Page 2: Important Safety Instructions
WARNING: To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture. The lightning flash with arrowhead symbol, within an CAUTION equilateral triangle, is intended to alert the user to the RISK OF ELECTRIC SHOCK presence of uninsulated “dangerous voltage”...
Page 3 In the interest of product improvement, the specifications and/or appearance of this unit are subject to change without prior notice. Copyright © 2008 ROLAND CORPORATION All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION.
Page 4: Using The Unit Safely
• Before using this unit, make sure to read the • When using the unit with a stand recommended instructions below, and the Owner’s Manual. by Roland, the stand must be carefully placed so it is level and sure to remain stable. If not using a ......................
Page 5 ......................101c listed on the “Information” page when: • This unit for use only with Roland stand KS-18Z • The power-supply cord or the plug has been damaged; (Fantom-G6/G7/G8), KS-G8 (Fantom-G8). Use with other stands (or carts) is capable of resulting •...
Page 6 118a • Should you remove screws from the bottom cover of the unit (p. 308, p. 312), keep them in a safe place out of children’s reach, so there is no chance of them being swallowed accidentally......................• Always turn the phantom power off when connecting any device other than condenser microphones that require phantom power.
Page 7: Important Notes
• Using the unit near power amplifiers (or other equipment be possible to restore the data, and Roland assumes no containing large power transformers) may induce hum.
Page 8: Using Usb Memory
Technology Properties Limited • Never touch the terminals of the USB memory. Also, (TPL). Roland has licensed this technology from the TPL avoid getting the terminals dirty. Group. * MatrixQuest™ 2008 TEPCO UQUEST, •...
Page 9: Table Of Contents
Contents USING THE UNIT SAFELY ..................4 IMPORTANT NOTES ....................7 Contents........................9 01: Introduction (Overview and Basic Operation) ... 19 Main Features ......................20 Panel Descriptions....................22 Front Panel..................................... 22 Rear Panel ....................................24 Making Connections ....................25 Connecting an Amp and Speaker System......................... 25 Connecting a USB Mouse (sold separately)........................
Page 10 Contents 02: Sound Generator, Section 1 (Playing Sounds) ... 45 Playing in Single Mode .................... 46 About the Single Play Screen .............................. 46 Displaying Single Play Screen ..........................46 Selecting a Patch ................................... 47 Selecting Patches by Category (Patch Finder)....................48 Selecting Patches from the List ..........................
Page 11 Contents 03: Sound Generator, Section 2 (Controlling Sounds)... 71 Modifying the Sound in Real Time ................. 72 Waving Your Hand Over the D Beam to Modify the Sound (D Beam Controller) ............ 72 Making Settings for the D Beam Controller ....................... 73 Using Knobs, Sliders or S1/S2 Buttons to Modify the Sound (Realtime Controller) ..........
Page 12 Contents Modifying the Brightness of a Sound with a Filter (TVF/TVF Env) ............122 Adjusting the Volume (TVA/TVA Env)......................124 Output Settings (Output) ............................ 125 Setting Effects for a Rhythm Set (PFX) ......................125 Creating a Sample Set ................... 126 How to make Sample Set settings ............................
Page 13 Contents 05: Pads (Using the Pads)........187 Using the Pads ....................... 188 Common Operations for Pads ............................188 Switching the Pad Mode (PAD MODE)......................188 Using the Pads as Numeric Keys (NUMERIC) ....................188 Using the Hold Function to Sustain the Sounds (HOLD) ................188 Using the Roll Function (ROLL).........................
Page 14 Contents 06: Sequencer (Creating a Song) ......203 Playing Back a Song....................204 Three Ways to Play Back ............................. 204 Playing a Song (Song Play)..............................204 Loading a Song (Song List) ..........................204 Playing a Song (Song Play) ..........................205 Operations in the Song Play Screen ........................
Page 15 Contents Editing Songs ......................232 Three Ways to Edit ............................... 232 Editing a Song (Song Edit) ..............................232 Opening the Song Edit Screen ..........................232 Moving a Sample/Phrase (Move)........................233 Inserting a Sample/Phrase at a Specified Location (Insert) ................233 Deleting a Sample/Phrase from a Track (Delete)....................
Page 16 Contents 07: Sampler ............257 Sampling ......................... 258 Switching External Input On/Off ............................ 258 Making Input Source Settings (Input Setting)........................ 258 Functions of Input Setting Parameters ..........................258 Input Effect Setup Settings ..............................259 Sampling Procedure ................................260 Dividing a Sample During Sampling ........................ 262 Sampling Earlier in Time (Skip Back Sampling) ......................
Page 17 Contents 08: Various Settings (Menu and System)....279 Menu Reference ..................... 280 Menus ....................................280 Project-related Settings (Project)............................280 Load Project................................280 Save Project................................281 Save As Project..............................281 Create Project ................................ 282 Backup Project............................... 282 Restore Project............................... 283 System Settings (System) ..............................283 Reset to Default Factory Settings (Factory Reset) ......................
Page 18 Contents 09: Appendix............307 Installing the Expansion Board ................308 Cautions When Installing an Expansion Board ......................308 How to Install an Expansion Board ..........................308 Removing an Expansion Board ............................309 Configuring the Newly-installed Expansion Board ...................... 309 Installation de la carte d’expansion Wave ............310 Précautions à...
Page 19: 01: Introduction (Overview And Basic Operation)
01: Introduction (Overview and Basic Operation) This chapter explains the Fantom-G’s panels, provides an overview of the instrument, and explains basic operation. • Main Features ............p. 20 • Panel Descriptions............p. 22 • Making Connections ........... p. 25 • Overview of the Fantom-G ........... p. 32 •...
Page 20: Main Features
In addition, there are two multi-effects (MFX) processors that provides an optimal sound engine for each different sound can be used flexibly. Up to twenty-two types of effects, such as (Roland’s new “SuperNATURAL” technology, which boasts chorus and reverb, can be used simultaneously. amazing expressive power).
Page 21 Main Features Skip Back Sampling function V-LINK The Skip Back Sampling function, which was so popular on the V-LINK functionality opens up a new realm of expression for Fantom-X series, is also provided on the Fantom-G. your performances because of the way it allows you to synchronize music and visual images.
Page 22: Panel Descriptions
Panel Descriptions Front Panel 13 14 [FAVORITE] D BEAM This lets you register favorite sounds for immediate call-up — a Here you can switch the D Beam function on/off. This lets you apply convenient capability for live performances. → (p. 54) various effects to the sound by moving your hand above the sensor.
Page 23 Panel Descriptions [PLAY] VALUE Dial This plays back the song. → (p. 204) Modifies a value. By holding down [SHIFT] and turning the VALUE It will blink in time with the tempo and time signature. → (p. 297) dial, you can modify the value in larger steps. [CURSOR] Buttons [STOP] These move the cursor up/down/left/right.
Page 24: Rear Panel
Panel Descriptions Rear Panel POWER ON Switch AUDIO INPUT Press to turn the power on/off. → (p. 28) MIC/GUITAR Jack You can connect either a mic or guitar. Set the Switch as appropriate AC Inlet for the device you’ve connected to the MIC/GUITAR jack. Connect the included power cord to this inlet.
Page 25: Making Connections
Making Connections Connecting an Amp and Speaker System Since the Fantom-G contains no amplifier or speakers, you’ll need to connect it to audio equipment such as a keyboard amplifier, monitor speaker system or home stereo, or use headphones to hear its sound. To prevent malfunction and/ Before hooking anything up, make sure that the power on all of your gear is turned or damage to speakers or other...
Page 26: Connecting A Usb Mouse (Sold Separately)
Making Connections Connecting a USB Mouse (sold separately) If you connect a commercially available USB mouse to the Fantom-G’s rear panel USB MOUSE connector, a mouse cursor will be shown in the display, and you’ll be able to use the mouse. Action Operation Left-click...
Page 27: Placing The Fantom-G On A Stand
Use of stand not according to the instructions above will result in instability causing possible injury. For Fantom-G8 user If you want to place the Fantom-G8 on a stand, use the Roland KS-18Z or KS-G8. Place the instrument on the stand as follows. fig.02-001.e...
Page 28: Turning On The Power
Turning On the Power Once the connections have been completed (p. 25), turn on power to your various devices in the order specified. By turning on devices in the wrong order, you risk causing malfunction and/or damage to speakers and other devices. To ensure proper operation of fig.bender.e the pitch bend lever, make...
Page 29: Listening To The Demo Songs
Listening to the Demo Songs The Fantom-G has a demo song that will be loaded at start-up. Here’s how to play the demo. 981a Press [PLAY]. All rights reserved. The demo song will play. Unauthorized use of this material for purposes other than private, personal enjoyment is a violation of applicable laws.
Page 30: Various Performance Features
Various Performance Features Velocity/Aftertouch For details on the setting, refer The force with which you play the keyboard, or the “velocity” with which you play, can affect the volume or timbre of a sound. Aftertouch—downward pressure you apply to a key after to p.
Page 31: Hold Pedal
Various Performance Features Hold Pedal If an optional pedal switch (DP series) is connected to the rear panel PEDAL HOLD jack, you For details on the setting, refer can press the pedal switch to cause notes to sustain or “hold” even after their keys have been to p.
Page 32: Overview Of The Fantom-G
Overview of the Fantom-G How the Fantom-G is Organized Different Units of Sound When using the Fantom-G, you’ll encounter various units of sound. Here we’ll provide a simple explanation of these units. Basic Structure Tone Broadly speaking, the Fantom-G consists of a controller section, sound generator section, sequencer section, and sampler A Tone is the smallest unit of sound in the Fantom-G.
Page 33: Single / Live / Studio Modes
Overview of the Fantom-G Patch Single / Live / Studio Modes Patches are the basic unit of sound on the Fantom-G; they correspond to an individual instrument such as “piano,” “organ,” or The Fantom-G can operate in the following three modes. “guitar.”...
Page 34: About Polyphony
Overview of the Fantom-G fig.04-005.j About Polyphony Studio set The Fantom-G has a maximum polyphony of 128 simultaneous Part 16 notes. Here we’ll explain how the polyphony is counted, and what happens when the limit of 128 notes is exceeded. How polyphony is counted Part 1 The Fantom-G can produce up to 128 notes simultaneously.
Page 35: About Memory
Overview of the Fantom-G Temporary area About Memory When you switch on the Fantom-G’s power or load a project, the project data is placed in an area of memory called the “temporary area.” Fantom-G USB storage When you edit a patch or song, you are modifying the data in this Internal memory (50 MB) temporary area.
Page 36: About The Internal Effects
Overview of the Fantom-G About the Internal Effects About the Sequencer Types of Effects Audio and MIDI The Fantom-G contains the following effects units. You can make The Fantom-G’s sequencer can record audio and MIDI. settings independently for each one. Audio (samples) PFX (Patch MFX) (Patch multi-effect) Audio is a “recording”...
Page 37: What Is A Track
Overview of the Fantom-G Tempo track What is a Track? The tempo track records tempo changes for the song. Use it when A track is an area in which performance data can be recorded. you want the tempo to change during the song. If the tempo is going to stay the same from the beginning to the end of the song, you can Audio tracks 1–24 ignore the tempo track.
Page 38: About The Sampling Section
Overview of the Fantom-G About the Sampling Section The sampling section “samples” (records) audio input from an external source such as an audio device or mic. You can play these sampled sounds as a patch or rhythm set. You can also import WAV/AIFF format files and use them in the same way.
Page 39: Basic Operation Of The Fantom-G
Basic Operation of the Fantom-G Live mode Switching the Sound This mode is for combining multiple sounds (patches, rhythm sets, Generator Mode sample sets) so that you can play them in a live performance. You can layer patches so that they sound simultaneously, or split The Fantom-G provides three sound generator modes: Single, Live, them across the keyboard so that they can be played by separate and Studio.
Page 40: How The Function Buttons Work
Basic Operation of the Fantom-G How the Function Buttons Moving the Cursor Work A single screen or window can contain multiple items (parameters) to set or select. If you want to modify the setting of a parameter, The eight buttons [F1]–[F8] located below the display (the function move the cursor to the value of that parameter.
Page 41: Editing A Value
Basic Operation of the Fantom-G Using the pad for numeric input Editing a Value If you press the [NUMERIC] pad button, the pads will operate as numeric keys. To edit a value, you can use either the VALUE dial or [INC] [DEC]. In each of the Fantom-G’s screens, move the highlighted cursor to the value you want to edit, and then edit the value.
Page 42: Assigning A Name
Basic Operation of the Fantom-G Using a mouse to input characters Assigning a Name If you’re using a USB mouse, you can enter characters using a virtual keyboard. On the Fantom-G you can assign a name to each patch, rhythm set, live set, studio set, song, phrase, or sample when you save it.
Page 43: Basic Pad Operations
Basic Operation of the Fantom-G Basic Pad Operations Viewing the Pad Settings Press [PAD SETTING], and the setting/information screen for For details on using the pads, refer to “Using the Pads” (p. 188). the currently selected pad mode will appear. Switching the Pad Mode To go back to where you The pads have sixteen modes.
Page 44: Shortcut Menu
Basic Operation of the Fantom-G Shortcut Menu By pressing the [DISPLAY] button, you can jump directly to the most important screens. Press [DISPLAY]. The Shortcut menu will appear. You can also open the Shortcut menu by clicking your USB mouse on the shortcut icon. Press to select the screen to which you want to jump, then press [F8 (Select)].
