want key position to affect panning. Positive (+) settings will cause notes higher than C4 key (center C) to be panned increasingly further toward the right, and negative (-) settings will cause notes higher than C4 key (center C) to be panned toward the left. Larger settings will produce greater change.

Value: -100– +100

fig.Pan KF.e

Pan

C4C3C2C1 C5 C6 C7

+100

+50

-50

-100

Key

Rnd Pan Depth (Random Pan Depth)

Use this parameter when you want the stereo location to change randomly each time you press a key. Higher settings will produce a greater amount of change.

Value: 0–63

Creating a Patch

1234567

Level V-Sens (TVA Level Velocity Sensitivity)

Set this when you want the volume of the tone to change depending on the force with which you press the keys. Set this to a positive (+) value to have the changes in tone volume increase the more forcefully the keys are played; to make the tone play more softly as you play harder, set this to a negative (-) value.

Value: -63– +63

If you wish to make adjustments to the entire patch while maintaining the relative values of TVA Level Velocity Sensitivity among tones, adjust the Velocity Sens Offset parameter (PATCH/General) (p. 48). However, this setting is shared by the Cutoff V-Sens parameter (PATCH/TVF) (p. 63).

Patch Pan

Specifies the pan of the patch. “L64” is far left, “0” is center, and “63R” is far right.

Value: L64–0–63R

Alter Pan Depth (Alternate Pan Depth)

This setting causes panning to be alternated between left and right each time a key is pressed. Higher settings will produce a greater amount of change. “L” or “R” settings will reverse the order in which the pan will alternate between left and right. For example if two tones are set to “L” and “R” respectively, the panning of the two tones will alternate each time they are played.

Value: L63–0–63R

When any value from Type “2”–”10” is selected for the Structure parameter (PATCH/TMT) in the Pan KF, Rnd Pan Depth, Alter Pan Depth parameter settings, the output of tones 1 and 2 are joined in tone 2, and the output of tones 3 and 4 are joined in tone 4. For this reason, tone 1 will follow the settings of tone 2, and tone 3 will follow the settings of tone 4 (p. 56).

Env T1 V-Sens (TVA Envelope Time 1 Velocity Sensitivity)

This allows keyboard dynamics to affect the Time 1 of the TVA envelope. If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

Value: -63– +63

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Creating a Patch

T1 T2 T3 T4

Note off

Level

Time

Note on

T: Time L: Level

Env T4 V-Sens (TVA Envelope Time 4 Velocity Sensitivity)

The parameter to use when you want key release speed to control the Time 4 value of the TVA envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

Value: -63– +63

Env Time KF (TVA Envelope Time Key Follow)

Use this setting if you want the TVA envelope times (Time 2–Time 4) to be affected by the keyboard location. Based on the TVA envelope times for the C4 key (center C), positive (+) settings will cause notes higher than C4 to have increasingly shorter times, and negative (-) settings will cause them to have increasingly longer times. Larger settings will produce greater change.

Value: -100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80, +90, +100

fig.Time KF.e

Time

+100

+50

Env Level 1–3 (TVA Envelope Level 1–3)

Specify the TVA envelope levels (Level 1–Level 3). These settings specify how the volume will change at each point, relative to the standard volume (the Tone Level value specified in the TVA screen).

Value: 0–127

fig.TVA Env.e

The envelopes appearing at the lower part of the TVA settings screen graphically depict the current values of the settings. Solid lines represent the TVA envelope, while dotted lines are used for the TVF envelope. This lets you compare the TVA and TVF envelopes while you make settings.

Modulating Sounds (LFO)

fig.03-19_50

-50

-100

C4C3C2C1 C5 C6 C7

Key

Env Time 1–4 (TVA Envelope Time 1–4) ★

Specify the TVA envelope times (Time 1– Time 4). Higher settings will lengthen the time until the next volume level is reached. (For example, Time 2 is the time over which Level 1 will change to Level

2.) Value: 0–127

To edit the overall patch while preserving the relative differences in the Env Time 1 parameter (Attack Time) values set for each tone, set the Attack Time Offset parameter (PATCH/ General) (p. 48). Similarly, to edit the overall patch while preserving the relative differences in the Env Time 4 parameter (Release Time) values set for each tone, set the Release Time Offset parameter (PATCH/General) (p. 48).

For details on the setting, refer to “How to Make the Patch Settings” (p. 42).

An LFO (Low Frequency Oscillator) causes change over a cycle in a sound. Each tone has two LFOs (LFO1/LFO2), and these can be used to cyclically change the pitch, cutoff frequency and volume to create modulation-type effects such as vibrato, wah and tremolo. Both LFOs have the same parameters so only one explanation is needed.

LFO

1:/2:Waveform (LFO1/LFO2 Waveform)

Selects the waveform of the LFO.

Value SIN: Sine wave TRI: Triangle wave SAW-U: Sawtooth wave SAW-D: Sawtooth wave (negative polarity)

Page 67

SQR: Square wave RND: Random wave BND-U: Once the attack of the waveform output by the LFO is

allowed to develop in standard fashion, the waveform then continues without further change.

BND-D: Once the decay of the waveform output by the LFO is allowed to develop in standard fashion, the waveform then continues without further change.

TRP: Trapezoidal wave S&H:

Sample & Hold wave (one time per cycle, LFO value is changed)

CHAOS: Chaos wave

If you set this to “BND-U” or “BND-D,” you must turn the 1:/2:Key Trigger parameter to “ON.” If this is “OFF,” it will have no effect.

1:/2:Rate (LFO1/LFO2 Rate) ★

Adjusts the modulation rate, or speed, of the LFO. Value: 0–127, Note LFO Rate sets the beat length for the synchronized tempo when the

tempo that specifies the LFO cycle (Patch Tempo) is synchronized with the tempo set in a sequencer.

(Example) For a tempo of 120 (120 quarter notes occur in 1 minute (60 seconds))

Setting Delay time

(half note) (quarter note) (eighth note)

1 second (60 / 60 =1 (second))

0.5 seconds (60 / 120= 0.5 (seconds))

0.25 seconds (60 / 240= 0.25 (seconds))

Creating a Patch

When using violin, wind, or certain other instrument sounds in a performance, rather than having vibrato added immediately after the sounds are played, it can be effective to add the vibrato after the note is drawn out somewhat. If you set the 1:/2:Delay Time in conjunction with the 1:/2:Pitch Depth parameter and 1:/ 2:Rate parameter, the vibrato will be applied automatically following a certain interval after the key is pressed. This effect is called Delay Vibrato.

1:/2:Delay Time KF (LFO1/LFO2 Delay Time Key Follow)

Adjusts the value for the 1:/2:Delay Time parameter depending on the key position, relative to the C4 key (center C). To decrease the time that elapses before the LFO effect is applied (the effect is continuous) with each higher key that is pressed in the upper registers, select a positive value; to increase the elapsed time, select a negative value. Larger settings will produce greater change. If you do not want the elapsed time before the LFO effect is applied (the effect is continuous) to change according to the key pressed, set this to “0.”

Value: -100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80, +90, +100

fig.Time KF.e

Time

+100

+50

Creating a Patch

This setting will be ignored if the 1:/2:Waveform parameter is set to “CHAOS.”

1:/2:Offset (LFO1/LFO2 Offset)

Raises or lowers the LFO waveform relative to the central value (pitch or cutoff frequency). Positive (+) settings will move the waveform so that modulation will occur from the central value upward. Negative (-) settings will move the waveform so that modulation will occur from the central value downward.

Value: -100, -50, 0, +50, +100

1:/2:Rate Detune (LFO1/LFO2 Rate Detune)

LFO Rate Detune makes subtle changes in the LFO cycle rate (1:/ 2:Rate parameter) each time a key is pressed. Higher settings will cause greater change.

Value: 0–127

1:/2:Delay Time (LFO1/LFO2 Delay Time)

Delay Time (LFO Delay Time) specifies the time elapsed before the LFO effect is applied (the effect continues) after the key is pressed (or released).

Value: 0–127

-50

-100

C4C3C2C1 C5 C6 C7

Key

1:/2:Fade Mode (LFO1/LFO2 Fade Mode)

Specifies how the LFO will be applied. Value: ON <, ON >, OFF <, OFF >

After referring to “How to Apply the LFO” (p. 68), change the setting until the desired effect is achieved.

1:/2:Fade Time (LFO1/LFO2 Fade Time)

Specifies the time over which the LFO amplitude will reach the maximum (minimum).

Value: 0–127

After referring to “How to Apply the LFO” (p. 68), change the setting until the desired effect is achieved.

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Creating a Patch

1:/2:Key Trigger (LFO1/LFO2 Key Trigger)

This specifies whether the LFO cycle will be synchronized to begin when the key is pressed (ON) or not (OFF).

Value: OFF, ON

1:/2:Pitch Depth (LFO1/LFO2 Pitch Depth) ★

Specifies how deeply the LFO will affect pitch. Value: -63– +63

1:/2:TVF Depth (LFO1/LFO2 TVF Depth) ★

Specifies how deeply the LFO will affect the cutoff frequency. Value: -63– +63

1:/2:TVA Depth (LFO1/LFO2 TVA Depth) ★

Specifies how deeply the LFO will affect the volume. Value: -63– +63

1:/2:Pan Depth (LFO1/LFO2 Pan Depth) ★

Specifies how deeply the LFO will affect the pan. Value: -63– +63

Positive (+) and negative (-) settings for the Depth parameter result in differing kinds of change in pitch and volume. For example, if you set the Depth parameter to a positive (+) value for one tone, and set another tone to the same numerical value, but make it negative (-), the modulation phase for the two tones will be the reverse of each other. This allows you to shift back and forth between two different tones, or combine it with the Pan setting to cyclically change the location of the sound image.

