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Equal Temperament
This tuning divides the octave into 12 equal parts, and is the
most widely used method of temperament used in Western
music. The Fantom employs equal temperament when the Scale
Tune Switch is set to "OFF."
Just Temperament (Tonic of C)
Compared with equal temperament, the principle triads sound
pure in this tuning. However, this effect is achieved only in one
key, and the triads will become ambiguous if you transpose.
Arabian Scale
In this scale, E and B are a quarter note lower and C#, F# and G#
are a quarter-note higher compared to equal temperament. The
intervals between G and B, C and E, F and G#, Bb and C#, and
Eb and F# have a natural third—the interval between a major
third and a minor third. On the Fantom, you can use Arabian
temperament in the three keys of G, C and F.
<Example>
Note
Equal tem-
Just Tempera-
name
perament
ment (tonic C)
C
0
C#
0
D
0
Eb
0
E
0
F
0
F#
0
G
0
G#
0
A
0
Bb
0
B
0
Arabian Scale
0
-6
-8
+45
+4
-2
+16
-12
-14
-51
-2
-8
-10
+43
+2
-4
+14
+47
-16
0
+14
-10
-12
-49
Creating a Performance
Changing the Settings of the
Patch Assigned to a Part
When using patches in Performance mode, some settings such as
effects settings will be affected by performance settings. If you wish
to edit a patch while hearing how it will sound in the performance,
use this procedure:
* Here we explain how to change the setting of a patch assigned to a part.
The procedure for changing the settings of rhythm sets is the same.
Substitute "rhythm set" wherever "patch" appears in a sentence.
1. Make sure the PERFORMANCE PLAY screen is displayed.
2. Press [MENU].
The Menu window appears.
fig.06-01_50
3. Press
or
to select a "Part Patch Edit," and then
press [8 (Select)].
The patch assigned to the part is displayed in the Patch Edit
screen.
fig.06-15_50
4. Press [4 (Part Select)].
The Part Select window will appear.
fig.06-16_50
5. Press
or
to select the part whose assigned patch
you want to change, and then press [8 (Select)].
6. The rest of the procedure is the same as when making
changes in Patch mode (p. 42).
105
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