Page 45: 02: Sound Generator, Section 1 (Playing Sounds)
02: Sound Generator, Section 1 (Playing Sounds) This chapter explains the three modes in which the Fantom-G’s sound generator can operate. • Single Mode .............. p. 46 • Live Mode ..............p. 58 • Studio Mode .............. p. 66...
Page 46: Playing In Single Mode
Playing in Single Mode Functions in the Single Play screen In Single mode, the keyboard and the pads are each used to play a single sound (patch/rhythm set/sample set). fig.05-005.e About the Single Play Screen Displaying Single Play Screen To access the Single Play screen, use the following procedure. Press [SINGLE].
Page 47: Selecting A Patch
Playing in Single Mode Press [SINGLE] to access the Single Play screen. Selecting a Patch fig.05-001.e Patch type Patch bank Patch category The Fantom-G has four patch banks, including the User, Preset, User Sample and GM. USER This is the bank inside the Fantom-G which can be rewritten. Patches you create can be stored in this bank.
Page 48: Selecting Patches By Category (Patch Finder)
Playing in Single Mode The following categories can be selected. Selecting Patches by Category (Patch Finder) Category Contents - - - No Assign No assign AC.Piano Acoustic Piano The Fantom-G provides a “Patch Search function” (Patch Finder) EL.Piano Electric Piano which allows you to specify a type (category) of patch so that you Keyboards Other Keyboards (Clav,...
Page 49: Selecting Patches From The List
Playing in Single Mode Selecting Patches from the List Auditioning Patches (Phrase Preview) You can display a list of patches and select a patch from that list. The Fantom-G allows you to preview patches by hearing a phrase Press [SINGLE] to access the Single Play screen. appropriate for each type of patch.
Page 50: Selecting The Tones That Will Sound (Tone On/Off)
Playing in Single Mode Selecting the Tones That Will Playing Single Notes Sound (Tone On/Off) (Monophonic) Since a patch is a combination of up to four tones, you can switch When using a patch for a naturally monophonic instrument such as unwanted (tones out of the four) off and get just the sound of a sax or flute, it is effective to play in mono.
Page 51: Part Settings (Part View)
Playing in Single Mode Part Settings (Part View) Selecting the Parameter Controlled by the Realtime Single mode has the following three parts. Controllers or D Beam Controller (Control Setting) Part Explanation Keyboard The part that is heard when you play the keyboard The Fantom-G lets you assign the parameters that will be affected Sample...
Page 52: Playing Percussion Instruments (Rhythm Set)
Playing in Single Mode Press [SINGLE] to access the Single Play screen. Playing Percussion Instruments (Rhythm Set) In Single mode, you can play percussion instruments from the keyboard by selecting a rhythm set. fig.05-023.efig.05-023.e Patch Type Rhythm set bank You can also use the pads to play a rhythm set. → p. 192 Pad Mode (Rhythm) Rhythm set number...
Page 53: Playing A Sample Set
Playing in Single Mode Playing a Sample Set In Single mode you can select a sample set and play the samples from the keyboard. You can also use the pads to play a sample set. → p. 191 Pad Mode (Sample Pad) Sample set number Selecting a Sample Set Press [SINGLE] to access the Single Play screen.
Page 54: Creating A List Of Frequently Used Sounds (Favorite)
Creating a List of Frequently Used Sounds (Favorite) You can make a list of sounds that you frequently use in live Press [F1 Bank ] or [F2 Bank ] to select the bank in which you want to register the sound. performance, and recall these sounds instantly.
Page 55: Specifying The Volume For Each Step (Favorite Level)
Creating a List of Frequently Used Sounds (Favorite) Using the pads to recall sounds Specifying the Volume for Each Step (Favorite Level) In the Favorite Edit screen, press [F5 (Dynamic Pad)]. The pads will be set to Favorite mode. Here’s how to specify the volume (Favorite Level) for each step. Use •...
Page 56: Registering A Song (Set Song)
Creating a List of Frequently Used Sounds (Favorite) Registering a Song (Set Song) Importing a Text File (Import Text) Here’s how to register a song instead of a sound. You can create a text file on your computer, and import it into the Fantom-G so that it can be displayed in the Favorite screen.
Page 57: Removing A Text File (Remove Text)
Creating a List of Frequently Used Sounds (Favorite) Removing a Text File (Remove Text) Here’s how to remove a text file that you imported. Access the Favorite Edit screen, and press [F1 Bank ] or [F2 Bank ] to select the bank whose text you want to remove.
Page 58: Playing In Live Mode
Playing in Live Mode Live mode is designed for live performances; it lets you play up to Displaying Live Play (Layer/ eight patches (or rhythm sets or sample sets) at the same time. For Split) Screen example you can layer (p. 62) a piano sound with strings, or split (p. 62) sounds across the keyboard so that your right hand plays a piano sound while your left hand plays a bass sound.
Page 59: Functions In The Live Play (Layer/Split) Screen
Playing in Live Mode Functions in the Live Play (Layer/Split) Screen fig.08-002.j Number Explanation Page Indicates the current sound generator mode. p. 39 Indicates the on/off status of each effect. p. 150 Patch multi-effect MFX1 Multi-effect 1 MFX2 Multi-effect 2 Input effect Chorus Reverb...
Page 60: Selecting A Live Set
Playing in Live Mode Selecting a Live Set Selecting Live Sets from the List You can display a list of live sets and select a live set from that list. The Fantom-G has two live set banks, including the User bank and Preset banks.
Page 61: Using The Live Play (Layer/Split) Screen
Playing in Live Mode Using the Live Play (Layer/ The current part will not sound if even one keyboard switch is Split) Screen on. If you want to hear the current part, turn off the keyboard switch for all parts. Selecting the Part Played by the Pads When you modify the settings of a Live Set, the Live Play screen will indicate “...
Page 62: Combining And Playing Sounds Together (Layer)
Playing in Live Mode Combining and Playing Sounds Playing Different Sounds in Different Together (Layer) Areas of the Keyboard (Split) In live mode you can play the sounds of all parts whose Keyboard In Live mode you can play (split) as many as 56 different patches Switch is on.
Page 63: Using The Live Set Part Mixer Screen
Playing in Live Mode Using the Live Set Part Editing the Part Settings Mixer Screen In the Live Set Part Mixer screen you can set the following parameters for each part. The Live Set Part Mixer screen lets you adjust the level and effect settings of each part just as if you were using a mixer.
Page 64: Using The Layer Edit Screen
Playing in Live Mode Using the Layer Edit Screen Selecting the Sound for a Part If you don’t like the patch that is assigned to a part, it’s easy to In general, the Layer Edit screen operates in the same way as the switch the patch.
Page 65: Performing With The Arpeggio
Playing in Live Mode Performing with the Arpeggio For details on using the Arpeggio, refer to “Playing Arpeggios” (p. 78). Performing with the Realtime Controllers and D Beam Controller For details on the setting, refer to “Selecting the Parameter Controlled by the Realtime Controllers or D Beam Controller (Control Setting)”...
Page 66: Playing In Studio Mode
Playing in Studio Mode Studio mode is what you’ll use when recording a song. It provides Displaying Studio Play Screen sixteen parts, and allows you to assign a patch (or rhythm set or sample set) to each of these parts, thus allowing you to use sixteen The Studio Play screen allows you to adjust the level and effect different sounds simultaneously.
Page 67: Functions In The Studio Play Screen
Playing in Studio Mode Functions in the Studio Play Selecting a Studio Set Screen The Fantom-G has two studio set banks, including the User bank and Preset banks. fig.08-002.j USER This is the bank inside the Fantom-G which can be rewritten. Studio Sets you create can be stored in this bank.
Page 68: Selecting Studio Sets From The List
Playing in Studio Mode Using the Studio Play Screen Selecting Studio Sets from the List You can display a list of studio sets and select a studio set from that list. When you modify the settings of a Studio Set, the Studio Play screen will indicate “...
Page 69: Selecting The Part That You Want To Sound (Keyboard Switch)
Playing in Studio Mode Selecting the Part that You Want to Use [F6 ] to switch between Mixer 1/2. Sound (Keyboard Switch) Mixer1/2 Parameter Page Here’s how to select the part that you want to play from the Internal keyboard. Each part has a setting called the “keyboard switch” that Mixer1 Mute Switch p.
Page 70: Performing With The Arpeggio
Playing in Studio Mode Performing with the Arpeggio For details on using the Arpeggio, refer to “Playing Arpeggios” (p. 78). Performing with the Realtime Controllers and D Beam Controller For details on the setting, refer to “Selecting the Parameter Controlled by the Realtime Controllers or D Beam Controller (Control Setting)”...
Page 71: 03: Sound Generator, Section 2 (Controlling Sounds)
03: Sound Generator, Section 2 (Controlling Sounds) This chapter explains the realtime controllers, the arpeggiator, and the chord memory function. • Real Time Controller ............ p. 72 • Arpeggios..............p. 78 • Chord Memory ............p. 81...
Page 72: Modifying The Sound In Real Time
Modifying the Sound in Real Time You can use the D Beam controller, realtime controllers, assignable switches or a pedal to modify the sound while you perform. The usable range of the D Beam controller The following diagram shows the usable range of the D Beam Here we will explain the procedures and settings for using these controller.
Page 73: Making Settings For The D Beam Controller
Modifying the Sound in Real Time Solo Synth Making Settings for the D Beam On the Fantom-G you can play a monophonic synthesizer whose Controller pitch is controlled by the D Beam. Pad Trigger (Pad-related settings) Hold down [SHIFT] and press D BEAM [SOLO SYNTH]. Move the cursor to the parameter that you want to set, and You can use the D Beam controller to control the pads as an turn the VALUE dial or press [INC] [DEC] to make the...
Page 74 Modifying the Sound in Real Time LFO Osc 1 Pitch Depth Cutoff Specifies the depth to which the LFO will modulate the OSC1 pitch. Selects the frequency at which the filter begins to have an effect on the waveform’s frequency components. Value: -63–...
Page 75: Using Knobs, Sliders Or S1/S2 Buttons To Modify The Sound (Realtime Controller)
Modifying the Sound in Real Time Assignable Using Knobs, Sliders or S1/S2 You can assign various functions to the D Beam controller and apply Buttons to Modify the Sound a wide range of effects to the sound in real time. (Realtime Controller) Hold down [SHIFT] and press D BEAM [ASSIGNABLE].
Page 76: Changing Realtime Controller Settings
Modifying the Sound in Real Time Slider 1–8 Settings Changing Realtime Controller Settings Hold down [SHIFT] and move one of the sliders. The Slider screen appears. Knob 1–4 Settings Move the cursor to the parameter that you want to set, and Hold down [SHIFT] and rotate one of the knobs.
Page 77: Using A Pedal To Modify The Sound (Control Pedal)
Modifying the Sound in Real Time S1/S2 Switch Settings Using a Pedal to Modify the Sound (Control Pedal) Hold down [SHIFT] and press [S1] [S2]. The Switch screen appears. You can modify the sound by pressing a pedal that is connected to Move the cursor to the parameter that you want to set, and the rear panel PEDAL CONTROL 1, 2 jacks.
Page 78: Playing Arpeggios
Playing Arpeggios Press VALUE dial or [INC], [DEC] to set the tempo value About Arpeggio (5.00–300.00), or set the value by tapping [F6 (Tap Tempo)] a number of times with the same rhythm (Tap Tempo). By holding down [SHIFT] and turning the VALUE dial you The Fantom-G’s Arpeggio function lets you produce arpeggios can adjust the value below the decimal point.
Page 79: Importing Smf Or Phrases To An Arpeggio Style
Playing Arpeggios Variation (Arpeggio Variation) Keyboard Velocity (Arpeggio Keyboard Velocity) The arpeggiator provides several variations (performance patterns) Specifies the loudness of the notes that you play. for each arpeggio style. This parameter selects the variation number. If you want the velocity value of each note to depend on how The number of variations will differ according to the arpeggio style.
Page 80: Saving The Arpeggio You Have Created (Write)
Playing Arpeggios Select the desired Import Destination. Turn the VALUE dial to make your choice, and then press the [F8 (Write)] button. Saving the Arpeggio You A confirmation message will appear. Have Created (Write) Press [F7 (OK)] to execute. The SMF or phrase will be imported into the arpeggio user The Arpeggios you create are temporary;...
Page 81: Using The Chord Memory Function (Chord Memory)
Using the Chord Memory Function (Chord Memory) About the Chord Memory Performing with the Chord Function Memory Function Chord Memory is a function that allows you to play chords based on pre-programmed Chord Forms, just by pressing a single key on the Use “Arpeggio Part Number”...
Page 82: Sounding A Chord In The Order Of Its Notes (Rolled Chord)
Using the Chord Memory Function (Chord Memory) Creating Your Own Chord Sounding a Chord in the Order of Its Notes (Rolled Chord) Forms This causes the notes within a chord to be sounded consecutively, rather Not only can you use the prepared internal Chord Forms, which than simultaneously.
Page 83: 04: Sound Generator, Section 3 (Creating Sounds)
04: Sound Generator, Section 3 (Creating Sounds) This chapter explains how to create sounds such as patches, live sets, and effects. • Patch ................. p. 84 • Rhythm Set ............... p. 112 • Sample Set............... p. 126 • Live Set/Studio Set ............ p. 132 •...
Page 84: Creating A Patch
Creating a Patch With the Fantom-G, you have total control over a wide variety of Editing a Patch Quickly settings. Each item that can be set is known as a parameter. When (Patch Zoom Edit) you change the values of parameters, you are doing what is referred to as Editing.
Page 85 Creating a Patch The parameters are organized into several editing groups. If you wish to save the changes you’ve made, press Press [F1 (Up)] or [F2 (Down)] to select the tab for the [WRITE] to perform the Save operation (p. 88). If you do not editing group that contains the parameter you wish to edit.
Page 86: Editing All Parameters Of A Patch (Patch Pro Edit)
Creating a Patch The parameters are organized into several editing groups. Editing All Parameters of a Patch Press [F1 (Up)] or [F2 (Down)] to select the tab for the (Patch Pro Edit) editing group that contains the parameter you wish to edit. The Patch Pro Edit screen allows you to edit all parameters of a patch.
Page 87: Initializing Patch/Tone Settings (Patch Initialize/Tone Initialize)
Creating a Patch Initializing Patch/Tone Settings Copying Patch (Tone) Settings (Patch Initialize/Tone Initialize) (Patch Tone Copy) “Initialize” means to return the settings of the currently selected This operation copies the settings of any desired patch to the sound to a standard set of values. currently selected patch.
Page 88: Cautions When Selecting A Waveform