When the Structure parameter (PATCH/TMT) is set to any value from “2” through “10,” the output of tones 1 and 2 will be combined into tone 2, and the output of tones 3 and 4 will be combined into tone 4. This applies to the 1:/2:Pan Depth parameter settings. For this reason, tone 1 will follow the settings of tone 2, and tone 3 will follow the settings of tone 4 (p. 56).

How to Apply the LFO

● Apply the LFO gradually after the key is pressed

fig.LFO-1.e

Pan

Delay Time

Note on

Fade Time

Depth

high (more)

Pitch

Cutoff Frequency

Level

low (less)

Fade Mode: ON < Fade Time: The time over which the LFO amplitude will reach the

maximum after the Delay Time has elapsed. Delay Time: The time from when the keyboard is played until the

LFO begins to be applied.

● Apply the LFO immediately when the key is

pressed, and then gradually begin to decrease the effect

fig.LFO-2.e

high (more)

Pitch

Cutoff Frequency

Level

Pan

low (less)

Note on

Delay Time

Fade Time

Depth

Fade Mode: ON > Fade Time: The time over which the LFO amplitude will reach the

minimum after the Delay Time has elapsed. Delay Time: The time that the LFO will continue after the keyboard

is played.

● Apply the LFO gradually after the key is

released

fig.LFO-3.e

high (more)

Pitch

Cutoff Frequency

Level

Pan

low (less)

Note

Delay Time

Fade Time

Depth

Note

off

Fade Mode: OFF < Fade Time: The time over which the LFO amplitude will reach the

maximum after the Delay Time has elapsed. Delay Time: The time from when the keyboard is released until the

LFO begins to be applied.

● Apply the LFO from when the key is pressed

until it is released, and gradually begin to decrease the effect when the key is released

fig.LFO-4.e

Note off

Delay Time

Fade Time

Depth

high (more)

Cutoff Frequency

Pitch Level

low (less)

Pan

Note on

Fade Mode: OFF > Fade Time: The time over which the LFO amplitude will reach the

minimum after the Delay Time has elapsed. Delay Time: The time that the LFO will continue after the keyboard

is released.

Page 69

Creating a Rhythm Set

With the Fantom, you have total control over a wide variety of settings. Each item that can be set is known as a parameter. When you change the values of parameters, you are doing what is referred to as Editing. This chapter explains the procedures used in creating rhythm sets, and the functions of the rhythm set parameters.

How to Make the Rhythm Set Settings

Start with an existing rhythm set and edit it to create a new rhythm set. Rhythm sets are created from a collection of multiple rhythm tones (percussion instruments). You can change the assignments of the rhythm tones for each key with rhythm set edit.

1. Access the PATCH PLAY screen, and select the rhythm set whose settings you wish to modify (p. 40).

You cannot edit the rhythm sets in the PR-E (GM2) group.

If you want to create all your rhythm sets from the ground up, rather than the rhythm sets that have already been prepared, carry out the Initialize operation (p. 69).

2. Press [MENU].

The Menu window appears.

fig.04-01_50

5. Use [CURSOR] to move the cursor to the parameter you wish to modify.

• When all the parameters cannot be shown within a single settings screen, a scroll bar will be displayed at the right side of the screen. In such cases, press to scroll the screen downward.

Creating a Rhythm Set

• If you have selected a screen of parameters that can be specified individually for each rhythm tone, move the cursor to “Key” (located in the upper part of the Rhythm Edit screen), and specify the key (rhythm tone) whose settings you want to edit. You can also press a note on the keyboard to specify the key.

• To switch a wave on/off, move the cursor to the “Wave Switch” in the upper part of the Rhythm Edit screen, and make the desired settings. From the left, these are Wave Switches 1–4. Assigning a check mark (✔) will turn the wave on, and removing the check mark will turn it off.

6. Turn the VALUE dial or press [INC]/[DEC] to get the value you want.

7. Repeat steps 4–6 to complete a rhythm set.

8. If you wish to save the changes you’ve made, press [6

(Write)] to perform the Save operation (p. 72). If you do not wish to save changes, press [EXIT] to return to the PATCH PLAY screen.

If you return to the PATCH PLAY screen without saving, the display will indicate “EDITED,” reminding you that the rhythm set settings have been modified.

3. Press or to select “Rhythm Edit,” and then press [8 (Select)].

The Rhythm Edit screen appears.

fig.04-02_50

4. The parameters are organized into several editing groups. Press [1 (▲)] or [2 (▼)] to select the tab for the editing group that contains the parameter you wish to edit.

For details on how the parameters are grouped, refer to “Parameter list” (Sound/Parameter List).

If you turn off the power or select a different sound while the display indicates “EDITED,” your edited rhythm set will be lost.

Initializing Rhythm Set Settings (Init)

“Initialize” means to return the settings of the currently selected sound to a standard set of values or to the factory settings.

1. Access the PATCH PLAY screen, and select the rhythm set that you wish to initialize (p. 40).

2. Access the Rhythm Edit screen (p. 69).

Page 70

Creating a Rhythm Set

3. Press [7 (Init)].

The Rhythm Initialize window appears.

fig.04-03_50

4. Move the cursor to “Type,” and select the initialization type.

Type (Initialize Type)

There are three initialize methods. Select either of them depending on the application.

DEFAULT: Resets the currently selected rhythm set in the Temporary memory to the standard values. This is called a ‘Initial Data.’ Use this setting when you wish to create a sound from scratch.

PRESET: Resets the currently selected rhythm set in user memory to the factory settings.

MFX TEMPLATE: The multi-effect settings of the currently selected patch will be set to the MFX template settings.

If the currently selected rhythm set is preset memory (PRST) data, initializing with the “PRESET” setting will set the values to those of the identically numbered user memory.

For details regarding MFX template, refer to “MFX Template List” (Sound/Parameter List).

5. If you’ve set the initialization type to “DEFAULT” or “PRESET,” move the cursor to “Mode” and select the

initialization mode.

Mode (Initialize Mode)

ALL: The rhythm set will be initialized. KEY: A rhythm tone will be initialized. Move the cursor to “Key”

and select the rhythm tone that will be initialized. Key (rhythm tone) settings can be made by pressing a note.

6. If you’ve set the initialization type to “MFX TEMPLATE,” move the cursor to “Template” and select an MFX template.

7. Press [8 (Execute)].

The initialization will be carried out, and you’ll be returned to the Rhythm Edit screen.

Copying Rhythm Set Settings (Copy)

This operation copies the settings of any desired rhythm set to the currently selected rhythm set. You can use this feature to make the editing process faster and easier.

Basic Procedure for Rhythm Set Copy

1. Access the PATCH PLAY screen, and select the copy-

destination rhythm set (p. 40).

2. Access the Rhythm Edit screen (p. 69).

3. Press [8 (Copy)].

The Rhythm Copy window appears.

fig.04-04_50

4. Move the cursor to “Mode,” and select the data that you wish to copy.

Three types of copy are available: Rhythm Set Name Copy, Rhythm Set Effects Copy, and Rhythm Tone Copy. You

should select the one that is relevant to the type of data you wish to copy. For details refer to “Types of Rhythm Set Copy” (following section).

5. Move the cursor to “Source,” and select the copy-source sound.

6. Press [8 (Execute)] to execute the Copy operation.

7. Press [EXIT] to return to the Rhythm Edit screen.

Types of Rhythm Set Copy

Rhythm Set Name Copy (NAME)

The name of a patch, rhythm set, multitimbre, or performance will be copied to the currently selected rhythm set.

fig.04-04_50

Page 71

Rhythm Set Effects Copy (MFX/CHORUS/ REVERB)

The effect settings of a patch, rhythm set, multitimbre, or performance will be copied to the currently selected rhythm set.

fig.04-05_50

Effect contents that will be copied (Mode)

MFX: Multi-effects settings CHORUS: Chorus settings REVERB: Reverb settings If you want to copy the multi-effect settings of a multitimbre or

performance, select the MFX (MFX-A–MFX-C) whose data will be copied.

Creating a Rhythm Set

The Compare Function

For the Rhythm Tone Copy and Rhythm Set Effect Copy operations, you can use the Compare function.

The Compare function allows you to play the copy-source rhythm set. To do so, press [1 (Compare)] to open the following window. The copy-source rhythm set can be switched in this window as well, but it is not possible to select GM group rhythm sets. After selecting the desired rhythm set, return to the previous screen by pressing [1 (Copy)].

fig.04-07_50

Creating a Rhythm Set

Rhythm Tone Copy (KEY)

Individual rhythm tone (percussion sound) settings assigned to each key will be copied to each key in the current rhythm set.

fig.04-06.e

Copy-source Key Copy-destination Key

• To specify the currently selected rhythm set as the copy source, set “Source” to “TEMP.”

• The copy-source and copy-destination key can also be specified by pressing a key on the keyboard.

• The Compare function cannot be used with Rhythm Set Effect Copy if “PATCH,” “MULTITIMBRE” or

“PERFORMANCE” is selected as the copy-source (Source).

• The rhythm set auditioned using the Compare function

may sound slightly different than when it is played normally.

Cautions When Selecting a Waveform

The sounds of the Fantom are based on complex PCM waveforms, and if you attempt to make settings that are contrary to the type of the original waveform, the results will not be as you expect.

The internal waveforms of the Fantom fall into the following two groups.

Page 72

Creating a Rhythm Set

Cautions When Using a One-shot Waveform

Cautions When Using a Loop Waveform

fig.03-08.e

Level

Looped portion

Tone change stored

with the wave

Saving Rhythm Sets You’ve Created (Write)

When you modify the settings of a rhythm set, the PATCH PLAY screen will indicate “EDITED.” Once you save the rhythm set into internal memory (user memory), the “EDITED” indication goes away.

