Roland Fantom-S Owner's Manual
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Roland Fantom-S Owner's Manual

Roland corporation fantom-s, fantom-s88 keyboard owner's manual
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OWNER'S MANUAL
Thank you, and congratulations on your choice of the Roland
Before using this unit, carefully read the sections entitled: "IMPORTANT SAFETY
INSTRUCTIONS" (Owner's manual p. 2), "USING THE UNIT SAFELY" (Owner's
manual p. 3), and "IMPORTANT NOTES" (Owner's manual p. 4). These sections
provide important information concerning the proper operation of the unit.
Additionally, in order to feel assured that you have gained a good grasp of every
feature provided by your new unit, Owner's Manual, Sound/Parameter List should
be read in its entirety. The manual should be saved and kept on hand as a
convenient reference.
This Owner's Manual applies to both the Fantom-S and the Fantom-S88. The manual uses
the term "Fantom-S" to indicate both models. If you have the Fantom-S88, please read
"Fantom-S" as "Fantom-S88."
Copyright © 2003 ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without
the written permission of ROLAND CORPORATION.
.
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  • Page 1 The manual should be saved and kept on hand as a convenient reference. This Owner's Manual applies to both the Fantom-S and the Fantom-S88. The manual uses the term “Fantom-S” to indicate both models. If you have the Fantom-S88, please read “Fantom-S”...

  • Page 2: Important Safety Instructions

    CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN ATTENTION : RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS.
  • Page 3 Roland. • When using the unit with a rack or stand recommended by Roland, the rack or stand must be carefully placed so it is level and sure to remain stable. If not using a rack or stand, you still need to make sure that any location you...

  • Page 4: Using The Unit Safely

    • The unit should be located so that its location or position does not interfere with its proper ventilation. 101c • This unit for use only with Roland stand KS-12 (Fantom- S)/KS-17(Fantom-S88). Use with other stands is capable of resulting in instability causing possible injury.

  • Page 5: Important Notes

    • Use only the specified expression pedal (DP-8; sold separately). By connecting any other expression pedals, you risk causing malfunction and/or damage to the unit. • Use a cable from Roland to make the connection. If using some other make of connection cable, please note the following precau- tions.

  • Page 6: Table Of Contents

    IMPORTANT NOTES ... 5 Main Features ... 13 Panel Descriptions... 14 Overview of the Fantom-S... 17 How the Fantom-S Is Organized... 17 About Memory... 19 About the Onboard Effects ... 20 About the Sequencer ... 21 About the Sampling Section... 23 Basic Operation of the Fantom-S...
  • Page 7 Creating a Rhythm Set... 64 How to Make the Rhythm Set Settings ... 64 Editing in a Graphic Display (Zoom Edit) ... 64 Initializing Rhythm Set Settings (Init)... 65 Copying Rhythm Tone Settings (Copy)... 65 Cautions When Selecting a Waveform ... 66 Saving Rhythm Sets You’ve Created (Write) ...
  • Page 8 Contents Making Realtime Controller Settings ... 101 Using a Pedal to Modify the Sound (Control Pedal)... 102 Making Control Pedal Settings ... 102 Playing Arpeggios (ARPEGGIO/RHYTHM Function) ... 104 About Arpeggio ... 104 Playing Arpeggios ... 104 Turning Arpeggio On and Off ... 104 Determining the Tempo for Arpeggio Performances...
  • Page 9 Editing a Sample ... 122 Selecting a Sample (Sample List)... 122 Selecting a Sample... 122 Loading a Sample... 123 Loading all Samples... 123 Unloading a Sample... 123 Deleting a Sample ... 123 Importing a Audio File... 124 Displaying Sample Edit Screen ... 124 Magnifying/Shrinking the Waveform Display (Zoom In/Out)...
  • Page 10 Contents Recording Songs ... 141 Two Recording Methods... 141 Before You Record a New Song ... 141 Select the Sound to be Used for Recording ... 141 Erasing the Song/Pattern from Internal Memory (Song Clear)... 141 Specify the Time Signature ... 141 Recording Your Performance as You Play It (Realtime Recording) ...
  • Page 11 Saving a Song with Samples (Save Song+Samples)... 168 Saving a Song (Save Song) ... 169 Saving Samples (Save All Samples)... 169 Saving a Song as an SMF File (Save as SMF)... 170 Loading a Song (Load)... 170 Basic Procedure ... 170 Loading a Song with Samples (Load Song+Samples) ...
  • Page 12 Adjusting the Depth of Resonance (Resonance) ... 198 Saving a Sound (Patch) ... 198 Using Fantom-S Editor ... 199 Installing Fantom-S Editor into Your Computer ... 199 Making Connections ... 199 Using Fantom-S Librarian ... 199 Fantom-S Editor System Requirements ... 199 System Requirements (Windows) ...