Creating a Patch Saving Patches You’ve Created Cautions When Selecting a Waveform (Write) The sounds of the Fantom-G are based on complex PCM waveforms, and if you attempt to make settings that are contrary to the type of Edits you make to the settings are temporary, and will be lost if you the original waveform, the results will not be as you expect.
Page 89: Auditioning The Save-Destination Patch (Compare)
Creating a Patch Turn the VALUE dial or use [INC] [DEC] to select the patch Functions of Patch Parameters number. This section explains the functions the different patch parameters By pressing [F6 (Compare)] you can check the save-destination have, as well as the composition of these parameters. patch (Compare function).
Page 90 Creating a Patch Patch Priority Stretch Tune Depth This setting allows you to apply “stretched tuning” to the patch. This determines how notes will be managed when the maximum (Stretched tuning is a system by which acoustic pianos are normally polyphony is exceeded (128 voices).
Page 91: Modifying Waveforms (Wave)
Creating a Patch Resonance Offset Modifying Waveforms (Wave) Resonance Offset alters the resonance of the overall patch, while preserving the relative differences between the resonance values set Wave Group for each tone in the Resonance parameter (p. 98). Selects the group for the waveform that is to be the basis of the tone. Range: -63–...
Page 92: Changing How A Tone Is Sounded (Tmt)
Creating a Patch Wave Gain FXM Color Sets the gain (amplification) of the waveform. The value changes in 6 Specifies how FXM will perform frequency modulation. Higher dB (decibel) steps—an increase of 6 dB doubles the waveform’s gain. settings result in a grainier sound, while lower settings result in a If you intend to use the Booster to distort the waveform’s sound, set more metallic sound.
Page 93 Creating a Patch fig.06-017 fig.06-021 B: Booster TYPE 4 TYPE 8 R: Ring Modulator TONE 1 (3) TONE 1 (3) TONE 2 (4) TONE 2 (4) This type applies a booster to distort the waveform, and then This type sends the filtered tone 1 (3) and tone 2 (4) through a ring combines the two filters.
Page 94: Ring Modulator
Creating a Patch Booster 1&2, 3&4 (Booster Gain 1&2, 3&4) Ring Modulator 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 A ring modulator multiplies the waveforms of two tones with signal in order to distort the sound.
Page 95 Creating a Patch Keyboard Fade Width Upper Velocity Range Upper This determines what will happen to the tone’s level when a note This sets the highest velocity at which the tone will sound. Make that’s higher than the tone’s specified keyboard range is played. these settings when you want different tones to sound in response to Higher settings produce a more gradual change in volume.
Page 96: Modifying Pitch (Pitch/Pitch Env)
Creating a Patch Wave Pitch Key Follow Modifying Pitch (Pitch/Pitch Env) 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). Pitch If you want the pitch to rise one octave as on a conventional keyboard, set this to “+100.”...
Page 97 Creating a Patch Pitch Env Time 4 Velocity Sens Bend Mode Control Use this parameter when you want key release speed to affect the This specifies the CC (control change) whose value is used to switch Time 4 value of the pitch envelope. If you want Time 4 to be speeded the pitch bend lever’s operation between the mode specified by Bend up for quickly released notes, set this parameter to a positive (+) Mode (control values 64 or higher) and conventional operation...
Page 98: Modifying The Brightness Of A Sound With A Filter (Tvf/Tvf Env)
Creating a Patch Cutoff Frequency ★ Modifying the Brightness of a Selects the frequency at which the filter begins to have an effect on Sound with a Filter (TVF/TVF Env) 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 Filter Type a more rounded, warmer sound.
Page 99 Creating a Patch TVF Cutoff Key follow Resonance Velocity Sens Use this parameter if you want the cutoff frequency to change This allows keyboard velocity to modify the amount of Resonance. If according to the key that is pressed. Relative to the cutoff frequency you want strongly played notes to have a greater Resonance effect, at the C4 key (center C), positive (+) settings will cause the cutoff set this parameter to positive (+) settings.
Page 100: Adjusting The Volume (Tva/Tva Env)
Creating a Patch TVF ENV (TVF Envelope) Adjusting the Volume (TVA/TVA Env) TVF Env Depth Specifies the depth of the TVF envelope. Higher settings will cause the TVF envelope to produce greater change. Negative (-) settings Tone Level ★ will invert the shape of the envelope. Value: -63–...
Page 101 Creating a Patch Bias Tone Pan Key Follow Bias causes the volume to be affected by the keyboard position. This Use this parameter if you want key position to affect panning. is useful for changing volume through keyboard position (pitch) Positive (+) settings will cause notes higher than C4 key (center C) to when playing acoustic instruments.
Page 102: Output
Creating a Patch TVA Env Time 4 Velocity Sens Output 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 Tone Output Assign speeded up for quickly released notes, set this parameter to a Specifies how the direct sound of each tone will be output.
Page 103 Creating a Patch LFO1/2 Offset (LFO1/LFO2 Offset) Raises or lowers the LFO waveform relative to the central value Waveform (LFO1/LFO2 Waveform) (pitch or cutoff frequency). Positive (+) settings will move the Selects the waveform of the LFO. waveform so that modulation will occur from the central value upward.
Page 104 Creating a Patch Pan Depth (LFO1/LFO2 Pan Depth) ★ Fade Mode (LFO1/LFO2 Fade Mode) Specifies how the LFO will be applied. Specifies how deeply the LFO will affect the pan. Value: ON <, ON >, OFF <, OFF > Value: -63– +63 After referring to “How to Apply the LFO”...
Page 105: Apply Portamento Or Legato To The Sound (Solo/Porta)
Creating a Patch ● Apply the LFO immediately when the key Apply Portamento or Legato to the is pressed, and then gradually begin to Sound (Solo/Porta) decrease the effect fig.06-044.e Mono/Poly high (more) Delay Time Fade Time Specifies whether the patch will play polyphonically (POLY) or Pitch Cutoff Frequency Depth...
Page 106: Portamento Time
Creating a Patch Portamento Switch Portamento Start When another key is pressed during a pitch change produced by Specifies whether the portamento effect will be applied (ON) or not portamento, a new pitch change will begin. This setting specifies the (OFF).
Page 107: Miscellaneous Settings (Misc)
Creating a Patch OFF-N: Rather than being played while the key is pressed, Miscellaneous Settings (Misc) the tone begins to play once the period of time specified in the Delay Time parameter has elapsed Tone Delay Mode after release of the key. This is effective in situations such as when simulating noises from guitars and Selects the type of tone delay.
Page 108 Creating a Patch Tone Delay Time Tone Receive Pan Mode Specifies the time from when the key is pressed (or if the Delay For each tone, specify how pan messages will be received. Mode parameter is set to “OFF-N” or “OFF-D,” the time from when Value the key is released) until when the tone will sound.
Page 109: Matrix Control Settings (Control 1-4)
Creating a Patch Matrix Control Settings (Control 1–4) Velocity and Key follow correspond to Note messages. Although there are no MIDI messages for LFO 1 through TVA Matrix Control Envelope, they can be used as Matrix Control. In this case, you can change the tone settings in realtime by playing patches.
Page 110 Creating a Patch Changing How the Effects Are Applied Changing the TVF Envelope ● ● OUTPUT LEVEL: Changes the amount of original sound. TVF ENV A-TIME: Changes the Env Time 1 parameter of the TVF envelope. CHORUS SEND: Changes the amount of chorus. TVF ENV D-TIME: Changes the Env Time 2 and Env Time 3 REVERB SEND: Changes the amount of reverb.
Page 111: Setting Effects For A Patch (Pfx)
Creating a Patch Control Sens 1–4 (Matrix Control Sens 1–4) Setting Effects for a Patch (PFX) Sets the amount of the Matrix Control’s effect that is applied. If you wish to modify the selected parameter in a positive (+) direction – Press the [F5 (PFX)] button to access the PFX (Patch Multi-effect) i.e., a higher value, toward the right, or faster etc.
Page 112: Creating A Rhythm Set
Creating a Rhythm Set With the Fantom-G, you have total control over a wide variety of Editing a Rhythm Set Quickly settings. Each item that can be set is known as a parameter. When (Patch Zoom Edit) you change the values of parameters, you are doing what is referred to as Editing.
Page 113 Creating a Rhythm Set The parameters are organized into several editing groups. If you wish to save the changes you’ve made, press Press [F1 (Up)] or [F2 (Down)] to select the tab for the [WRITE] to perform the Save operation (p. 116). If you do editing group that contains the parameter you wish to edit.
Page 114: Editing All Parameters (Patch Pro Edit)
Creating a Rhythm Set The parameters are organized into several editing groups. Editing All Parameters (Patch Pro Edit) Press [F1 (Up)] or [F2 (Down)] to select the tab for the editing group that contains the parameter you wish to edit. The Patch Pro Edit screen allows you to edit all parameters of a patch.
Page 115: Initializing Rhythm Set/Key Settings (Rhythm Set Initialize/Rhythm Key Initialize)
Creating a Rhythm Set Initializing Rhythm Set/Key Settings Copying Rhythm Tone Settings (Rhythm Set Initialize/Rhythm Key (Rhythm Tone Copy) Initialize) This operation copies the settings of any desired rhythm set to the currently selected rhythm set. You can use this feature to make the “Initialize”...
Page 116: Cautions When Selecting A Waveform
Creating a Rhythm Set Saving Rhythm Sets You’ve Cautions When Selecting a Waveform Created (Write) The sounds of the Fantom-G are based on complex PCM waveforms, and if you attempt to make settings that are contrary to the type of The settings you edit are temporary, and will be lost if you turn off the original waveform, the results will not be as you expect.
Page 117: Auditioning The Save-Destination Rhythm Set (Compare)
Creating a Rhythm Set Turn the VALUE dial or use [INC] [DEC] to select the rhythm Functions of Rhythm Set set number. Parameters By pressing [F6 (Compare)] you can check the save-destination Rhythm set (Compare function). This section explains the functions the different rhythm set parameters have, as well as the composition of these parameters.
Page 118 Creating a Rhythm Set Rhythm Tone Name Tone Receive Expression (Rhythm Tone Receive Expression Switch) You can assign a name of up to 12 characters to the rhythm tone. For each rhythm tone, specify whether MIDI Expression messages By pressing [ENTER], you can assign a name to the rhythm tone. will be received (ON), or not (OFF).
Page 119: Modifying Waveforms (Wave)
Creating a Rhythm Set Wave Number L (Mono) Modifying Waveforms (Wave) 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 With rhythm tones, sounds are created by combining up to four display.
Page 120: Changing How A Rhythm Tone Is Sounded (Wmt)
Creating a Rhythm Set Wave Pan This specifies the pan of the waveform. “L64” is far left, “0” is center, and “63R” is far right. FXM (Frequency Cross Modulation) uses a specified waveform Value: L63–0–63R to apply frequency modulation to the currently selected waveform, creating complex overtones.
Page 121: Modifying Pitch (Pitch/Pitch Env)
Creating a Rhythm Set Pitch Env (Pitch Envelope) Velocity Fade Width Upper This determines what will happen to the tone’s level when the tone Pitch Env Depth is played at a velocity greater than its specified velocity range. Higher settings produce a more gradual change in volume. If you Adjusts the effect of the Pitch Envelope.
Page 122: Modifying The Brightness Of A Sound With A Filter (Tvf/Tvf Env)
Creating a Rhythm Set Pitch Env Level 0–4 Modifying the Brightness of a Specify the pitch envelope levels (Level 0–Level 4). It determines Sound with a Filter (TVF/TVF Env) 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.
Page 123: Cutoff Frequency
Creating a Rhythm Set Cutoff Frequency Cutoff Velocity Sens Selects the frequency at which the filter begins to have an effect on Use this parameter when changing the cutoff frequency to be the waveform’s frequency components. applied as a result of changes in playing velocity. If you want strongly played notes to raise the cutoff frequency, set this Value: 0–127 parameter to positive (+) settings.
Page 124: Adjusting The Volume (Tva/Tva Env)
Creating a Rhythm Set TVF Env Adjusting the Volume (TVA/TVA Env) TVF Env Depth Specifies the depth of the TVF envelope. Higher settings will cause Tone Level (Rhythm Tone level) the TVF envelope to produce greater change. Negative (-) settings will invert the shape of the envelope.
Page 125: Output Settings (Output)
Creating a Rhythm Set Alternate Pan Depth TVA Env Level 1–3 This setting causes panning to be alternated between left and right Specify the TVA envelope levels (Level 1–Level 3). These settings each time a key is pressed. Higher settings will produce a greater specify how the volume will change at each point, relative to the amount of change.
Page 126: Creating A Sample Set
Creating a Sample Set With the Fantom-G, you have total control over a wide variety of Press [CURSOR] button to move the cursor to the parameter you wish to modify. 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.
Page 127: Editing All Parameters (Patch Pro Edit)
Creating a Sample Set Repeat steps 3–5 to set each parameter you want to edit. Editing All Parameters (Patch Pro Edit) If you wish to save the changes you’ve made, press [WRITE] to perform the Save operation (p. 128). If you do The Patch Pro Edit screen allows you to edit all parameters.
Page 128: Saving Sample Sets You've Created (Write)
Creating a Sample Set Turn the VALUE dial or use [INC] [DEC] to select the sample Saving Sample Sets You’ve set number. Created (Write) Press [F8 (Write)]. A message will ask you for confirmation. Changes you make to sound settings are temporary, and will be lost if you turn off the power or select another sound.
Page 129: Functions Of Sample Set Parameters
Creating a Sample Set Direction Functions of Sample Set Specifies the direction in which the sample will play. Parameters Value: Play forward. FWD: This section explains the functions the different sample set REV: Play backward. parameters have, as well as the composition of these parameters. Trigger Mode If a number is displayed for the parameter name, ( ), you can use the realtime controller knob of the corresponding...
Page 130: Modifying Waveforms (Wave)
Creating a Sample Set Modifying Waveforms (Wave) Modifying Pitch (Pitch) Sample Number L (Mono) Tone Coarse Tune (Sample Tone Coarse Tune) Sample Number R Selects the pitch at which a sample tone sounds. This selects the Samples comprising the sample tone. Along with the Value: -48–...
Page 131: Adjusting The Volume (Amp)
Creating a Sample Set Adjusting the Volume (Amp) Output Settings (Output) Tone Output Level Tone Level (Sample Tone level) Specifies the signal level for each tone. Sets the volume of the sample tone. Use this parameter to adjust the Value: 0–127 volume balance between sample tones.
Page 132: Creating A Live/Studio Set
Creating a Live/Studio Set With the Fantom-G, you have total control over a wide variety of NAME 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 Live Set Name to as Editing.
Page 133: Part Settings (Part View)