1. Make sure that the Rhythm Set you wish to save is selected.

2. Press [MENU].

The Menu window appears.

fig.04-01_50

Envelope

for the TVF filter

Resulting

tone change

Time

3. Press or to select “Rhythm Edit,” and then press [8 (Select)].

The Rhythm Edit window appears.

fig.04-02_50

4. Press [6 (Write)].

The Rhythm Write window appears.

fig.04-08.e

Save-destination rhythm set

5. Press or to specify the save-destination rhythm set.

Page 73

By pressing [7 (Compare)] you can check the save-destination rhythm set (Compare function).

6. Press [8 (Execute)].

The display will indicate “Are you sure?”

7. Press [8 (OK)] to execute the save operation. To cancel the operation, press [EXIT].

Auditioning the Save-Destination Rhythm Set (Compare)

Before you save a rhythm set, you can audition the rhythm set which currently occupies the save destination to make sure that it is one you don’t mind overwriting. This can help prevent important rhythm sets from being accidentally overwritten and lost.

1. Follow the procedure in “Saving Rhythm Sets You’ve Created (Write)” through step 5 to select the save destination.

2. Press [7 (Compare)].

The Rhythm Compare window appears, making it possible to sound the currently selected save destination rhythm set.

fig.04-09.e

Save-destination rhythm set

Creating a Rhythm Set

Using [1]–[8] to Register

1. Access the PATCH PLAY screen, and select the rhythm set

that you wish to register (p. 40).

2. Hold down [JUMP (BANK)] and press a [1]–[8] to select the bank in which you wish to register the sound.

3. Hold down [SHIFT (REGISTRY)] and press a [1]–[8] to select the button at which you wish to register the sound.

The display will indicate “Register OK ?”

4. Press [8 (OK)] to execute the registration. To cancel the operation, press [EXIT].

Using the Favorite List Window to Register

1. Access the PATCH PLAY screen to select the rhythm set

that you wish to register (p. 40).

2. Make sure that you are in the PATCH PLAY screen, and that the cursor is located at the rhythm set group or the rhythm set number.

3. While holding down [SHIFT], press [LIST]

The Favorite List window appears.

fig.02-04_50

Creating a Rhythm Set

3. Play the keyboard to sound the save destination rhythm set,

then check whether you really want to overwrite it.

The rhythm set auditioned using the Compare function may sound slightly different than when it is played normally.

4. If you wish to change the save destination, re-specify the save-destination rhythm set by using or .

5. Press [7 (Write)] to return to the Rhythm Write window.

6. Press [8 (Execute)] once again to execute the Save

operation.

Registering Favorite Rhythm Sets (Favorite Sound)

You can bring together your favorite and most frequently used rhythm sets in one place by registering them in the Favorite sound. By using this function you can rapidly select favorite rhythm sets from internal memory or a Wave Expansion Board. You can register a total of 64 sounds (8 sounds x 8 banks) as favorite sounds.

For details on selecting a favorite sound, refer to ““Selecting Favorite Patches (Favorite Sound)” (p. 33).

4. Press to move the cursor to the “Bank 1–8” tab, and press or to select the bank in which you wish to register the rhythm set.

5. Press to move the cursor within the list, and press or to select the number to which you wish to register. The number you select here corresponds to [1]–[8].

6. Press [5 (Regist)] to execute the registration.

• By pressing [6 (Remove)] you can cancel the rhythm set registration that is selected in the Favorite List window.

• By pressing [7 (Prevu)] you can audition the sound of the registered rhythm set (Phrase Preview).

7. When you have finished registering favorite sounds, press [EXIT] to close the Favorite List window.

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Creating a Rhythm Set

Functions of Rhythm Set Parameters

This section explains the functions the different rhythm set parameters have, as well as the composition of these parameters.

Settings Common to the Entire Rhythm Set (General)

fig.04-10a_50

For details on the setting, refer to “How to Make the Rhythm Set Settings” (p. 69).

General

Rhythm Name (Rhythm Set Name)

You can assign a name of up to 12 characters to the rhythm set. Value: space, A–Z, a–z, 0–9, ! " # $ % & ’ ( ) * + , - . / : ; < = > ? @ [ \ ]

^ _ ` { | } → ←

For details on assigning names, refer to “Assigning a Name” (p.

30).

Clock Source (Rhythm Set Clock Source)

The LFO cycle, multi-effects changes, Phrase Loop, and Tone Delay time can be synchronized to a clock (tempo). When this is used by the rhythm set, this Clock Source setting determines the clock which will be used.

Value RHYTHM: The Rhythm Set Tempo will be used. SEQUENCER: Synchronize to the clock of the Fantom’s sequencer

or of an external sequencer.

For details on using clock (tempo), refer to (Q&A; p. 16).

Tempo (Rhythm Set Tempo)

When Rhythm Clock Source is set to “RHYTHM,” this setting value is effective.

Rhythm Tone

Tone Name (Rhythm Tone Name)

You can assign a name of up to 12 characters to the rhythm tone. Value: space, A–Z, a–z, 0–9, ! " # $ % & ’ ( ) * + , - . / : ; < = > ? @ [ \ ]

^ _ ` { | } → ←

For details on assigning names, refer to “Assigning a Name” (p.

30).

Assign Type

Assign Type sets the way sounds are played when the same key is pressed a number of times.

Value MULTI: Layer the sound of the same keys. Even with continuous

sounds where the sound plays for an extended time, such as with crash cymbals, the sounds are layered, without previously played sounds being eliminated.

SINGLE: Only one sound can be played at a time when the same key is pressed. With continuous sounds where the sound plays for an extended time, the previous sound is stopped when the following sound is played.

Mute Group

On an actual acoustic drum set, an open hi-hat and a closed hi-hat sound can never occur simultaneously. To reproduce the reality of this situation, you can set up a Mute Group.

The Mute Group function allows you to designate two or more rhythm tones that are not allowed to sound simultaneously. Up to 31 Mute Groups can be used. rhythm tones that are not belong to any such group should be set to “OFF.”

Value: OFF, 1–31

Env Mode (Rhythm Tone Envelope Mode)

When a loop waveform (p. 71) is selected, the sound will normally continue as long as the key is pressed. If you want the sound to decay naturally even if the key remains pressed, set this to “NO SUS.”

Value: NO SUS, SUST

If a one-shot type Wave (p. 71) is selected, it will not sustain even if this parameter is set to “SUST.”

Bend Range (Rhythm Tone Pitch Bend Range)

Specifies the amount of pitch change in semitones (4 octaves) that will occur when the Pitch Bend Lever is moved. The amount of change when the lever is tilted is set to the same value for both left and right sides.

Value: 0–48

The Rhythm Set Tempo Clock does not transmit clock messages from the MIDI OUT connector.

Rx Expression (Rhythm Tone Receive Expression Switch)

For each rhythm tone, specify whether MIDI Expression messages will be received (ON), or not (OFF).

Value: OFF, ON

Page 75

Creating a Rhythm Set

Rx Hold-1 (Rhythm Tone Receive Hold-1 Switch)

For each rhythm tone, specify whether MIDI Hold-1 messages will be received (ON), or not (OFF).

If “NO SUS” is selected for Env Mode parameter (RHYTHM/ General), this setting will have no effect.

Rx Pan Mode (Rhythm Tone Receive Pan Mode)

For each rhythm tone, specify how pan messages will be received.

Value CONTINUOUS: Whenever Pan messages are received, the stereo

position of the tone will be changed. KEY-ON: The pan of the tone will be changed only when the next

note is played. If a pan message is received while a note is sounding, the panning will not change until the next key is pressed.

The channels cannot be set so as not to receive Pan messages.

Rhythm Pattern Settings (Rhythm Ptn)

fig.04-10_50

Style (Rhythm Pattern Style)

Select the basic playback style of the Rhythm pattern.

For details regarding Rhythm Pattern Style, refer to “Rhythm Pattern Style List” (Sound/Parameter List).

Accent Rate (Rhythm Pattern Accent Rate)

Modifies the strength of accents and the length of the notes to adjust the “groove” feel of the Rhythm pattern. A setting of “100%” will produce the most pronounced groove feel.

Value: 0–100%

Shuffle Rate (Rhythm Pattern Shuffle Rate)

This setting lets you modify the note timing to create shuffle rhythms.

With a setting of “50%” the notes will be spaced evenly. As the value is increased, the note timing will have more of a “dotted” (shuffle) feel.

Value: 0–100%

fig.Shuffle Rate

Shuffle Rate = 50%

50 50 50 50

Shuffle Rate = 90%

90 10 90 10

Shuffle Resolution (Rhythm Pattern Shuffle Resolution)

Specify the timing resolution in terms of a note value. The note value can be specified as either an 16th note or a eighth note.

Value: ,

Creating a Rhythm Set

For details on the setting, refer to “How to Make the Rhythm Set Settings” (p. 69).

Rhythm Ptn (Rhythm Pattern)

Switch (Rhythm Pattern Switch)

Switch Rhythm pattern playback on/off. Value: OFF, ON

Hold (Rhythm Pattern Hold Switch)

Switch between Hold On/Hold Off for the Rhythm pattern playback.

Value: OFF, ON

Keyboard Velocity (Rhythm Pattern Keyboard Velocity)

Specifies the loudness of the notes that you play. If you want the velocity value of each note to depend on how

127).

Value: REAL, 1–127

Note Assign (Rhythm Pattern Note Assign)

Specify the note name of the lowest note in the key range that will play the Rhythm pattern. The Rhythm pattern can be played in a one-octave range starting from the key you specify here.

Value: C-1–G9

Key Trigger (Rhythm Pattern Key Trigger)

Turn this “ON” if you want the rhythm pattern to start at the moment that you press the key. If you want the rhythm pattern to start playing in synchronization with the sequencer or arpeggio, turn this “OFF.”

Value: OFF, ON

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Creating a Rhythm Set

Realtime Controller / D Beam Controller Settings (Controller)

fig.04-11_50

For details on the setting, refer to “How to Make the Rhythm Set Settings” (p. 69).