Creating a Live/Studio Set Use [CURSOR] to move the cursor to the parameter that Part Settings (Part View) you want to edit. You can view the part settings as a list. This is called the “Part View” In this screen, the name of the parameter selected by the cursor screen.
Page 134: Level/Pan (When The Part Group Is Internal/Exp1/Exp2)
Creating a Live/Studio Set Receive Switch Level/Pan For each part, specify whether MIDI messages will be received (ON), (When the Part Group is Internal/EXP1/EXP2) or not (OFF). If this is “OFF,” the part will not respond. Normally, you should Patch Type leave this “ON,”...
Page 135: Level/Pan (When The Part Group Is External)
Creating a Live/Studio Set Level/Pan Key Range (When the Part Group is External) Keyboard Switch External Bank Select MSB Specifies, for each part, whether or not the keyboard controller section will be connected to the internal sound generator. If you want a Bank Select number MSB (controller number 0) to also Normally you will leave this off;...
Page 136: Output/Efx
Creating a Live/Studio Set Part Velocity Sens Offset Output/EFX This changes the volume and cutoff frequency for each part according to the velocity with which the keys are pressed. If you Part Output Assign want strongly played notes to raise the volume/cutoff frequency, set Specifies for each part how the direct sound will be output.
Page 137: Pitch
Creating a Live/Studio Set Part Reverb Send Level Pitch Sets the level of the signal sent to reverb for each part. Value: 0–127 Part Octave Shift * External parts do not have this item. Adjusts the pitch of the part’s sound up or down in units of an octave (+/-3 octaves).
Page 138: Scale Tune
Creating a Live/Studio Set Part Pitch Bend Range Scale Tune Specifies the amount of pitch change in semitones (2 octaves) that will occur when the Pitch Bend Lever is moved. The amount of Part Scale Tune C–B change when the lever is tilted is set to the same value for both left Make scale tune settings for each part.
Page 139: Vibrato
Creating a Live/Studio Set Vibrato Offset Part Vibrato Rate Part Cutoff Offset For each part, adjust the vibrato speed (the rate at which the pitch is Adjusts the cutoff frequency for the patch, rhythm set or sample set modulated). The pitch will be modulated more rapidly for higher assigned to a part.
Page 140: Mono/Poly/Legato
Creating a Live/Studio Set Part Release Time Offset Mono/Poly/Legato Adjusts the TVA/TVF Envelope Release Time for the patch, rhythm set or sample set assigned to a part. Part Mono/Poly Value: -64– +63 Set this parameter to “MONO” when the patch assigned to the part is to be played monophonically, or to “POLY”...
Page 141: Voice Reserve
Creating a Live/Studio Set Voice Reserve MIDI Rx Filter Part Voice Reserve Receive Program Change (Receive Program Change Switch) This setting specifies the number of voices that will be reserved for each part when more than 128 voices are played simultaneously. For each MIDI channel, specify whether MIDI Program Change messages will be received (ON), or not (OFF).
Page 142: Selecting The Parameter Controlled By The Realtime Controllers Or D Beam Controller (Control Setting)
Creating a Live/Studio Set Phase Lock (Phase Lock Switch) Selecting the Parameter Set Phase Lock to “ON” when you want to suppress discrepancies in Controlled by the Realtime timing of parts played on the same MIDI channel. Controllers or D Beam When the Phase Lock parameter is set to “ON,”...
Page 143: Keyboard Mode
Creating a Live/Studio Set D Beam: SOLO SYNTH Keyboard Mode You can use the D Beam controller to perform in a way similar to on Keyboard Mode a mono synth. If you choose RPS or RHYTHM-PTN, you can use the keyboard to play RPS or Rhythm Pattern Sets.
Page 144 Creating a Live/Studio Set OSC 1/2 Coarse Tune Cutoff Adjusts the pitch of the tone’s sound up or down in semitone steps Selects the frequency at which the filter begins to have an effect on (+/-4 octaves). the waveform’s frequency components. Value: -48–...
Page 145: Knob
Creating a Live/Studio Set D Beam: ASSIGNABLE Knob By assigning a variety of functions to the D Beam controller you can apply different effects to the sound in real time. Knob Assign 1–4 Specify the functions that will be controlled by the knobs. The settings for the ASSIGNABLE are saved independently for Value each live/studio set as part of the live/studio set settings.
Page 146: Switch S1/S2
Creating a Live/Studio Set Chord Memory Switch S1/S2 Chord Switch Switch S1/S2 Assign Turns the Chord Memory function (p. 81) on/off. Specify the functions that will be controlled by the [S1] [S2] switches. Value: ON, OFF Value OFF, CC01 - CC31, CC32 (OFF), CC33 - CC95, Live Set: Chord Form AFTERTOUCH, MONO/POLY, PFX SWITCH,...
Page 147: Ctrl Switch
Creating a Live/Studio Set Changing the Settings of the Ctrl Switch Patch Assigned to a Part You can change controller switch on/off settings for each part. When using patches in Live/Studio Mode, some settings such as You can use the F-keys to switch the part group that is effects settings will be affected by Live/Studio Set settings.
Page 148: Initializing Live/Studio Set Settings (Init)
Creating a Live/Studio Set Initializing Live/Studio Set Saving a Live/Studio Set Settings (Init) You’ve Created (Write) “Initialize” means to return the settings of the currently selected The settings you edit are temporary, and will be lost if you turn off sound to a standard set of values.
Page 149 Creating a Live/Studio Set When you have finished inputting the name, press [F8 (OK)]. A screen will appear, allowing you to select the write- destination live/studio set. Turn the VALUE dial or use [INC] [DEC] to select the live/ studio set number. Press [F8 (Write)].
Page 150: Adding Effects
Adding Effects This section explains the procedures and settings for applying effects Turning Effects On and Off in each mode. The Fantom-G’s onboard effects can be turned on/off. Turn these For details of the Fantom-G’s onboard effects, refer to “About settings OFF when you wish to listen to the unprocessed sound as the Internal Effects”...
Page 151: Making Effect Settings
Adding Effects Using the pads to switch effects on/off Applying Effects in Single Mode You can use the pads to directly switch each effect on/off. For the procedure, refer to the following pages. Single mode allows you to use patch FX (PFX), chorus, and reverb. These effects will operate according to the effect settings of the patch, rhythm set, or sample set that’s assigned to the keyboard part.
Page 152: Signal Flow Diagram And Parameters
Adding Effects PFX Type (Patch Multi-Effects Type) Signal Flow Diagram and Parameters Use this parameter to select from among the 76 available patch fig.22-005 multi-effects. For details on patch multi-effects parameters, refer to “MFX/PFX Parameter” (p. 161). Value: 0 (Through)–76 PFX Output Level (Patch Multi-Effects Output Level) Adjusts the volume of the sound that has passed through the...
Page 153 Adding Effects Part Output Assign Chorus Output Assign Specifies for each part how the direct sound will be output. Selects the pair of OUTPUT jacks to which the chorus sound is routed when Chorus Output Select is set to “MAIN” or “M+R.” Value: Value A, B:...
Page 154: Applying Effects In Studio Mode
Adding Effects Applying Effects in Studio Signal Flow Diagram and Parameters Mode fig.22-007 Studio mode allows you to use two multi-effects (MFX1, MFX2), one chorus, and one reverb. These effects will operate according to the effect settings of the studio set. Specifying How the Sound Will Be Output (Routing) Here you can make overall settings for effects, and the output...
Page 155 Adding Effects PFX Output Level Part Output Assign (Patch Multi-Effects Output Level) Specifies how the original sound will be output for each part. Adjusts the volume of the sound that has passed through the This is available only if Part MFX Select is set to DRY. patch multi-effects.
Page 156 Adding Effects MFX Output Assign Reverb Sw 9 23 (Multi-Effects Output Assign) Switches the reverb on/off. Adjusts the output destination of the sound that has passed Value: ON, OFF through the multi-effects. Reverb Type Value A: Output to the OUTPUT A (MIX) jacks in stereo. Selects the type of reverb.
Page 157: Making Patch Multi-Effects Settings (Pfx)
Adding Effects PFX Control Making Patch Multi-Effects Settings (PFX) Source 1–4 (Multi-Effects Control Source 1–4) Sets the MIDI message used to change the multi-effects parameter fig.22-008_50 with the multi-effects control. Value OFF: Multi-effects control will not be used. CC01–31, CC32(OFF), 33–95: Control Change Pitch Bend PITCH BEND:...
Page 158: Making Multi-Effects Settings (Mfx1-2)
Adding Effects Sens 1–4 (Multi-Effects Control Sensitivity 1–4) Making Multi-Effects Settings Sets the amount of the multi-effects control’s effect that is applied. (MFX1–2) To make an increase in the currently selected value (to get higher values, move to the right, increase rates, and so on), select a positive fig.22-008_50 value;...
Page 159: Making Chorus Settings (Chorus)
Adding Effects Making Chorus Settings Making Reverb Settings (Chorus) (Reverb) fig.22-011_50 fig.22-012_50 For details on these settings, refer to “Making Effect Settings” For details on these settings, refer to “Making Effect Settings” (p. 151) (p. 151) Type (Chorus Type) Type (Reverb Type) Selects either chorus or delay.
Page 160: Mastering Effect
Adding Effects Attack Mastering Effect Time from when the volume goes up the threshold level until the compressor effect applies This is a stereo compressor (limiter) that is applied to the final Value: 0–100 ms output of the Fantom-G. It has independent high, mid, and low ranges.
Page 161: Effects List
Effects List SHUFFLE DELAY p. 176 MFX/PFX Parameter 3D DELAY p. 176 TIME CTRL DELAY p. 176 LONG TIME CTRL DELAY p. 177 The MFX (multi-effects) feature 78 different kinds of effects (the PFX: TAPE ECHO p. 177 76 types). Some of the effects consist of two or more different effects LO-FI (5 types) connected in series.
Page 162 Effects List 01: EQUALIZER 03: ISOLATOR This is a four-band stereo equalizer (low, mid x 2, high). This is an equalizer which cuts the volume greatly, allowing you to add a special effect to the sound by cutting the volume in varying fig.MFX-01 ranges.
Page 163 Effects List 05: SUPER FILTER 06: STEP FILTER This is a filter with an extremely sharp slope. The cutoff frequency This is a filter whose cutoff frequency can be modulated in steps. can be varied cyclically. You can specify the pattern by which the cutoff frequency will change.
Page 164 Effects List 08: AUTO WAH 10: SPEAKER SIMULATOR Cyclically controls a filter to create cyclic change in timbre. Simulates the speaker type and mic settings used to record the fig.MFX-08 speaker sound. L in L out Auto Wah 2-Band EQ fig.MFX-10 L in L out...
Page 165 Effects List 11: PHASER Parameter Value Description Cross -98– +98 % Adjusts the proportion of the A phase-shifted sound is added to the original sound and Feedback phaser sound that is fed back modulated. into the effect. Negative (-) set- tings will invert the phase.
Page 166 Effects List 15: RING MODULATOR Parame- Value Description This is an effect that applies amplitude modulation (AM) to the input Mod Wave TRI, SQR, SIN, Modulation Wave signal, producing bell-like sounds. You can also change the SAW1, SAW2 TRI: triangle wave modulation frequency in response to changes in the volume of the SQR: square wave SIN: sine wave...
Page 167 Effects List 20: SLICER Parameter Value Description Woofer 0–15 Adjusts the time it takes the low By applying successive cuts to the sound, this effect turns a Acceleration frequency rotor to reach the new- ly selected speed when switch- conventional sound into a sound that appears to be played as a ing from fast to slow (or slow to backing phrase.
Page 168 Effects List 23: CHORUS Parameter Value Description High Gain -15– +15 dB Gain of the high range Balance # D100:0W– Volume balance between the di- This is a stereo chorus. A filter is provided so that you can adjust the D0:100W rect sound (D) and the flanger timbre of the chorus sound.
Page 169 Effects List 26: HEXA-CHORUS 28: SPACE-D Uses a six-phase chorus (six layers of chorused sound) to give This is a multiple chorus that applies two-phase modulation in richness and spatial spread to the sound. stereo. It gives no impression of modulation, but produces a transparent chorus effect.
Page 170 Effects List 30: 3D FLANGER Parameter Value Description Feedback # -98– +98 % Adjusts the proportion of the This applies a 3D effect to the flanger sound. The flanger sound will flanger sound that is fed back into the effect. Negative (-) set- be positioned 90 degrees left and 90 degrees right.
Page 171 Effects List 33: 2BAND FLANGER 34: 2BAND STEP FLANGER A flanger that lets you apply an effect independently to the low- A step flanger that lets you apply an effect independently to the low- frequency and high-frequency ranges. frequency and high-frequency ranges. fig.MFX-33 fig.MFX-34 L in...
Page 172 Effects List 35: OVERDRIVE 39: GUITAR AMP SIMULATOR This is an effect that simulates the sound of a guitar amplifier. Creates a soft distortion similar to that produced by vacuum tube fig.MFX-39 amplifiers. L in L out fig.MFX-35 Pan L Pre Amp Speaker L in...
Page 173 Effects List 40: COMPRESSOR Parameter Value Description Hold 0–127 Adjusts the time it takes for the gate to Flattens out high levels and boosts low levels, smoothing out start closing after the source sound falls beneath the Threshold. fluctuations in volume. Release 0–127 Adjusts the time it takes the gate to fully...
Page 174 Effects List 44: LONG DELAY Parameter Range Explanation Delay2 HF 200–8000 Hz, Frequency at which the high- A delay that provides a long delay time. Damp BYPASS frequency content of the de- layed sound of delay 2 will be fig.MFX-44 cut (BYPASS: no cut) 2-Band Pan #...
Page 175 Effects List 47: 3TAP PAN DELAY 49: MULTI TAP DELAY Produces three delay sounds; center, left and right. This effect provides four delays. Each of the Delay Time parameters can be set to a note length based on the selected tempo. You can also fig.MFX-47 Balance D set the panning and level of each delay sound.
Page 176 Effects List Parameter Range Explanation Delay 3 Feed- -98– +98% Proportion of the delay sound Parameter Value Description back # that is to be returned to the in- Delay Left 0–2600 ms, note Adjusts the delay time from put of the tap delay (negative the direct sound until the de- Delay Right values invert the phase)
Page 177 A virtual tape echo that produces a realistic tape delay sound. This W/P Noise 200–8000 Hz, Center frequency of the low pass filter simulates the tape echo section of a Roland RE-201 Space Echo. BYPASS applied to the white/pink noise (BY- fig.MFX-55...
Page 178 Effects List 57: LOFI COMPRESS 59: TELEPHONE This is an effect that intentionally degrades the sound quality for fig.MFX-59 creative purposes. L in L out Telephone fig.MFX-57 R in R out 2-Band Telephone L in L out Compressor Lo-Fi Parameter Value Description 2-Band...
Page 179 Effects List 61: PITCH SHIFTER Parameter Value Description High Gain -15– +15 dB Gain of the high range (Feedback Pitch Shifter) Level Balance A100:0B-A0:100B Volume balance between the Pitch Shift 1 and Pitch Shift 2 A stereo pitch shifter. sounds fig.MFX-61 Balance D100:0W-D0:100W...
Page 180 Effects List Parameter Value Description Parameter Value Description Chorus D100:0W–D0:100W Adjusts the volume balance be- Level 0–127 Output Level Balance # tween the sound that is sent through the chorus (W) and the 67: DISTORTION → CHORUS sound that is not sent through the chorus (D).
Page 181 Effects List 70: ENHANCER → CHORUS Parameter Value Description Enhancer Mix # 0–127 Level of the overtones gener- fig.MFX-72 ated by the enhancer Delay Time 0–2600 ms, note Adjusts the delay time from L in L out Enhancer the direct sound until the de- Balance D lay sound is heard.
Page 182 Effects List 74: FLANGER → DELAY Parameter Value Description Flanger Depth 0–127 Modulation depth of the flanger * MFX only effect Flanger -98– +98 % Adjusts the proportion of the fig.MFX-76 Feedback # flanger sound that is fed back Balance D into the effect.
Page 183 Output Level Balance W 2-Band R in R out Balance D When Using 3D Effects The following 3D effects utilize RSS (Roland Sound Space) Parameter Value Description technology to create a spaciousness that cannot be produced by Type ROOM1, Type of reverb...
Page 184: Chorus Parameters
Effects List Chorus Parameters About the STEP RESET function 06: STEP FILTER The Fantom-G’s Chorus effect unit can also be used as a stereo delay 16: STEP RING MODULATOR unit. 19: STEP PAN These settings allow you to select chorus or delay, and the 20: SLICER characteristics of the selected effect type.
Page 185: Reverb Parameters
Effects List Parameter Value Description Reverb Parameters Type: 06 (ROOM)/09 (STUDIO) Pre Delay 0–127 Adjusts the delay time from the direct sound until the reverb sound is heard. These settings allow you to select the desired type of reverb, and its Time 0.1–3.0 sec Time length of reverberation...
Page 186: Input Effect Parameters
Effects List 05: NOISE SUPPRESSOR Input Effect Parameters Suppresses noise during periods of silence. Selects the type of effect that will be applied to the external input Parameter Range Explanation source. Threshold 0–127 Volume at which noise suppres- sion will begin 01: EQUALIZER Release 0–127...
Page 187: 05: Pads (Using The Pads)
05: Pads (Using the Pads) This chapter explains how to use the pads.
Page 188: Using The Pads
Using the Pads Common Operations for Pads Using the Pads as Numeric Keys (NUMERIC) If you press the pad [NUMERIC] Switching the Pad Mode (PAD MODE) button to make it light, the pads will act as numeric keys. You can strike the Fantom-G’s pads to play samples, rhythms, or →...
Page 189: Using The Roll Function (Roll)
Using the Pads Using the Roll Function (ROLL) Switching Banks (BANK) The Roll function lets you play the sound repeatedly (as if you are You can use the pad [ROLL] (BANK) button to switch banks in the playing a drum roll) as long as you continue holding down the pad. following pad modes.
Page 190: Editing The Pad Settings (Pad Setting)
Using the Pads Editing settings common to all pads Editing the Pad Settings (PAD SETTING) (System settings) Press [PAD SETTING] to access the pad settings/information screen. In the Pad Setting screen, press [F1 System] to access the system setting screen where you can edit settings that are common to all Press [PAD SETTING].
Page 191: Sample Pad (Using The Pads To Play Samples)
Using the Pads Level (Sample tone level) 1 SAMPLE PAD Sets the volume of the sample. You’ll use this mainly to adjust the (Using the Pads to Play Samples) volume balance between samples. Value: 0–127 This pad mode allows you to play samples by striking the pads. You Pan (Sample tone pan) can assign a sample to each of the sixteen pads.
Page 192: Rhythm (Using The Pads To Play A Rhythm Set)
Using the Pads Quick Setup 2 RHYTHM When the pad mode is “2 RHYTHM,” you can use this function to (Using the Pads to Play a Rhythm Set) make basic settings. For efficient work-flow, choose the quick setup that is closest to your needs, and then make detailed settings for each This pad mode allows you to play a rhythm set by striking the pads.
Page 193: Chord Memory (Using The Pads To Switch Chord Forms)
Using the Pads 3 CHORD MEMORY 4 ARPEGGIO (Using the Pads to Switch Chord Forms) (Using the Pads to Switch Arpeggio Styles) This pad mode allows you to use the pads to switch chord forms for This pad mode allows you to use the pads to switch styles for the the Chord Memory function (p.
Page 194: Rps (Using The Pads To Play Phrases)
Using the Pads 5 RPS Specifying the Tempo for Phrase Playback (Using the Pads to Play Phrases) The phrase playback tempo will be the same as the song playback This pad mode allows you to use the pads to trigger phrases tempo.
Page 195: Quick Setup
Using the Pads Quick Setup Play Mode Specifies how the phrase will be played. In the Pad Setting screen you can press [F3 (Quick Setup)] to specify Value the note numbers for sixteen RPS together. For the procedure, refer The phrase will play repeatedly while you hold LOOP1: to “Quick Setup”...
Page 196: Rhythm Ptn (Using The Pads To Play Rhythm Patterns)
Using the Pads Rhythm Pattern Set Number 6 RHYTHM PTN Selects the rhythm pattern set that the pads will play. (Using the Pads to Play Rhythm Patterns) Value: 01–64 This pad mode allows you to use the pads to play phrases Rhythm Pattern Set Numbers are stored on an individual Live/ (Phrase0001–Phrase2000) generated by the Rhythm Pattern function.
Page 197: Tone Sel/Sw (Using The Pads To Select Tones Or Switch Them On/Off)
Using the Pads Quick Setup 8 TRACK MUTE In the Pad Setting screen you can press [F3 (Quick Setup)] to specify (Using the Pads to Mute Tracks) the note numbers for sixteen Rhythm Patterns together. For the procedure, refer to “Quick Setup” (p. 192). The parameters will be This pad mode allows you to use the pads to directly mute (silence) as follows.
Page 198: Bookmark (Using The Pads To Recall Frequently Used Screens)
Using the Pads 9 BOOKMARK 10 MIDI TX SW (Using the Pads to Recall Frequently (Using the Pads to Turn External MIDI Used Screens) Transmit Channels (1–16) On/Off) This pad mode lets you use the pads to register and recall frequently This pad mode allows you to use the pads to turn external MIDI used screens.
Page 199: Effect Sw (Using The Pads To Switch The Effects)
Using the Pads 11 EFFECT SW 12 PATCH MFX SW (Using the Pads to Switch the Effects) (Using the Pads to Switch Patch Multi-effects) This pad mode allows you to use the pads to switch the effects (other than the patch multi-effect) on/off. This pad mode allows you to use the pads to individually switch the patch multi-effect of each part (1–16) on/off.
Page 200: Part Select (Using The Pads To Select Parts)
Using the Pads 13 PART SELECT 14 PART MUTE (Using the Pads to Select Parts) (Using the Pads to Mute Parts) This pad mode allows you to use the pads to select parts (1–16) and This pad mode lets you use the pads to mute (silence) parts (1–16) banks (INT/EXP1/EXP2/EXT).
Page 201: User Group (Using The Pads To Register/Recall User Groups)
Using the Pads 15 USER GROUP Registering a Sound in a User Group (Using the Pads to Register/Recall Press [PAD SETTING]. User Groups) The User Group screen will appear. Proceed to You can register frequently-used sounds as a user group. This pad step 4 of “Registering a mode lets you instantly select these sounds by pressing a pad.
Page 202: Favorite (Using The Pads To Register/Recall Favorite Settings)
Using the Pads 16 FAVORITE Registering a Favorite Sound (Setting) (Using the Pads to Register/Recall Press [PAD SETTING]. Favorite Settings) The Favorite screen (p. 54) will appear. You can create a list of sounds (settings) that you frequently use in live performance, and recall them instantly.
Page 203: 06: Sequencer (Creating A Song)
06: Sequencer (Creating a Song) This chapter explains how to use the sequencer to play, record, and edit songs. • Playing Back a Song ..........p. 204 • Recording MIDI............p. 217 • Recording Audio............p. 228 • Editing Songs ............p. 232 •...
Page 204: Playing Back A Song
Playing Back a Song This section explains how to use the Fantom-G’s sequencer to play Playing a Song (Song Play) back a song. Here’s how to play a Fantom-G song. We recommend that you put the sound generator in Studio mode when creating or playing a song.
Page 205: Playing A Song (Song Play)
Playing Back a Song Press [PLAY] to start playback. Playing a Song (Song Play) Here’s how to play the song you loaded in the Song Play screen (p. 204). Press [SONG]. Playback will stop automatically when the song ends. If you want to stop before the end of the song, press [STOP].
Page 206: Selecting A Sound (Part Or Patch) In The Song Screen
Playing Back a Song Selecting a Sound (Part or Patch) in Fast-forwarding or Rewinding the Song Screen during Playback In the Song Play/Song Edit screen, you can select a part or You can fast-forward, rewind, or jump within a song not only while patch by pressing [PATCH].
Page 207: Accessing The Mixer Screen
Playing Back a Song Accessing the Mixer Screen Changing the Playback Tempo of the Song For a song you’ve created in Studio mode, you can use the Studio mode Studio Play screen to adjust the volume of each internal sound When a song plays back, its tempo is determined by the data in the generator part and audio track.
Page 208: Playing A Song Repeatedly (Loop)
Playing Back a Song Playing a Song Repeatedly (Loop) Placing Markers in a Song (Marker) You can make the song play repeatedly according to the loop points You can place up to sixteen markers in a song at units of one you specify.
Page 209: Changing The Track Display Zoom And Display Order (Zoom/Track Order)
Playing Back a Song Changing the track display order Changing the Track Display Zoom and Display Order (Zoom/Track By turning the VALUE dial or using [INC] [DEC] to change Order) the value in the “Track Order” field, you can change the order in which the currently selected track is displayed.
Page 210: Specifying A Track's Output Destination (Output Assign)
Playing Back a Song Specifying a Track’s Output Destination Deleting a Song File (Song Delete) (Output Assign) Here’s how to delete a song file from the project. Here’s how to specify the output destination of each track. Press [SONG]. Press [SONG]. The Song Play screen will appear.
Page 211: Erasing The Currently-Open Song (Song Clear)
Playing Back a Song Erasing the Currently-open Song (Song Clear) Here’s how to erase the song that’s currently opened in the Song Play screen. Use this function when you want to record a new song. This will not delete the actual song file that’s saved in the project. If a song you’re editing is open, save the song before you continue (p.
Page 212: Playing A Standard Midi File (Smf)
Playing Back a Song Playing a Standard MIDI File Playing a Standard MIDI File (SMF) (SMF List) (SMF) You can access the SMF List and listen to a standard MIDI file (SMF) Standard MIDI File (SMF) data from your computer can be copied to that you copied as described in “Copying a Standard MIDI File the Fantom-G for listening, or imported into a song or phrase.
Page 213: Importing An Smf Into A Phrase (Import Phrase)
Playing Back a Song Importing an SMF into a Phrase Importing an SMF into a Song (Import Phrase) (Import Song) You can access the SMF List and import a standard MIDI file (SMF) You can access the SMF List and import a standard MIDI file (SMF) from the project into a phrase.
Page 214: Playing Phrases (Midi Phrase)
Playing Back a Song Playing Phrases (MIDI Phrase) Loading a Phrase (Load) Here’s how to load a phrase from the project into memory. Phrases from within the Fantom-G project can be auditioned from a list. Press [SONG]. Auditioning a Phrase (MIDI Phrase List) Here’s how to access the Phrase List and audition a phrase from the project.
Page 215: Deleting A Phrase From The Project (Delete Phrase)
Playing Back a Song Deleting a Phrase from the Project Duplicating a Phrase (Duplicate) (Delete Phrase) This operation will duplicate a phrase to a vacant number in the list. You can use this to create variations by modifying an existing This operation will completely delete a phrase from the project along phrase.
Page 216: Saving A Phrase (Save)
Playing Back a Song Saving a Phrase (Save) Saving all Phrases (Save All) This operation will save the selected phrase to the project. This operation will save all phrases of the phrase list into the project. A phrase you recorded or edited is temporary, and will be lost when Press [SONG].
Page 217: Recording Midi
Recording MIDI This section explains how to use the Fantom-G’s sequencer to record Undo function MIDI. This cancels the result of the following edit/recording operations, Phrases and Songs reverting to the original state. • Phrase modify (p. 239) A “phrase” is a chunk of recorded MIDI data. You can create a song •...
Page 218: Recording Into A Song
Recording MIDI Recording into a Song Selecting a Sound for Recording Before you record a song, select Studio mode and choose the sound Recording work-flow you’ll use for recording. When recording a new song, the work-flow is as follows. The Fantom-G’s sequencer can record your performance 1.
Page 219: Specifying The Time Signature (Beat Track)
Recording MIDI Specifying the Time Signature Selecting a MIDI Track and the (Beat Track) Recording-start Measure When you record a new song, start by specifying the time signature. Here’s how to select the MIDI track on which you’ll record, and However, if you’ve just executed the Song Clear operation or turned specify the recording-start measure.
Page 220: Recording Into A Phrase
Recording MIDI Recording into a Phrase Selecting a Sound for Recording Before you record a phrase, select Studio mode and choose the Recording work-flow sound you’ll use for recording. When recording a new phrase, the work-flow is as follows. The Fantom-G’s sequencer can record your performance 1.
Page 221: Selecting The Phrase To Record
Recording MIDI Selecting the Phrase to Record Access the MIDI Phrase List, and select the phrase that you want to record. Recording operations can also be performed in the Phrase Edit screen (p. 238). Press [SONG]. The Song Play screen will appear. Press [F3 (Phrase List)].
Page 222: Recording Your Performance Just As You Play It (Realtime Recording)
Recording MIDI Recording Your Performance Basic Procedure for Realtime Recording Just as You Play It Make sure that you’ve made the appropriate preparations (Realtime Recording) for recording as described in “Recording into a Song” (p. 218) or “Recording into a Phrase” (p. 220). Realtime recording is the recording method in which your keyboard Press [REC].
Page 223: Realtime Rec Standby Parameters
Recording MIDI changes have already been recorded, they will be overwritten by your new tempo changes. You can Undo the result of recording (p. 217). Value: OFF, ON Loop Switch You can change the Input Quantize setting during recording. In the Realtime Rec window that is shown during recording, Specifies whether loop recording will be on (ON) or off (OFF).
Page 224: Selecting The Sequencer Data That Will Be Recorded (Recording Select)
Recording MIDI Grid Resolution Selecting the Sequencer Data that Make this setting when you are using Grid Quantize. Specify will Be Recorded (Recording Select) the quantization interval in terms of a note value. Select the shortest note value that will occur in the range to which Grid When you use realtime recording, all of your sequencer data will Quantize will be applied.
Page 225: Erasing Unwanted Data While You Record (Realtime Erase)