Knob

Assign 1–4 (Realtime Control Knob Assign 1–4)

Specify the functions that will be controlled by the [ ]–[ ] knobs.

Value OFF: The realtime control knob will not be used. CC01–31, 33–95: Controller numbers 1–31, 33–95

BEND UP: Raises the pitch in semitone steps (up to 4 octaves

higher). BEND DOWN: Lowers the pitch in semitone steps (up to 4 octaves

lower).

AFTERTOUCH: Aftertouch OCT UP: Raises the key range in octave steps (up to 3 octaves

higher). OCT DOWN: Lowers the key range in octave steps (up to 3 octaves

lower). TRNS UP: Raises the key range in semitone steps (up to 6 semitones

higher). TRNS DOWN: Lowers the key range in semitone steps (up to 5

semitones lower). TAP TEMPO: Tap tempo (a tempo specified by the interval at which

you press the button). PTN HOLD: Switch between Hold On/Hold Off for the Rhythm

pattern playback.

Mode 1–4 (Realtime Control Button Mode 1–4)

Specify how the [ ]–[ ] buttons are to operate.

Value MOMENTARY: The button will be on only while you are pressing

(holding) it, and will be off when you release your finger from the button.

LATCH: The button will switch on/off each time you press it.

For more information about Control Change messages, please refer to “MIDI Implementation” (Sound/Parameter List).

PITCH BEND: Pitch Bend AFTERTOUCH: Aftertouch TEMPO: Tempo PTN ACCENT: Rhythm Pattern Accent Rate PTN SHFFLE: Rhythm Pattern Shuffle Rate

Switch

Assign 1–4 (Realtime Control Button Assign 1–

Specify the functions that will be controlled by the [ ]–[] buttons.

Value OFF: The realtime control button will not be used. CC01–31, 33–95: Controller numbers 1–31, 33–95

For more information about Control Change messages, please refer to “MIDI Implementation” (Sound/Parameter List).

D Beam

Switch (D Beam Switch)

Switches the D Beam controller on/off. Value: OFF, ON

Assign (D Beam Assign)

Specifies the function controlled by the D Beam controller.

Value OFF: The D Beam controller will not be used. CC01–31, 33–95: Controller numbers 1–31, 33–95

For more information about Control Change messages, please refer to “MIDI Implementation” (Sound/Parameter List).

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Creating a Rhythm Set

BEND UP: Raises the pitch in semitone steps (up to 4 octaves higher).

BEND DOWN: Lowers the pitch in semitone steps (up to 4 octaves lower).

AFTERTOUCH: Aftertouch NOTE: Play the sound of the most recently pressed key. OCT UP: Raises the key range in octave steps (up to 3 octaves

higher). OCT DOWN: Lowers the key range in octave steps (up to 3 octaves

lower).

START/STOP: Starts/Stops the sequencer. TAP TEMPO: Tap tempo (a tempo specified by the interval at which

you move your hand over the D Beam controller).

PTN SWITCH: Switch Rhythm pattern playback on/off. PTN ACCENT: Rhythm Pattern Accent Rate PTN SHFFLE: Rhythm Pattern Shuffle Rate

Polarity (D Beam Polarity)

Switch the polarity of the D Beam controller. With a setting of “REVERSE,” the direction of control for the D Beam

controller will be inverted. Range: STANDARD, REVERSE

Range Lower (D Beam Range Lower)

Specify the lower limit of the range of the D Beam controller. Values below this setting will not be output.

Value: 0–UPPER

Changing How a Rhythm Tone Is Sounded (WMT)

fig.04-12_50

Creating a Rhythm Set

For details on the setting, refer to “How to Make the Rhythm Set Settings” (p. 69).

With rhythm tones, sounds are created by combining up to four Waves (eight for stereo).

Tips on Creating a Rhythm Tone

The Waves for the bass drum, snare, hi-hat, toms, and other percussion instruments are each assigned to one rhythm tone. When adding 3D effects to the sound, make the Pan settings for each rhythm tone individually.

Range Upper (D Beam Range Upper)

Specify the upper limit of the range of the D Beam controller. Values above this setting will not be output.

Value: LOWER–127

Setting Effects for a Rhythm Set (Effects/MFX/MFX Control/Chorus/ Reverb)

For details regarding effect settings, refer to the pages shown below.

• “Applying Effects in Patch Mode” (p. 165)

• “Making Multi-Effects Settings (MFX/MFX Control)” (p. 174)

• “Making Chorus Settings (Chorus)” (p. 176)

• “Making Reverb Settings (Reverb)” (p. 177)

WMT

Wave Group

Select the groups containing the Waves comprising the rhythm tone.

Value INT: Waveforms stored in internal memory XP-A: Waveform stored in a Wave Expansion Board (SR-JV80 series)

installed in EXP-A slots. XP-B: Waveforms residing on a Wave Expansion Board (SRX series)

installed in the EXP B slot XP-C: Waveforms residing on a Wave Expansion Board (SRX series)

installed in the EXP C slot

You cannot select a waveform group of a Wave Expansion Board that is not installed.

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Creating a Rhythm Set

Wave No. (L) (Wave Number (L)) Wave No. (R) (Wave Number (R))

This selects the Waves comprising the rhythm tone. Along with the Wave number, the Wave name appears at the lower part of the display.

When in monaural mode, only the left side (L) is specified. When in stereo, the right side (R) is also specified.

Value: ----, 1–1083

Wave Gain

Sets the gain (amplification) of the waveform. The value changes in 6 dB (decibel) steps—an increase of 6 dB doubles the waveform’s gain.

Value: -6, 0, +6, +12

FXM Switch

This sets whether FXM will be used (ON) or not (OFF). Value: OFF, ON

Phrase Loop

Coarse Tune

Adjusts the pitch of the waveform’s sound up or down in semitone steps (+/-4 octaves).

Value: -48– +48

The Coarse Tune of the entire rhythm tone is set by the Tone Coarse parameter (RHYTHM/Pitch) (p. 79).

FXM

FXM Color

Specifies how FXM will perform frequency modulation. Higher settings result in a grainier sound, while lower settings result in a more metallic sound.

Value: 1–4

FXM Depth

Specifies the depth of the modulation produced by FXM. Value: 0–16

Tempo Sync (Wave Tempo Sync)

Value: OFF, ON

When the Tempo Sync parameter is set to “ON,” settings related to Pitch (p. 79) and FXM (p. 78) are disabled.

Fine Tune

Adjusts the pitch of the waveform’s sound up or down in 1-cent steps (+/-50 cents).

Value: -50– +50

One cent is 1/100th of a semitone.

The Fine Tune of the entire rhythm tone is set by the Tone Fine Tune parameter (RHYTHM/Pitch) (p. 79).

Wave Pan

This specifies the pan of the waveform. “L64” is far left, “0” is center, and “63R” is far right.

Value: L64–0–63R

The pan of the entire rhythm tone is set by the Tone Pan parameter (RHYTHM/TVA) (p. 82).

Rnd Pan Sw (Random Pan Switch)

Use this setting to cause the waveform’s panning to change randomly each time a key is pressed (ON) or not (OFF).

Value: OFF, ON The range of the panning change is set by the Rnd Pan Depth

parameter (RHYTHM/TVA) (p. 82).

Alter Pan Sw (Alternate Pan Switch)

This setting causes panning of the waveform to be alternated between left and right each time a key is pressed. Set Alternate Pan Switch to “ON” to pan the Wave according to the Alter Pan Depth parameter (RHYTHM/TVA) (p. 82) settings, or to “REV” when you want the panning reversed. If you do not want the panning to change each time a key is pressed, set this to “OFF.”

Range: OFF, ON, REV

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Creating a Rhythm Set

Wave Level

You can set the volume of the waveform. Value: 0–127

The volume level of each rhythm tone is set with the Tone Level parameter (RHYTHM/TVA); the volume levels of the entire rhythm set is set with the Rhythm Level parameter (RHYTHM/ TVA) (p. 82).

Velocity Control (Velocity Control Switch)

WMT Velocity Control determines whether a different rhythm tone is played (ON) or not (OFF) depending on the force with which the key is played (velocity).

When set to “RND,” the rhythm set’s constituent rhythm tones will sound randomly, regardless of any Velocity messages.

Value: OFF, ON, RND

Vel Fade Lower (Velocity Fade Width Lower)

Value: 0–127

Vel Range Lower (Velocity Range Lower)

This sets the lowest velocity at which the waveform will sound. Make these settings when you want different waveforms to sound in response to notes played at different strengths.

Value: 1–UPPER

Modifying Pitch (Pitch)

fig.04-13_50

Creating a Rhythm Set

For details on the setting, refer to “How to Make the Rhythm Set Settings” (p. 69).

Pitch

Tone Coarse Tune (Rhythm Tone Coarse Tune)

Selects the pitch at which a rhythm tone sounds. Value: C-1– G9

Set the coarse tuning for Waves comprising the rhythm tones with the Coarse Tune parameter (RHYTHM/WMT) (p. 78).

Tone Fine Tune (Rhythm Tone Fine Tune)

Adjusts the pitch of the rhythm tone’s sound up or down in 1-cent steps (+/-50 cents).

Value: -50– +50

Vel Range Upper (Velocity Range Upper)

This sets the highest velocity at which the waveform will sound. Make these settings when you want different waveforms to sound in response to notes played at different strengths.

Value: LOWER–127

If you attempt to set the Lower velocity limit above the Upper, or the Upper below the Lower, the other value will automatically be adjusted to the same setting.

Vel Fade Upper (Velocity Fade Width Upper)

Value: 0–127

fig.Vel Range.e

Level

Velocity

Fade Lower

Range Lower

Fade Upper

Range Upper

One cent is 1/100th of a semitone.

Set the fine tuning for Waves comprising the rhythm tones with the Fine Tune parameter (RHYTHM/WMT) (p. 78).

Random Pitch Depth

Value: 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 20, 30, 40, 50, 60, 70, 80, 90, 100, 200, 300, 400, 500, 600, 700, 800, 900, 1000, 1100, 1200

Env Depth (Envelope Depth)

Adjusts the effect of the Pitch Envelope. Higher settings will cause the pitch envelope to produce greater change. Negative (-) settings will invert the shape of the envelope.

Value: -12– +12

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Creating a Rhythm Set

Env V-Sens (Pitch Envelope Velocity Sensitivity)

Value: -63– +63

Env T1 V-Sens (Pitch Envelope Time 1 Velocity Sensitivity)

Value: -63– +63

Env T4 V-Sens (Pitch Envelope Time 4 Velocity Sensitivity)

Value: -63– +63

Env Level 0–4 (Pitch Envelope Level 0–4)

Value: -63– +63

Env Time 1–4 (Pitch Envelope Time 1–4)

Value: 0–127

fig.Pitch Env.e

T1 T2 T3 T4

Pitch

Note on

T: Time L: Level

Note off

Time

Modifying the Brightness of a Sound with a Filter (TVF)

fig.04-14_50

For details on the setting, refer to “How to Make the Rhythm Set Settings” (p. 69).

TVF

Filter Type

Selects the type of filter. A filter is a function that cuts off a specific frequency band to change a sounds brightness, thickness, and other qualities.

Value OFF: No filter is used. LPF: Low Pass Filter. This reduces the volume of all frequencies

above the cutoff frequency (Cutoff Frequency). in order to round off, or un-brighten, the sound. This is the most common filter used in synthesizers.

BPF: Band Pass Filter. This leaves only the frequencies in the region of the cutoff frequency (Cutoff Frequency), and cuts the rest. This can be useful when creating distinctive sounds.

HPF: High Pass Filter. This cuts the frequencies in the region below the cutoff frequency (Cutoff Frequency). This is suitable for creating percussive sounds emphasizing their higher ones.

PKG: Peaking Filter. This emphasizes the frequencies in the region of the cutoff frequency (Cutoff Frequency). You can use this to create wah-wah effects by employing an LFO to change the cutoff frequency cyclically.

LPF2: Low Pass Filter 2. Although frequency components above the Cutoff frequency (Cutoff Frequency) are cut, the sensitivity of this filter is half that of the LPF. This makes it a comparatively warmer low pass filter. This filter is good for use with simulated instrument sounds such as the acoustic piano.

LPF3: Low Pass Filter 3. Although frequency components above the Cutoff frequency (Cutoff Frequency) are cut, the sensitivity of this filter changes according to the Cutoff frequency. While this filter is also good for use with simulated acoustic instrument sounds, the nuance it exhibits differs from that of the LPF2, even with the same TVF Envelope settings.

If you set “LPF2” or “LPF3,” the setting for the Resonance parameter will be ignored.

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Creating a Rhythm Set

1234567

Cutoff Frequency

Selects the frequency at which the filter begins to have an effect on the waveform’s frequency components.

Value: 0–127 With “LPF/LPF2/LPF3” selected for the Filter Type parameter,

lower cutoff frequency settings reduce a tone’s upper harmonics for a more rounded, warmer sound. Higher settings make it sound brighter.

If “BPF” is selected, harmonic components will change depending on the TVF Cutoff Frequency setting. This can be useful when creating distinctive sounds.

With “HPF” selected, higher Cutoff Frequency settings will reduce lower harmonics to emphasize just the brighter components of the sound.

With “PKG” selected, the harmonics to be emphasized will vary depending on Cutoff Frequency setting.

Cutoff V-Curve (Cutoff Frequency Velocity Curve)

Value: FIXED, 1–7

fig.Curve-7

1234567

Cutoff V-Sens (Cutoff Velocity Sensitivity)

Value: -63– +63

Resonance

Emphasizes the portion of the sound in the region of the cutoff frequency, adding character to the sound. Excessively high settings can produce oscillation, causing the sound to distort.

Value: 0–127

fig.Resonance.e

LPF BPF HPF PKG

Level

High

Frequency

Cutoff frequency

Resonance V-Sens (Resonance Velocity Sensitivity)

Value: -63– +63

Env Depth (TVF Envelope Depth)

Specifies the depth of the TVF envelope. Higher settings will cause the TVF envelope to produce greater change. Negative (-) settings will invert the shape of the envelope.

Value: -63– +63

Env V-Curve (TVF Envelope Velocity Curve)

Value: FIXED, 1–7

fig.Curve-7

Env V-Sens (TVF Envelope Velocity Sensitivity)

Value: -63– +63

Env T1 V-Sens (TVF Envelope Time 1 Velocity Sensitivity)

Value: -63– +63

Env T4 V-Sens (TVF Envelope Time 4 Velocity Sensitivity)

Value: -63– +63

Creating a Rhythm Set

parameter value

Low

Env Level 0–4 (TVF Envelope Level 0–4)

Value: 0–127

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Creating a Rhythm Set

1234567

Env Time 1–4 (TVF Envelope Time 1–4)

Specify the TVF envelope times (Time 1– Time 4). Higher settings will lengthen the time until the next cutoff frequency level is reached. (For example, Time 2 is the time over which Level 1 will change to Level 2.)

Value: 0–127

fig.TVF Env.e

T1 T2 T3 T4

Cutoff

Frequency

Note on

L2 L4

Time

Note off

The volume levels of the Waves from which the rhythm tone is composed is set with the WMT1–4 Wave Level parameter (RHYTHM/WMT) (p. 79).

Level V-Curve (TVA Level Velocity Curve)

You can select from seven curves that determine how keyboard playing strength will affect the volume. If you do not want the volume of the rhythm tone to be affected by the force with which you press the key, select “FIXED.”

Value: FIXED, 1–7

fig.Curve-7

T: Time L: Level

Adjusting the Volume (TVA)

fig.04-15_50

For details on the setting, refer to “How to Make the Rhythm Set Settings” (p. 69).

TVA

Rhythm Level (Rhythm Set Level)

Sets the volume of the rhythm set. Value: 0–127

Level V-Sens (TVA Level Velocity Sensitivity)

Set this when you want the volume of the rhythm tone to change depending on the force with which you press the keys. Set this to a positive (+) value to have the changes in rhythm tone volume increase the more forcefully the keys are played; to make the tone play more softly as you play harder, set this to a negative (-) value.

Value: -63– +63

Tone Pan (Rhythm Tone Pan)

Sets the pan for the rhythm tone. “L64” is far left, “0” is center, and “63R” is far right.

Value: L64–0–63R

Set the Pan for Waves comprising the rhythm tones with the Wave Pan parameter (RHYTHM/WMT) (p. 78).

Random Pan Depth

Use this parameter when you want the stereo location to change randomly each time you press a key. Higher settings will produce a greater amount of change.

Value: 0–63

Alternate Pan Depth

This setting causes panning to be alternated between left and right each time a key is pressed. Higher settings will produce a greater amount of change. “L” or “R” settings will reverse the order in which the pan will alternate between left and right. For example if two rhythm tones are set to “L” and “R” respectively, the panning of the two rhythm tones will alternate each time they are played.

Value: L63–0–63R

The volume levels of the Waves from which the rhythm tone is composed is set with the Wave Level parameter (RHYTHM/ WMT) (p. 79).

Tone Level (Rhythm Tone level)

Sets the volume of the rhythm tone. Use this parameter to adjust the volume balance between rhythm tones.

Value: 0–127

Env T1 V-Sens (TVA Envelope Time 1 Velocity Sensitivity)

Value: -63– +63

Page 83

Env T4 V-Sens (TVA Envelope Time 4 Velocity Sensitivity)

Value: -63– +63

Env Time 1–4 (TVA Envelope Time 1–4)

2.) Value: 0–127

Env Level 1–3 (TVA Envelope Level 1–3)

Specify the TVA envelope levels (Level 1–Level 3). These settings specify how the volume will change at each point, relative to the standard volume (the Rhythm Tone Level value specified in the TVA screen).

Value: 0–127

fig.TVA Env.e

T1 T2 T3 T4

Creating a Rhythm Set

Level

Note on

T: Time L: Level

Note off

Time

Page 84

Playing in Performance Mode

Performance mode is where you can combine multiple sounds (patches or rhythm sets) to create complex sounds, or use the Fantom as a master keyboard. You can also create and play layers (patches played together) or splits (separate patches played from different areas of the keyboard).

About the MIDI Connection Settings (Zone and Part)

Although the Fantom’s keyboard controller section and sound generator section are connected internally using a MIDI connection, in Performance mode, you can then make even more detailed settings affecting the way the connection works between the keyboard controller section and the sound generator section, as well as with an external MIDI device.

At the factory standard settings, shown below, there is a one-toone correspondence between the zone, the MIDI transmit/ receive channel, and the part.

fig.05-01.e

Zone 16 (MIDI transmit channel 16)

Zone 2 (MIDI transmit channel 2)

Zone 1 (MIDI transmit channel 1)

Part 16 (MIDI receive channel 16)

Part 2 (MIDI receive channel 2)

Part 1 (MIDI receive channel 1)

Patch/

Rhythm Set

About the PERFORMANCE PLAY Screen

Displaying PERFORMANCE PLAY Screen

To access the PERFORMANCE PLAY screen, use the following procedure.

1. Press [MODE].

The Mode window appears.

fig.01-12_50

2. Press or to select “PERFORMANCE,” and then press [8 (Select)].

You will enter Performance mode, and the PATCH PLAY screen appears.

fig.PERFORM_50

Under these conditions, you could simply consider that “each of the zones from 1 to 16 is linked in a one-to-one relationship with its numerical counterpart among parts 1 to 16”. In other words, you can use zone 1 when controlling

part 1, zone 2 is when controlling part 2, and so on.

In this manual, the expression “the zone and part are linked” refers to the condition whereby a zone’s MIDI transmit channel and a part’s MIDI receive channel are matched in this one-to-one relationship.