Recording MIDI Erasing Unwanted Data While You Auditioning Sounds or Phrases While Record (Realtime Erase) Recording (Rehearsal Function) Realtime Erase is a function that erases unwanted data during The Rehearsal function lets you temporarily suspend recording realtime recording. This is particularly convenient during loop during realtime recording.
Page 226: Inputting Data One Step At A Time (Step Recording)
Recording MIDI Press [F8 (Start)] or [PLAY]. Inputting Data One Step at The [REC] indicator will light, and the Step Rec (Note) screen a Time (Step Recording) appears. Step recording lets you record notes and rests one at a time, just as though you were writing them onto a musical staff.
Page 227 Recording MIDI • Step Back Cancel the previously input note. The Relation between Note Value Length • and Gate Time Extend the length of the previously input note by the current The relation between the length of the note value and the gate setting.
Page 228: Recording Audio
Recording Audio This section explains how to use the Fantom-G’s sequencer to record Recording into a Song audio. When recording audio into a song, the work-flow is as follows. About the audio recording time The Fantom-G has 32 MB of built-in memory, which allows you 1.
Page 229: Selecting An Audio Track And The Recording-Start Measure
Recording Audio Selecting an Audio Track and the Recording-start Measure Here’s how to select an audio track for recording, and specify the recording-start measure. You can record on any of the tracks 1–24 that are marked “AUDIO.” Press [SONG]. The Song Play screen will appear. Turn the VALUE dial or use to select the audio track on which you want to record.
Page 230: Audio Recording
Recording Audio * If an external device is connected to the DIGITAL AUDIO IN Audio Recording connector, and you disconnect the cable or power-off your external device, noise may subsequently be heard in the input from DIGITAL Here’s how to record audio input from an audio device, mic, or CD AUDIO IN.
Page 231: Audio Rec Standby Parameters
Recording Audio Count In Audio Rec Standby Parameters Selects how recording will begin. Value This section explains the Realtime Rec Standby parameters. Recording will begin as soon as you press OFF: [PLAY]. Audio Rec Mode (Audio recording mode) 1 MEAS: When you press [PLAY], there will be a count Specifies how recording will occur.
Page 232: Editing Songs
Editing Songs This section explains how to edit songs. F-keys operations in the Song Edit screen F-key Explanation Page Inserts a sample/phrase at the specified lo- p. 233 Three Ways to Edit Insert cation. Deletes the selected sample/phrase from p. 234 Delete the track.
Page 233: Moving A Sample/Phrase (Move)
Editing Songs Moving a Sample/Phrase (Move) Inserting a Sample/Phrase at a Specified Location (Insert) Here’s how to move the currently selected sample/phrase to another track or location. Here’s how to insert a sample/phrase at the location you specify. Samples will automatically be selected for an audio track, and Access the Song Edit screen (p.
Page 234: Deleting A Sample/Phrase From A Track (Delete)
Editing Songs Deleting a Sample/Phrase from a Editing a Sample/Phrase Track (Delete) (Edit) Here’s how to delete the selected sample/phrase from the track. Here’s how to edit the currently selected sample/phrase. If a sample is selected: The Sample Edit window will appear. Access the Song Edit screen (p.
Page 235: Song Utility (Song Util)
Editing Songs Song Utility (Song Util) Naming a Track (Track Name) You can assign a name of a track. Changing the Track Display Zoom Access the Song Edit screen (p. 232). and Display Order (Zoom/Track Order) to select the track that you want to rename. Press [F7 (Song Util)].
Page 236: Changing The Time Signature During The Song (Beat Track)
Editing Songs Changing the Time Signature For details on editing the tempo track, refer to “Editing during the Song (Beat Track) Individual Items of Sequencer Data (Microscope)” (p. 250). However, the only data that can be handled by the tempo track If you want the time signature to change during the song, insert new is as described in “Tempo Change”...
Page 237: Track Edit Function
Editing Songs Measure, For (Edit Range) Track Edit Function Specifies the measure location at which the blank measures are to be inserted, and the number of blank measures to be inserted. In the Song Play/Song Edit screen you can perform Track operations such as Insert (Inserting a Blank Measure), Delete Beat (Time Signature) (Deleting Unwanted Measures), or Copy (Copying Measures).
Page 238: Editing A Phrase (Phrase Edit)
Editing Songs Press [F4 (Edit)]. Editing a Phrase (Phrase Edit) The Phrase Edit screen will appear. If a certain phrase is used by multiple songs in a project, editing that phrase will affect the content of all these songs. If you will be editing a phrase that is used by other songs, it’s a good idea to duplicate the phrase beforehand.
Page 239: Erasing The Currently-Edited Phrase (Clear)
Editing Songs Phrase Modify Menu Erasing the Currently-edited Phrase (Clear) Access the Phrase Edit screen (p. 238). Here’s how to erase the currently-edited phrase. This operation will Press [F3 (Modify)]. not delete the phrase file that’s saved in the project. The Phrase Modify Menu window will appear.
Page 240: Aligning A Phrase's Timing (Quantize)
Editing Songs Quantize Type Aligning a Phrase’s Timing Specifies the Quantize range. (Quantize) Value GRID: Grid Quantize will be applied to recording. Since the In the chapter “Recording MIDI” (p. 217), we explained Recording notes will be adjusted to the timing of the specified Quantize, which lets you quantize during realtime recording.
Page 241 Editing Songs Rate (Shuffle Quantize Rate) Reggae (pushing beats, large dynamics) Reggae (pushing beats, light swing) This parameter is used when Shuffle Quantize is selected. Specifies Reggae (pushing beats, heavy swing) how far apart you want a down-beat specified by the Shuffle Pops (small dynamics) Resolution parameter to be from the up-beat that immediately Pops (large dynamics)
Page 242: Erasing Unwanted Performance Data (Erase)
Editing Songs Range Min, Range Max Erasing Unwanted Performance If you have set the Status parameter to “NOTE,” “P.AFT,” “C.C,” or Data (Erase) “PROG,” specify the range. Set “Range Min” to the lowest value of the range, and “Range Max” to the highest value of the range. This function erases all the sequencer data inside the specified area.
Page 243: Deleting Unwanted Measures (Delete)
Editing Songs Copy Times Deleting Unwanted Measures Specifies the number of times that the data will be copied to the copy (Delete) destination. Status This function deletes a specified area of sequencer data, and moves the subsequent data to fill the gap. As a result, the measure length Selects the type of data to be copied.
Page 244: Inserting A Blank Measure (Insert)
Editing Songs Inserting a Blank Measure (Insert) If You Want to Lower the Bass Sound One This function inserts blank measures into a specified phrase position. Octave... If your bass is played one octave higher than the staff notation, For details on the settings, refer to “Phrase Modify Menu” (p. use the Transpose function to lower it one octave.
Page 245: Changing The Velocity (Change Velocity)
Editing Songs Range Min, Range Max Changing the Velocity Specifies the range of note numbers for which velocity will be (Change Velocity) modified. For example, if you want to modify the velocity of notes in the range of C3 through C4, set “Range Min” to “C3” and “Range This function modifies the keyboard playing dynamics (velocity) of a Max”...
Page 246: Changing The Midi Channel (Change Channel)
Editing Songs Src Channel, Dst Channel (MIDI Channel) Changing the MIDI Channel Set Src Channel to the MIDI channel that you want to change, and (Change Channel) set Dst Channel to the MIDI channel to which it will be changed. If you have selected ALL for the source MIDI channel, the sequencer This function transfers the MIDI channel of a specified area of data of all MIDI channels will be combined into the destination MIDI...
Page 247: Modifying The Length Of Notes (Change Duration)
Editing Songs Range Min, Range Max Modifying the Length of Notes Specifies the range of note numbers for which duration will be (Change Duration) modified. For example, if you want to change the duration of notes in the range of C3 to C4, set “Range Min” to “C3” and “Range Min” This function modifies the duration (time from note-on to note-off) to “C4.”...
Page 248: Shifting Performance Data Forward And Back (Shift Clock)
Editing Songs Status Shifting Performance Data Selects the type of data to be shifted in time. Forward and Back (Shift Clock) Value This function shifts the timing of sequencer data backward or NOTE forward in time within a specified area in steps of 1 tick. Slight shifts Poly Aftertouch of timing can speed up or drag performance.
Page 249: Thinning Out The Sequencer Data (Data Thin)
Editing Songs Range Min, Range Max Thinning Out the Sequencer Data If you set the Status parameter to “P.AFT” or “C.C,” specify the (Data Thin) range of data. Set “Range Min” to the lowest value of the range, and “Range Max” to the highest value of the range. Continuously variable controllers such as aftertouch, pitch bend, and expression tend to create unexpectedly large amounts of data when operated.
Page 250: Editing Individual Items Of Sequencer Data (Microscope)
Editing Songs Press [F7 (Channel)] to select the part whose performance Editing Individual Items of data you want to view or edit. Sequencer Data Choose “ALL” if you want to view performance data of all MIDI channels. (Microscope) Channel: ALL, 1–16 Part Group: ALL, INT, EXP1, EXP2, EXT Microscope lets you edit individual items of sequencer data recorded...
Page 251: Sequencer Data Handled By Phrases
Pitch Bend [EXIT]. This MIDI message changes the pitch. The value specifies the • In the case of a Roland type IV system exclusive message, the amount of pitch change. checksum can be calculated automatically when you finalize the values. If you do not want to calculate the checksum Poly Aftertouch automatically, press [F1 (Auto Sum)] to turn off the light.
Page 252: Viewing Sequencer Data (View)
Editing Songs Viewing Sequencer Data (View) Inserting Sequencer Data (Create) Since a phrase contains a large amount of sequencer data, the display You can insert new sequencer data into a desired location of a may be cluttered and difficult to read. For this reason, the Fantom-G phrase.
Page 253: Moving Sequencer Data (Move)
Editing Songs Moving Sequencer Data (Move) Copying Sequencer Data (Copy) You can move an individual item of sequencer data to a different Sequencer data can be copied to the desired location. This is location. convenient when you want to use the same sequencer data at multiple locations.
Page 254: Saving A Song (Song Save)
Saving a Song (Song Save) A song you record is initially held in the temporary area. The song in Saving a Song (Save) the temporary area will be lost if you turn off the power or load a different song. If you want to keep this song, you’ll need to save it to the project.
Page 255: Resampling The Contents Of All Tracks To A Single Sample
Saving a Song (Song Save) Resampling the Contents of Copying a Resampled Sample to Your Computer to Create a CD or MP3 All Tracks to a Single Sample A sample you created by resampling can be copied to your Here’s how you can combine the performance of all audio tracks and computer.
Page 256: Save As An Smf File (Save As Smf)
Saving a Song (Song Save) Save As an SMF File (Save As SMF) Here’s how to save the song that you loaded (temporary song) or MIDI phrase as an SMF file. In the Song Play/Song Edit screen, press [F7 (Song Util)], choose “Save As SMF”...
Page 257: 07: Sampler
07: Sampler This chapter explains how to sample sounds and edit samples. • Sampling ..............p. 258 • Editing a Sample ............p. 263...
Page 258: Sampling
Sampling The Fantom-G lets you sample audio sources, such as an audio Hold down [SHIFT] and press [MIX IN]. fig.14-001_50 device, mic, or CD. Press [CURSOR] to select the parameter that you want to This section explains the sampling procedure and what the set.
Page 259: Input Effect Setup Settings
Sampling • Input Effect Type Input Effect Setup Settings Selects the type of effect that will be applied to the external input source. Hold down [SHIFT] and press [MIX IN]. Equalizer, Enhancer, Compressor, Limiter, Noise Value: The Input Effect Setup screen appears. Suppressor, Center Canceler fig.14-003_50 When you press [F7 (Input Effect)], the parameter setting screen...
Page 260: Sampling Procedure
Sampling Mode Explanation Sampling Procedure Solo sampling: While playing the internal sound generator as usual, sample only the [F5 (Solo)] sound from the external input. Press [SAMPLING] to access the Sampling Menu screen. * Effects other than the Input Effect can’t be fig.14-004 applied to the external input sound.
Page 261 Sampling • Sampling Length If Stop Trigger is set to MANUAL, press [F7 (Stop)] to stop sampling. You can specify this if Stop Trigger is “BEAT” or “TIME.” The Sample Edit (p. 266) screen will appear. Value * If you want to edit the sample, refer to p. 263. When Stop Trigger is “BEAT”: fig.14-007_50 1–20000: Number of beats to continue sampling...
Page 262: Dividing A Sample During Sampling
Sampling Sampling Earlier in Time Dividing a Sample During Sampling (Skip Back Sampling) During sampling, press [F8 (Divide)]. The sample will be divided at the point where you pressed the Skip Back Sampling is a function that lets you sample what were button, and the subsequent material will be sampled as a playing immediately prior to that point, even if you were not sample of the next number.
Page 263: Editing A Sample
Editing a Sample This section explains how you can edit a sample that you sampled/ imported. The sample list shows the current state of Editing is performed in sample memory—a memory area dedicated the samples. to samples. * You cannot execute this with more than one sample selected. Sample Indicates the name of the sample.
Page 264: Loading A Sample (Load)
Editing a Sample Loading a Sample (Load) Unloading a Sample (Unload) Here’s how you can load a sample from the project into sample This operation erases (unloads) the sample from sample memory. memory. The sample file itself that is saved in the project will not be deleted. Press [SAMPLE].
Page 265: Deleting A Sample (Delete)
Editing a Sample Deleting a Sample (Delete) Importing an Audio File (WAV/AIFF) from Your Computer This operation completes deletes the sample saved in the project, along with its file. Audio files (WAV/AIFF) from your computer can be imported into memory as samples. Press [SAMPLE].
Page 266: Displaying Sample Edit Screen (Sample Edit)
Editing a Sample Displaying Sample Edit Screen Magnifying/Shrinking the Waveform Display (Zoom) (Sample Edit) Here’s how to change the magnification of the sample display. Press [SAMPLE]. The Sample Edit screen will appear. In the Sample Edit screen, press [F6 (Zoom)]. fig.14-007_50 The Zoom window will appear.
Page 267: Setting The Start/End Points Of The Sample
Editing a Sample Setting the Start/End Points About the beat of the Sample Samples contain beat data. Up to 100 beat locations are specified for one sample. If the sample contains more than 100 beats, fifty You can specify the portion of the sample that will actually sound. beat locations will be specified from the beginning and end of You can also specify the region that is to be looped.
Page 268: Making Settings For Sample (Sample Parameters)