Page 85

Playing in Performance Mode

Functions in the PERFORMANCE PLAY Screen

fig.05-02.e

Indicates the current sound generating mode.

Indicates the name of the currently selected song, the measure location, the time signature, and the sequencer status.

Sets the Octave Shift (Oct) and the Transpose (Trans).

Indicates the song file name.

Switches multi-effects (MFX), chorus (CHO), and reverb (REV) on and off.

Indicates the group of the selected performance.

Indicates the MIDI receive channel used for switching performances from an external MIDI device.

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

This indicates the region that can be used for normal keyboard performance (ZONE), the region in which arpeggios can be played (ARP), and the region in which rhythm patterns can be played (RHY).

Turns the RPS function on/off (RPS). Turns Loop Play on/off (LOOP).

Indicates/sets the tempo at which the song, Arpeggio or rhythm pattern is played.

Selecting a Performance

The Fantom has two performance groups, including the User group and Preset groups, with each group storing 64 performances, for a total of 128 performances.

USER

This is the group inside the Fantom which can be rewritten. Performances you yourself create can be stored in this group. The Fantom contains 64 preset performances.

PRST (Preset)

This is the group inside the Fantom which cannot be rewritten. However you may modify the settings of the currently selected performance, and then store the modified performance in User memory. The Fantom contains 64 preset performances.

1. Access the PERFORMANCE PLAY screen (p. 84).

fig.05-03.e

Performance group

Performance number

Playing in Performance Mode

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

Displays the type of effect used.

Indicates the functions that are assigned to each realtime controller knob (●) and button (■). The value will be displayed when you turn the knob.

Indicates the names of the performances that can be selected by [1]–[8].

2. Press [CURSOR] to move the cursor to the performance group.

3. Turn the VALUE dial, or press [INC]/[DEC] to select a performance group.

USER: User PRST: Preset

4. Press [CURSOR] to move the cursor to the performance number.

5. Turn the VALUE dial or press [INC]/[DEC] to select the performance number.

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Playing in Performance Mode

Selecting Favorite Performances (Favorite Sound)

You can bring together your favorite and most frequently used performances in one place by registering them in the Favorite sound. By using this function you can quickly select your favorite performances from internal memory.

For instructions on how to register to the Favorite Sounds, refer to “Registering a Favorite Performance (Favorite Sound)” (p.

93).

Selecting from [1]–[8]

1. Access the PERFORMANCE PLAY screen (p. 84).

2. Press [1]–[8] to select a performance.

fig.05-04.e

Press [1]–[8] to select a performance

3. To switch the favorite sound bank, hold down [JUMP] and press [1]–[8].

Selecting Performances from the List

You can display a list of performances and select a performance from that list.

1. In the PERFORMANCE PLAY screen, make sure that the cursor is located at the performance group or performance number.

2. Press [LIST].

The Performance List window appears.

fig.05-06_50

3. Press or to choose the performance.

4. To switch the performance group, press to move the

cursor to the performance group tab, and press or to select the performance group.

5. After switching the performance group, press to move the cursor within the list, and press or to select the performance.

6. Press [EXIT] to close the Performance List window.

Selecting from the Favorite List Window

1. In the PERFORMANCE PLAY screen, make sure that the

cursor is located at the performance group or performance number.

2. While holding down [SHIFT], press [LIST]

The Favorite List window appears.

fig.05-05_50

3. Press or to select a performance.

4. To switch banks, press to move the cursor to the “Bank

1–8” tab, and press or to select the desired bank.

5. After switching the bank, press to move the cursor within the list, and press or to select the performance.

6. When you press [8 (Select)] the performance will be selected, and the Favorite List window will close.

Page 87

Playing in Performance Mode

Part 1: Strings

Part 1 + Part 2:

(Strings + Piano)

Part 2: Piano

Key range specified for Performance

Key range specified for Patch

The range in which notes will play

Combining and Playing Sounds Together (Layer)

In Performance mode you can play the sounds of all zones whose Internal Switch is on, and all connected parts. Combining the parts will produce, thicker, fatter sounds.

fig.05-07.e

Part 1

(Rx ch.1)

Rx ch.: Receive Channel Tx ch.: Transmit Channel

1. Access the PERFORMANCE PLAY screen (p. 84).

2. Press [MENU] to open the Menu window.

3. Press or to select “Performance Edit,” and then

press [8 (Select)].

The Performance Edit screen appears.

4. Press [1 (▲)] or [2 (▼)] to select the “Zone” tab.

A screen like the one shown below appears.

fig.05-08_50

5. Use [CURSOR] to move the cursor to “Int Switch.”

6. Press or to select the zone that is connected to the

part you want to play.

7. Turn the VALUE dial or press [INC] to select “ON.”

8. Repeat steps 5–7 to turn the Internal Switch on for all zones

that are connected to the parts you want to play.

9. When you are finished making settings, press [EXIT] to return to the PERFORMANCE PLAY screen, and begin playing.

Part 2

(Rx ch.2)

Internal Switch: On

Zone 1 (Tx ch.1)

Zone 2 (Tx ch.2)

Zone 15 (Tx ch.15)

Zone 16 (Tx ch.16)

Part 15

(Rx ch.15)

Part 16

(Rx ch.16)

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

In Performance mode you can divide the keyboard and play a different patch in each area (this is called “split”). As the note range that plays each zone can be specified individually, you can split the keyboard into a maximum of 16 sections.

For instance, you can play strings in the lower range, piano in the upper range, and both sounds in the middle range.

fig.05-09.e

Playing in Performance Mode

A split performance is one application of a layer performance. Changing the key range of each patch in the layer performance results in a split performance.

• If the Key Range of the patch has been set (p. 58), the sound will be heard for keys in the area for which the key ranges of the patch and performance overlap.

fig.05-10.e

• In a performance, you can specify the range over which each part will sound (p. 102), but if you will be playing the performance from the keyboard of the Fantom, we recommend that you use the zone settings explained here to specify the keyboard range, instead of specifying the range of each part.

1. Access the PERFORMANCE PLAY screen (p. 84).

2. Refer to the procedure for the preceding section

“Combining and Playing Sounds Together (Layer),” and turn the Internal Screen on for each zone that is connected to a part you want to play.

Page 88

Playing in Performance Mode

3. Make sure the Performance Edit screen is displayed, and

press [1 (▲)] or [2 (▼)] to select the “Zone” tab.

A screen like the one shown below appears.

fig.05-08_50

4. To set the lower limit of the range, use [CURSOR] to move the cursor to “Key Range Lower.” To set the upper limit of the range, move the cursor to “Key Range Upper.”

5. Press or to select the zone whose range you want to set.

6. Turn the VALUE dial or press [INC]/[DEC] to specify the range.

Playing Arpeggios in a Specific Region of the Keyboard

In Patch mode, when you press [ARPEGGIO] to turn the arpeggiator on, the keyboard will allow you to play arpeggios. On the other hand, it will no longer be possible to play normally.

However, in Performance mode, you can split the keyboard to divide it into a range for normal playing and a range for arpeggio playing. This setting, for instance, allows you to play arpeggios with the left hand and a melody with the right hand.

1. Access the PERFORMANCE PLAY screen (p. 84).

2. As described in the procedure for “Combining and Playing

Sounds Together (Layer)” (p. 87), turn on the Internal Switch for the zone that is connected to the part whose sound you want to play.

3. Make sure that the Performance Edit screen is displayed,

and press [1 (▲)] or [2 (▼)] to select the “Arpeggio” tab.

A screen like the one shown below appears.

fig.05-11_50

By specifying sections for different zones so that they overlap each other, you can combine two or more patches only in a specific section.

7. When you are finished making settings, press [EXIT] to return to the PERFORMANCE PLAY screen, and begin playing.

4. Use [CURSOR] to move the cursor to “Zone Number.”

5. Turn the VALUE dial or press [INC] or [DEC] to select the

zone linked to the part for which arpeggios are to be played.

6. Next, specify the range of the zone. Press [2 (▼)] to select

the “Zone” tab.

A screen like the one shown below appears.

fig.05-08_50

7. To set the lower limit of the range, use [CURSOR] to move

the cursor to “Key Range Lower.” To set the upper limit, move the cursor to “Key Range Upper.”

8. Press or to select the zone that you set in step 5.

Page 89

Playing in Performance Mode

9. Turn the VALUE dial or press [INC]/[DEC] to specify the

range of notes.

This specifies the range of the zone that is connected to the part that will be played by the arpeggios.

10.Press or to select a zone that is connected to a part that is not playing arpeggios.

11.Set the key range of the zones linked to the parts other than the part for which arpeggios are played so that this range does not overlap with the key range over which the arpeggios are played.

12.When you are finished making settings, press [EXIT] to return to the PERFORMANCE PLAY screen, and begin playing.

The zone that plays the arpeggio will be displayed as “ARP,” and will be enabled when you press [ARPEGGIO].

Playing Rhythm Patterns in a Specific Region of the Keyboard

In Performance mode, you can create a split keyboard setup that divides the keyboard into a region for normal keyboard playing, and a separate region for playing rhythm patterns. For example, you could hold a rhythm pattern while you play a melody. In addition, you could specify a region for arpeggio performance, and use this to produce an accompaniment while you play the melody—an easy way to produce ensemble performances.

1. Access the PERFORMANCE PLAY screen (p. 84).

2. As described in the procedure for “Combining and Playing

Sounds Together (Layer)” (p. 87), turn on the Internal Switch for the zone that is connected to the part whose sound you want to play.

3. Make sure the PERFORMANCE EDIT screen is displayed, and press [1 (▲)] or [2 (▼)] to select the “Rhythm Ptn” tab.

A screen like the one shown below appears.

fig.05-12_50

7. Turn the VALUE dial or press [INC]/[DEC] to specify the lowest key (note name) of the range that is to play the rhythm pattern.