Editing a Sample REV-ONE (Reverse One-shot): Making Settings for Sample The sample will be played back only once from the End point to (Sample Parameters) the Start point in the reverse direction. fig.15-008 Loop Here you can make various settings for the sample. Start P.
Page 269: Sample Bpm Calculation Function
Editing a Sample Boosting or Limiting the Sample BPM calculation High-frequency Range of function the Sample (Emphasis) Calculates the BPM (tempo) of the sample. In some cases, the audio quality will be improved if you boost the Access the Sample Parameter screen. high-frequency range of an imported sample.
Page 270: Maximizing The Volume Of A Sample (Normalize)
Editing a Sample Maximizing the Volume of a Sample (Normalize) This operation applies an envelope (time-variant change) to the volume of the sample. You can also adjust the volume of the entire This operation raises the level of the entire sample as much as sample.
Page 271: Stretching Or Shrinking A Sample (Time Stretch)
Editing a Sample Stretching or Shrinking a Sample (Time Stretch) This operation stretches or shrinks the sample to modify the length or tempo. You can stretch or shrink the sample by a factor of one half to double the original length. Press [SAMPLE] to access the Sample Edit screen.
Page 272: Dividing A Sample Into Notes (Chop)
Editing a Sample 10. To execute the division, press [F7 (OK)]. Dividing a Sample into Notes To cancel, press [F8 (EXIT)]. (Chop) When you execute the Chop operation, a message will ask whether you want to execute Create Sample Set. The chop function divides a sample waveform into separate notes.
Page 273 Editing a Sample Automatically Dividing a Sample 11. To execute the division, press [F8 (Execute)]. * To cancel, press [F7 (Cancel)]. (Auto Chop) When you execute Auto Chop, a message will ask you whether Here’s how you can automatically specify the points at which the you want to execute Create Sample Set.
Page 274: Saving A Sample (Save)
Editing a Sample Saving all samples (Save All) Saving a Sample (Save) Here’s how to save the selected sample into the project. Here’s how to save all samples of the sample list into the project. A newly loaded sample, as well as any changes you’ve made in the Press [SAMPLE].
Page 275: Multisample
Multisample Creating a multisample A “multisample” is a set of different samples assigned to the notes of the keyboard. One multisample can split up to 128 samples across the keyboard. You can store 128 multisamples in user memory. * In order to hear a multisample, you must assign it to a patch. fig.msamj.eps How patches, multisamples, and samples are related Patch...
Page 276: Editing A Multisample
Multisample Editing a multisample About the Multisample Edit screen fig.msam2j.eps Multisample Edit Screen If you hold down [SHIFT] 10 11 12 14 15 16 17 14. Returns a multisample to the last-written state (p. 277). Shows information about the patch. 15.
Page 277: Selecting The Notes To Edit
Multisample Selecting the notes to edit Copying a sample from a key to another key (Copy) Press the keyboard to select the sample you want to edit. You can select a region by pressing two notes. Here’s how the sample assigned to a note can be copied to a different note of the keyboard.
Page 278: Erasing All Notes (Erase All)
Multisample The buttons have the following functions. Erasing all notes (Erase All) • VALUE dial, [INC][DEC] Change the original key of the sample assigned to the current note. Here’s how to erase all notes. • [F7 (Preview)] In the Multisample Edit screen, hold down [SHIFT] and The sample will play at its current original key while you press [F2 (Erase All)].
Page 279: 08: Various Settings (Menu And System)
08: Various Settings (Menu and System) This chapter explains the menus and system settings. • Menu Reference............p. 280 • System Settings ............p. 290 • V-LINK ..............p. 305...
Page 280: Menu Reference
Menu Reference Menus Project-related Settings (Project) The menus contain various functions you will find helpful when using the Fantom-G. Here’s how to load a project from internal memory or USB memory Press [MENU] to access the menu, select the desired function, and into the Fantom-G’s temporary area, or save the project from the execute it.
Page 281: Save Project
Menu Reference Save Project Save As Project This operation will save the project from the temporary area to This operation will save the project from the temporary area to internal memory or USB memory. internal memory or USB memory under a different name. Press [MENU] to access the Menu window.
Page 282: Create Project
Menu Reference Create Project If you selected USB memory, according to the default settings, projects will be named using a sequential number, like this: This operation will create a new project. “FantomG001,” “FantomG002,” etc., but you are free to change When you execute a factory reset, preload data is loaded into the this.
Page 283: Restore Project
Menu Reference System Settings (System) Restore Project By executing this operation, a project previously backed up to USB memory using Backup Project can be restored into internal memory. “System Settings (Settings Common to All Modes)” (p. 290) Restoring a backup will overwrite the internal memory. If internal memory contains important data, save it to USB memory before you execute the Restore Project operation.
Page 284: Reset To Default Factory Settings (Factory Reset)
Menu Reference Format USB Memory Reset to Default Factory Settings (Factory Reset) This formats (initializes) the USB memory that’s connected to the rear panel USB MEMORY connector. This restores all data in the Fantom-G to the factory-set condition (Factory Reset). If the format of the USB memory is other than FAT, it won’t be recognized by the Fantom-G.
Page 285: Exchanging Files With Your Computer (Usb Storage)
Menu Reference Exchanging Files with Your Specify the Connection-Destination Computer (USB Storage) When the Fantom-G is connected to your computer, you can select the area on the Fantom-G to which a connection is to be made; either By connecting the Fantom-G with your computer via a USB cable, the internal user area or the USB memory.
Page 286: Cautions Regarding Folders And Files
Menu Reference Exiting Storage Mode Cautions Regarding Folders and Files Windows Vista/XP Users You must observe the following points when the Fantom-G is connected to your computer via USB. In My Computer, right-click the “removable hard disk” icon • Don’t use your computer to move or delete folders within the and execute “Remove.”...
Page 287: Examples Of Using Storage Mode
Menu Reference Importing Audio file (Import Audio) Examples of Using Storage Mode “Import Audio” (p. 289) Copying a standard MIDI file (SMF) from your computer to the Fantom-G Here’s how to copy a standard MIDI file from your computer to the Fantom-G.
Page 288 Menu Reference Using a Bitmap File as a Background Displaying Text Memos in the in the Display (Import BMP) Favorite Screen (Import Text) Via USB memory (or internal memory), you can use a bitmap file You can create a text file on your computer and display it in the (Windows BMP format, 24-bit, 800x480 pixel) as wallpaper for the Favorite screen (p.
Page 289: Import Audio
Menu Reference Import Audio Here’s how to import an audio file (WAV/AIFF). On your computer, prepare the audio file (WAV/AIFF format) that you want to import. Using the USB Storage function, copy the audio to the “IMPORT” folder of USB memory or the Fantom-G’s internal memory.
Page 290: System Settings (Settings Common To All Modes)
System Settings (Settings Common to All Modes) Settings that affect the entire operating environment of the Fantom- Saving the System Settings G, such as tuning and MIDI message reception, are referred to as (System Write) system functions. This section explains how to make settings for the System functions and describes the functions of the different System parameters.
Page 291: Functions Of System Parameters
If your pedal has an effect opposite of what you expect, the brightness of your location. Increase this value will raise the set this parameter to “REVERSE.” If you are using a Roland pedal sensitivity (p. 291). (that has no polarity switch), set this parameter to “STANDARD.”...
Page 292: Keyboard
System Settings (Settings Common to All Modes) Pad Aftertouch Sens Keyboard (Pad Aftertouch Sensitivity) “Aftertouch” means additional pressure that you apply on a pad Keyboard Velocity after striking it. This setting adjusts the aftertouch sensitivity. Higher Specifies the velocity value that will be transmitted when you play values make it easier to apply aftertouch.
Page 293: Knob/Slider
System Settings (Settings Common to All Modes) Knob 1–4 Assign Knob/Slider Specify the functions that will be controlled by the knobs. Value Knob Slider Mode OFF: Specifies whether, when a knob or slider is moved, its position will CC01–31, CC32(OFF), 33–95: immediately be output as control data (DIRECT) or whether control Control Change data will be output only after the knob or slider position has passed...
Page 294: Magic Control
System Settings (Settings Common to All Modes) Magic Control Switch S1/S2 Magic Control is a function that automatically switches the role of Switch S1/S2 Assign Source knob 4 and slider 8 according to the screen. In the Patch List screen Specifies whether the S1/S2 switches will follow the system settings (p.
Page 295: Sync/Temp
Turn this “ON” if you want to synchronize with a hard disk device to have remote start/pause/stop control. The recorder, such as one from the Roland VS series. When set “ON,” tempo will be in accord with what has been set on MMC (MIDI Machine Control) related commands (Play, Stop and the Fantom-G.
Page 296 System Settings (Settings Common to All Modes) MTC Error Level Types of MTC Determines how often the reception status is checked when MTC is being received from an external device. Stop synchronization if a The types of MTC that can be selected by the Fantom-G are problem becomes apparent with the check.
Page 297: Metronome
System Settings (Settings Common to All Modes) Metronome Sound Metronome Mode Local Switch Specifies when you want the metronome to sound. The Local Switch determines whether the internal sound generator is disconnected (OFF) from the controller section (keyboard, pad, pitch * If [F7 (Click)] in the Tempo window which appears when you press bend/modulation lever, knobs, buttons, D Beam controller, pedal, [TEMPO] is lit in red, the metronome will always sound.
Page 298 System Settings (Settings Common to All Modes) Output Gain How Do I Adjust the Volume? This adjusts the output gain from the Fantom-G’s Analog Out and Digital Out. When, for example, there are relatively few voices being MASTER LEVEL adjusts the volume of both the OUTPUT A sounded, boosting the output gain can let you attain the most jacks and the DIGITAL AUDIO OUT jack.
Page 299: Midi
System Settings (Settings Common to All Modes) Soft Through (Soft Through Switch) MIDI Thru function re-transmits all messages received at the MIDI IN connector to the MIDI OUT connector without modifying them in Device ID (Device ID Number) any way. When you want to transmit or receive System Exclusive messages, Value: OFF, ON set this parameter to match the Device ID number of the other MIDI...
Page 300: Usb
System Settings (Settings Common to All Modes) Equal Temperament USB-MIDI Thru Sw (USB-MIDI Thru Switch) This tuning divides the octave into 12 equal parts, and is the most widely used method of temperament used in Western This switch specifies whether MIDI messages received at the USB music.
Page 301: System Ctrl
System Settings (Settings Common to All Modes) Preview 1–4 Note Number Screen Saver Specify the pitch of the four notes that will sound when the Preview Mode parameter is set to “SINGLE” or “CHORD.” Screen Saver Type Value: C-1–G9 Select the type of screen saver. Value: 1–16 If “PHRASE”...
Page 302: Startup
System Settings (Settings Common to All Modes) Trigger Level System Information (Info) Volume level at which sampling will begin when Auto Trig is ON A setting of 0 is the minimum. Here’s how to view system information. Value: 0–7 Press [MENU] to access the menu. Gap Time Turn the VALUE dial or use [CURSOR] to choose “System,”...
Page 303: Changing The Wallpaper (Wallpaper)
System Settings (Settings Common to All Modes) Press to select the file that you want to import. Changing the Wallpaper Press [F8 (Select)]. (Wallpaper) The file you want to import will be displayed. * To cancel, press [F7 (Cancel)]. You can change the background image of the display. Via USB memory (or internal memory), you can use your own photo 10.
Page 304: Display-Related Settings (Appearance)
System Settings (Settings Common to All Modes) Display-related Settings (Appearance) Here you can make display-related settings. On the Fantom-G you can turn window transparency on/off, and specify the degree of transparency. Press [MENU] to access the menu. Turn the VALUE dial or use [CURSOR] to choose “System,” and then press [ENTER].
Page 305: About V-Link
About V-LINK What is V-LINK? Turning the V-LINK ON/OFF In the left of the panel, press [V-LINK] so the indicator is V-LINK ( ) i s a function that allows music and images lighted. to be performed together. By using MIDI to connect two or more V- The V-LINK setting will be on.
Page 306: V-Link Parameters
About V-LINK PAD MODE V-LINK Parameters Selects whether the pads will switch clips or palettes. Value: CLIP, PALETT Note Tx Ch Press [F1 (Clip)]: switches clips MIDI channel that will switch clips/palettes and will control Press [F2 (Palett)]: switches palettes dissolve time.
Page 307: 09: Appendix
09: Appendix • Installing the Expansion Boar........p. 308 • Expanding the DIMM Memory........p. 312 • Troubleshooting ............p. 316 • Error Messages............p. 322 • About MIDI .............. p. 323 • Specifications ............p. 326...
Page 308: Installing The Expansion Board
Installing the Expansion Board Up to two optional Expansion Boards (ARX series; sold separately) How to Install an Expansion can be installed in the Fantom-G. Board Cautions When Installing an Install the Expansion Boards after removing the panel cover. Boards Expansion Board can be installed in the EXP 1–EXP 2 slots.
Page 309: Removing An Expansion Board
Installing the Expansion Board Press firmly inward until the tabs on the instrument lock Configuring the Newly- into the holes of the expansion board. installed Expansion Board After you’ve finished installing an expansion board into the Fantom- G, you must perform the following procedure. You’ll perform this procedure only once, the first time you turn on the power after inserting an expansion board.
Page 310: Installation De La Carte D'expansion Wave
Installation de la carte d’expansion Wave (French Language for Canadian Safety Standard) Installation d’une carte Un maximum de deux cartes d’expansion optionnelles (série ARX; d’expansion Wave vendues séparément) peuvent être installées dans le Fantom-G. Retirer le panneau inférieur avant d’installer les cartes d’expansion. Précautions à...
Page 311: Retrait D'une Carte D'expansion
Installation de la carte d’expansion Wave Appuyer fermement vers l’intérieur jusqu’à ce que les Configuration de la carte languettes soient bloquées dans les ouvertures de la carte d’expansion. d’expansion installée Une fois l’installation de la carte d’expansion dans le Fantom-G terminée, il faut procéder comme suit.

This manual is also suitable for:

Fantom g7 Fantom g6

Roland Fantom G8 User Manual

Using the Unit Safely

Important Notes

Contents

01: Introduction (Overview and Basic Operation)

Main Features

Panel Descriptions

Making Connections

Turning on the Power

Listening to the Demo Songs

Various Performance Features

Overview of the Fantom-G

Basic Operation of the Fantom-G

02: Sound Generator, Section 1 (Playing Sounds)

Playing in Single Mode

Creating a List of Frequently Used Sounds (Favorite)

Playing in Live Mode

Playing in Studio Mode

03: Sound Generator, Section 2 (Controlling Sounds)

Modifying the Sound in Real Time

Playing Arpeggios

Using the Chord Memory Function (Chord Memory)

04: Sound Generator, Section 3 (Creating Sounds)

Creating a Patch

Creating a Rhythm Set

Creating a Sample Set

Creating a Live/Studio Set

Adding Effects

Effects List

05: Pads (Using the Pads)

Using the Pads

1 SAMPLE PAD (Using the Pads to Play Samples)

2 RHYTHM (Using the Pads to Play a Rhythm Set)

3 CHORD MEMORY (Using the Pads to Switch Chord Forms)

4 ARPEGGIO (Using the Pads to Switch Arpeggio Styles)

5 RPS (Using the Pads to Play Phrases)

6 RHYTHM PTN (Using the Pads to Play Rhythm Patterns)

7 TONE SEL/SW (Using the Pads to Select Tones or Switch Them On/Off)

8 TRACK MUTE (Using the Pads to Mute Tracks)

9 BOOKMARK (Using the Pads to Recall Frequently Used Screens)

10 MIDI TX SW (Using the Pads to Turn External MIDI Transmit Channels (1-16) On/Off)

11 EFFECT SW (Using the Pads to Switch the Effects)

12 PATCH MFX SW (Using the Pads to Switch Patch Multi-Effects)

13 PART SELECT (Using the Pads to Select Parts)

14 PART MUTE (Using the Pads to Mute Parts)

15 USER GROUP (Using the Pads to Register/Recall User Groups)

16 FAVORITE (Using the Pads to Register/Recall Favorite Settings)

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Summary of Contents for Roland Fantom G8