The rhythm pattern can be played in a one-octave range starting from the key you specify here.

8. Next, specify the range of the zone. Press [2 (▼)] to select the “Zone” tab.

A screen like the one shown below appears.

fig.05-08_50

Playing in Performance Mode

9. To set the lower limit of the range, use [CURSOR] to move

the cursor to “Key Range Lower.” To set the upper limit of the range, move the cursor to “Key Range Upper.”

10.Press or to select the zone that you set in step 5.

11.Turn the VALUE dial or press [INC]/[DEC] to specify the

range. Specify a keyboard range extending one octave above the key you specified in step 7.

This specifies the range of the zone connected to the part that is to play the rhythm pattern.

12.Press or to select a zone that is connected to a part other than the part that is to play the rhythm pattern.

13.Set the range of the zones that are connected to parts other than the part that plays the rhythm pattern, so that they do not overlap the zone that plays the rhythm pattern.

14.When you are finished making settings, press [EXIT] to return to the PERFORMANCE PLAY page, and begin playing.

The zone that plays the rhythm pattern will be displayed as “RHY,” and will be enabled when you press [RHYTHM].

4. Use [CURSOR] to move the cursor to “Zone Number.”

5. Turn the VALUE dial or press [INC]/[DEC] to specify the zone

that is connected to the part that is to play the rhythm pattern.

6. Use [CURSOR] to move the cursor to “Note Assign.”

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Playing in Performance Mode

Using the Fantom As a Master Keyboard

This allows the keyboard of the Fantom to freely control the internal sound generator or external sound generators as a master keyboard.

Changing the Connections between Keyboard and Sound Generator (Zone)

In general, connections within the Fantom are made by matching the MIDI transmit channel of the keyboard (zone) with the MIDI receive channel of the sound generator (part). Then you can specify whether the internal sound generator will be played, or an external sound generator connected to the MIDI OUT connector will be played.

fig.05-13.e

Part 1

(Rx ch.1)

Part 2

(Rx ch.2)

Part 15

(Rx ch.15)

Part 16

(Rx ch.16)

Confirming MIDI Information for Each Part (Part Information)

In Performance mode, the reception status of MIDI messages that control various things can be viewed for each part. This is useful when you want to check whether the sound generator is responding correctly to the keyboard, or to operations from an external MIDI controller.

1. Access the PERFORMANCE PLAY screen (p. 84).

2. Press [MENU] to open the Menu window.

3. Press or to select “Part Information,” and then

press [8 (Select)].

The Part Information window appears.

fig.05-14_50

4. Press [8 (Type)]

The Type window appears.

fig.05-15_50

Internal Switch

Zone 1 (Tx ch.1)

Zone 2 (Tx ch.2)

Rx ch.: Receive Channel Tx ch.: Transmit Channel

To change the connections between the keyboard and the sound generator, make the following settings.

External Switch

MIDI OUT

Zone 15 (Tx ch.15)

Zone 16 (Tx ch.16)

● Zone Settings (p. 98)

Transmit Channel: Specify the MIDI transmit channel (1–16) of the keyboard (zone).

Int Switch (Internal Switch): Turn this “ON” if you want to sound the internal sound generator of the Fantom.

Ext Switch (External Switch): Turn this “ON” if you want to sound an external sound generator connected to the MIDI OUT connector.

● Part Settings (p. 103)

Receive Channel: Specify the MIDI receive channel of the internal sound generator (part).

5. Press or to select the message that you want to check, and then press [8 (Select)].

Modulation: Modulation Information Breath: Breath Information Foot Type: Foot type Information Volume: Volume Information Panpot: Panpot Information Expression: Expression Information Hold 1: Hold 1 Information Pitch Bend: Pitch Bend Information Aftertouch: Aftertouch Information Voices: Voice Information (The number of voices used) Sys Control1–4: System Control 1–4 Information

The MIDI message specified as the Sys Ctrl 1–4 Source parameter (SYSTEM/Controller).

● External Sound Generator Settings

This sets the MIDI receive channel.

Page 91

Creating a Performance

How to Make the Performance Settings

Start with an existing performance and edit it to create a new performance. But before you do, try to envision what the entire performance will sound like and decide which patch or rhythm set to assign to each of 16 parts.

1. Access the PERFORMANCE PLAY screen, and select the performance whose settings you wish to modify (p. 85).

If you want to create all your performances from the ground up, rather than the performances that have already been prepared, carry out the Initialize operation (p. 91).

2. Press [MENU].

The Menu window appears.

fig.06-01_50

6. Turn the VALUE dial or press [INC]/[DEC] to get the value

7. Repeat steps 4–6 to complete a performance.

8. If you wish to save the changes you’ve made, press [6

• When all the parameters cannot be shown within a single settings screen, a scroll bar will be displayed at the right side of the screen. In such cases, press to scroll the screen downward.

If you have selected a screen for parameters that can be set for each part or zone, first move the cursor to the parameter that you wish to edit, and then press or to select the part or zone.

you want.

Creating a Performance

(Write)] to perform the Save operation (p. 93). If you do not wish to save changes, press [EXIT] to return to the PERFORMANCE PLAY screen.

If you return to the PERFORMANCE PLAY screen without saving, the display will indicate “EDITED,” reminding you that the performance settings have been modified.

3. Press or to select “Performance Edit,” and then press [8 (Select)].

The performance Edit screen appears.

fig.06-02_50

4. The parameters are organized into several editing groups. Press [1 (▲)] or [2 (▼)] to select the tab for the editing group that contains the parameter you wish to edit.

If you turn off the power or select a different sound while the display indicates “EDITED,” your edited performance will be lost.

Initializing Performance Settings (Init)

“Initialize” means to return the settings of the currently selected sound to a standard set of values or to the factory settings.

1. Access the PERFORMANCE PLAY screen, and select the performance that you wish to initialize (p. 85).

2. Access the Performance Edit screen (p. 91).

3. Press [7 (Init)].

The Performance Initialize window appears.

fig.06-03_50

For details on the parameter groupings, refer to “Parameter list” (Sound/Parameter List).

5. Use [CURSOR] to move the cursor to the parameter you wish to modify.

4. Move the cursor to “Type,” and select the initialization type.

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Creating a Performance

Type (Initialize Type)

There are three initialize methods. Select either of them depending on the application.

DEFAULT: Resets the currently selected performance in the Temporary memory to the standard values. This is called a ‘Initial Data.’ Use this setting when you wish to create a sound from scratch.

PRESET: Resets the currently selected performance in user memory to the factory settings.

MFX TEMPLATE: The multi-effect settings of the currently selected performance will be set to the MFX template settings.

If the currently selected performance is preset memory (PRST) data, initializing with the “PRESET” setting will set the values to those of the identically numbered user memory.

For details regarding MFX template, refer to “MFX Template List” (Sound/Parameter List).

5. If you’ve set the initialization type to “MFX TEMPLATE,” move the cursor to “Template” and select an MFX template. Then move the cursor to “MFX,” and select the relevant MFX (MFX-A–MFX-C).

6. Press [8 (Execute)].

The initialization will be carried out, and you’ll be returned to the Performance Edit screen.

5. Move the cursor to “Source,” and select the copy-source sound.

6. Press [8 (Execute)] to execute the copy.

7. Press [EXIT] to return to the Performance Edit screen.

Types of Performance Copy

Performance Name Copy (NAME)

The name of a patch, rhythm set, multitimbre, or performance will be copied to the currently selected performance.

fig.06-04_50

Performance Effects Copy (MFX/CHORUS/ REVERB)

The effect settings of a patch, rhythm set, multitimbre, or performance will be copied to the currently selected performance.

fig.06-05.e

Copying Performance Settings (Copy)

This operation copies the settings of any desired performance to the currently selected performance. You can use this feature to make the editing process faster and easier.

Basic Procedure for Performance Copy

1. Access the PERFORMANCE PLAY screen, and select the

copy-destination performance (p. 85).

2. Access the Performance Edit screen (p. 91).

3. Press [8 (Copy)].

The Performance Copy window appears.

fig.06-04_50

4. Move the cursor to “Mode,” and select the data that you wish to copy.

Three types of copy are available: Performance Name Copy, Performance Effects Copy, and Performance Part Copy. You

should select the one that is relevant to the type of data you wish to copy. For details refer to “Types of Performance Copy” (following section).

Copy-source multieffects

Effect contents that will be copied (Mode)

MFX: Multi-effects settings CHORUS: Chorus settings REVERB: Reverb settings If you want to copy the multi-effect settings of a multitimbre or

performance, select the MFX (MFX-A–MFX-C) whose data will be copied.

Copy-destination multieffects

Performance Part Copy (PART)

Part settings of a performance will be copied to the part you specify of the current performance.

fig.06-06.e

Copy-source part Copy-destination part

To specify the currently selected performance as the copy source, set “Source” to “TEMP.”

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Creating a Performance

Saving Performance You’ve Created (Write)

When you modify the settings of a performance, the PERFORMANCE PLAY screen will indicate “EDITED.” Once you save the performance into internal memory (user memory), the “EDITED” indication goes away.

1. Make sure that performance you wish to save is selected.

2. Press [MENU].

The Menu window appears.

fig.06-01_50

6. Press [8 (Execute)].

The display will indicate “Are you sure?”

7. Press [8 (OK)] to execute the save operation. To cancel the operation, press [EXIT].

When Changing the Settings for the Patch or Rhythm Set Assigned to a Part in a Performance

After changing the settings for the patch or rhythm set assigned to a part in a performance, if you then try to save the performance without first saving the changes in the settings, the following message appears.

fig.06-08_50

If you do not need to keep the patch or rhythm set settings, press [8 (Execute)] to save the performance.

If you want to keep the patch or rhythm set settings, press [7 (Write Part)] to access the Performance Part Write window.

fig.06-09_50

Creating a Performance

3. Press or to select “Performance Edit,” and then

press [8 (Select)].

The Performance Edit screen appears.

fig.06-02_50

4. Press [6 (Write)].

The Performance Write window appears.

fig.06-07.e

Save-destination performance

An indication of “EDITED” will appear for the part for which the assigned patch or rhythm set was edited. If you want to edit the patch or rhythm set settings for more than one part, press [3 (▲)] or [4 (▼)] to select the part.

Specify the save-destination patch and press [8 (Execute)]. The patch or rhythm set will be saved; then you’ll be returned to the Performance Write window, where you need to save the performance once again.

Registering a Favorite Performance (Favorite Sound)

You can bring together your favorite and most frequently used performances in one place by registering them in the Favorite sound. By using this function you can rapidly select favorite performances from internal memory or a Wave Expansion Board. You can register a total of 64 sounds (8 sounds x 8 banks) as favorite sounds.

For details on selecting a favorite sound, refer to “Selecting Favorite Performances (Favorite Sound)” (p. 86).

5. Press or to specify the save-destination performance.

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Creating a Performance

Using [1]–[8] to Register

1. Access the PERFORMANCE PLAY screen, and select the

performance that you wish to register (p. 85).

2. Hold down [JUMP (BANK)] and press a [1]–[8] to select the bank in which you wish to register the sound.

3. Hold down [SHIFT (REGISTRY)] and press a [1]–[8] to select the button at which you wish to register the sound.

The display will indicate “Register OK ?”

4. Press [8 (OK)] to execute the registration. To cancel the operation, press [EXIT].

Using the Favorite List Window to Register

1. Access the PERFORMANCE PLAY screen to select the

performance that you wish to register (p. 85).

2. Make sure that you are in the PERFORMANCE PLAY screen, and that the cursor is located at the performance group or the performance number.

3. While holding down [SHIFT], press [LIST]

The Favorite List window appears.

fig.06-10_50

Functions of Performance Parameters

This section explains the functions the different performance parameters have, as well as the composition of these parameters.

Settings Common to the Entire Performance (General)

fig.06-02_50

For details on the setting, refer to “How to Make the Performance Settings” (p. 91).

4. Press to move the cursor to the “Bank 1–8” tab, and press or to select the bank in which you wish to register the performance.

5. Press to move the cursor within the list, and press or to select the number to which you wish to register. The number you select here corresponds to [1]–[8].

6. Press [5 (Regist)] to execute the registration.

By pressing [6 (Remove)] you can cancel the performance registration that is selected in the Favorite List window.

7. When you have finished registering favorite sounds, press [EXIT] to close the Favorite List window.

General

Performance Name

You can assign a name of up to 12 characters to the performance. Value: space, A–Z, a–z, 0–9, ! " # $ % & ’ ( ) * + , - . / : ; < = > ? @ [ \ ]

^ _ ` { | } → ←

For details on assigning names, refer to “Assigning a Name” (p.

30).

You can assign a name to the performance of up to 12 characters.

Seq Tempo Override (Sequencer Tempo Override)

Specify whether the sequencer tempo will change (ON), or will not change (OFF) when you switch performances. The tempo following the change is specified by the Overriding Tempo parameter. If, after switching performances, you want the arpeggiator and rhythm pattern settings specified for that performance to be played at an appropriate tempo, turn this “ON.”

Value: OFF, ON

Overriding Tempo

If you want the sequencer tempo to change when you switch performances, specify the tempo that will follow this change. This setting is valid when the Seq Tempo Override parameter is “ON.”

Value: 20–250

Page 95

Creating a Performance

Arpeggiator Settings (Arpeggio)

fig.05-11_50

For details on the setting, refer to “How to Make the Performance Settings” (p. 91).

Arpeggio

Switch (Arpeggio Switch)

Switches the Arpeggiator on/off. Value: OFF, ON

Hold (Arpeggio Hold Switch)

Switch between Hold On/Hold Off for the Arpeggiator performance.

Value: OFF, ON

Style (Arpeggio Style)

Specifies the basic way in which the arpeggio will be played.

For details regarding Arpeggio Style, refer to “Arpeggio Style List” (Sound/Parameter List).

Variation (Arpeggio Variation)

Motif (Arpeggio Motif)

Sets the order in which notes of the chord will sound.

Value UP: Notes you press will be sounded, beginning from low to high. DOWN: Notes you press will be sounded, from high to low. UP&DOWN: Notes you press will be sounded, from low to high, and

then back down from high to low.

RANDOM: Notes you press will be sounded, in random order. NOTE ORDER: Notes you press will be sounded in the order in

which you pressed them. By pressing the notes in the appropriate order you can produce melody lines. Up to 128 notes will be remembered.

GLISSANDO: Each chromatic step between the highest and lowest notes you press will sound in succession, repeating upward and downward. Press only the lowest and the highest notes.

CHORD: All notes you press will sound simultaneously. AUTO1: The timing at which keys will sound will be assigned

automatically, giving priority to the lowest key that was pressed. AUTO2: The timing at which keys will sound will be assigned

automatically, giving priority to the highest key that was pressed. PHRASE: Pressing a single key will sound the phrase based on the

pitch of that key. If multiple keys are pressed, the last-pressed key will be valid.

Accent Rate (Arpeggio Accent Rate)

Modifies the strength of accents and the length of the notes to adjust the “groove” feel of the arpeggio. A setting of “100%” will produce the most pronounced groove feel.

Value: 0–100%

Shuffle Rate (Arpeggio Shuffle Rate)

This setting lets you modify the note timing to create shuffle rhythms.

With a setting of “50%” the notes will be spaced evenly. As the value is increased, the note timing will have more of a “dotted” (shuffle) feel.

Value: 0–100%

fig.Shuffle Rate

Shuffle Rate = 50%

50 50 50 50

Shuffle Rate = 90%

90 10 90 10

Shuffle Resolution (Arpeggio Shuffle Resolution)

Specify the timing resolution in terms of a note value. The note value can be specified as either an 16th note or a eighth note.

Value: ,

Keyboard Velocity (Arpeggio Keyboard Velocity)

Specifies the loudness of the notes that you play. If you want the velocity value of each note to depend on how

127). Value: REAL, 1–127

Octave Range (Arpeggio Octave Range)

Value: -3– +3

Creating a Performance

Page 96

Creating a Performance

Key Trigger (Arpeggio Key Trigger)

Value: OFF, ON

Zone Number (Arpeggio Zone Number)

Specify the zone for arpeggio performance. The Arpeggio performance corresponding to the part connected to the zone set here is played.

Value: 1–16

Rhythm Pattern Settings (Rhythm Ptn)

fig.05-12_50

Accent Rate (Rhythm Pattern Accent Rate)

Modifies the strength of accents and the length of the notes to adjust the “groove” feel of the Rhythm pattern. A setting of “100%” will produce the most pronounced groove feel.

Value: 0–100%

Shuffle Rate (Rhythm Pattern Shuffle Rate)

This setting lets you modify the note timing to create shuffle rhythms.

With a setting of “50%” the notes will be spaced evenly. As the value is increased, the note timing will have more of a “dotted” (shuffle) feel.

Value: 0–100%

fig.Shuffle Rate

Shuffle Rate = 50%

50 50 50 50

Shuffle Rate = 90%

90 10 90 10

Shuffle Resolution (Rhythm Pattern Shuffle Resolution)

Specify the timing resolution in terms of a note value. The note value can be specified as either an 16th note or a eighth note.

Value: ,

For details on the setting, refer to “How to Make the Performance Settings” (p. 91).

Rhythm Ptn (Rhythm Pattern)

Switch (Rhythm Pattern Switch)

Switch Rhythm pattern playback on/off. Value: OFF, ON

Hold (Rhythm Pattern Hold Switch)

Switch between Hold On/Hold Off for the Rhythm pattern playback.

Value: OFF, ON

Style (Rhythm Pattern Style)

Select the basic playback style of the Rhythm pattern.

Value

For details regarding Rhythm Pattern Style, refer to “Rhythm Pattern Style List” (Sound/Parameter List).

Keyboard Velocity (Rhythm Pattern Keyboard Velocity)

Specifies the loudness of the notes that you play. If you want the velocity value of each note to depend on how

127). Value: REAL, 1–127

Note Assign (Rhythm Pattern Note Assign)

Specify the note name of the lowest note in the key range that will play the Rhythm pattern. The Rhythm pattern can be played in a one-octave range starting from the key you specify here.

Value: C-1–G9

Key Trigger (Rhythm Pattern Key Trigger)

Value: OFF, ON

Zone Number (Rhythm Pattern Zone Number)

Specify the zone that will play the Rhythm pattern. The Rhythm pattern will be played for the part that is connected to the zone you specify here.

Value: 1–16

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Creating a Performance

Realtime Controller / D Beam Controller Settings (Controller)

fig.06-11_50

For details on the setting, refer to “How to Make the Performance Settings” (p. 91).

Knob

Assign 1–4 (Realtime Control Knob Assign 1–4)

Specify the functions that will be controlled by the [ ]–[ ] knobs.

Value OFF: The realtime control knob will not be used. CC01–31, 33–95: Controller numbers 1–31, 33–95

For more information about Control Change messages, please refer to “MIDI Implementation” (Sound/Parameter List).

PITCH BEND: Pitch Bend AFTERTOUCH: Aftertouch TEMPO: Tempo ARP VAR: Arpeggio Variation ARP ACCENT: Arpeggio Accent Rate ARP SHFFLE: Arpeggio Shuffle Rate ARP OCTAVE: Arpeggio Octave Range PTN ACCENT: Rhythm Pattern Accent Rate PTN SHFFLE: Rhythm Pattern Shuffle Rate

Zone 1–4 (Realtime Control Knob Zone Number 1–4)

Specify the zone that will be controlled by each knob [ ]–[ ]. The effect will apply only to the part that is connected to the zone you specify here.