  • Page 13: Main Features

    288 megabytes. Skip-back sampling function The Fantom-S is constantly recording what you play. You can cut a several-beat phrase of your prior playing and play it back from the pads. This unique function is a great way to capture your improvisations, and can be used in a wide range of situations.

  • Page 14: Panel Descriptions

    → (p. 99) SOLO SYNTH Play the Fantom-S as a monophonic synthesizer. → (p. 100) * Hold down [SHIFT] and press one of the corresponding buttons to access the D Beam setting screen.

  • Page 15: Lcd Contrast Knob

    This allows you to control pitch bend or apply vibrato. Here you can install a wave expansion board (SRX series) or install separately sold memory. On the Fantom-S this is located on the bottom panel. → (p. 203) [PIANO MODE] Switches to a special mode optimal for playing piano sounds.

  • Page 16: Rear Panel

    DIGITAL OUT Connectors (S/P DIF OPTICAL, S/P DIF COAXIAL) The Fantom-S features both optical and coaxial digital out connectors (conforming to S/P DIF). These connectors output a digital audio signal (stereo). The output signal is identical to the signal that is output from the OUTPUT A (MIX) jacks.

  • Page 17: Overview Of The Fantom-S

    Samples you record can be used in the same way as the waveforms that are built into the internal sound generator. (p. 119) The Fantom-S can load WAV or AIFF format wave files as samples via a USB connection. Loaded sample can be used in patches or rhythm sets.

  • Page 18: Rhythm Sets

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

  • Page 19: About Simultaneous Polyphony

    Part On the Fantom-S, a “part” is something to which you assign a patch or rhythm set. Patch mode has two parts, the Pad part and the Keyboard part, and you can assign a patch or rhythm set to each of these parts.

  • Page 20: About The Onboard Effects

    GM2). Wave Expansion Boards (optional: SRX Series) The Fantom-S can be equipped with up to three Wave Expansion Boards (four SRX series). Wave Expansion Boards contain Wave data, as well as patches and rhythm sets that use this Wave data, which can be called directly into the temporary area and played.

  • Page 21: About The Sequencer

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

  • Page 22: Tempo Track

    ( ) is a file name extension that distinguishes the different file types. Song File (.SVQ) This file is a song created on the Fantom-S. It is called an MRC Pro song. Standard MIDI File (.MID) Standard MIDI File is a standard file format that allows sequencer data to be exchanged between most musical applications.

  • Page 23: About The Sampling Section

    Samples A sample contains the waveform data sampled by the Fantom-S. In addition to the actual waveform data itself, a sample also contains parameters such as start point, loop start, and loop end. The Fantom- S can hold 9,000 samples.

  • Page 24: Basic Operation Of The Fantom-S

    The Fantom-S has two sound generating modes: Patch mode, Performance mode. You can select the sound generating mode (state) that is most appropriate for how you are playing the Fantom-S. Use the following procedure to switch between these modes. Patch mode In this mode you can use the keyboard and pads to play individual sounds (patches/rhythm sets).

  • Page 25: Moving The Cursor

    Modifying a Value To modify the value, use the VALUE dial or the [INC]/[DEC] buttons. fig.01-21 In each screen of the Fantom-S, you can use the cursor to move the area displayed as black characters on white background, and modify its value.

  • Page 26: Playing In Patch Mode

    To access the Patch Play screen, use the following procedure. 1. Press [PATCH/RHYTHM]. You will enter Patch mode, and the Patch Play screen appears. The Fantom-S has two parts; a Keyboard part and a Pad part. 2. Press [1 (Kbd Part)] to select the Keyboard part. fig.02-00a.e...

  • Page 27: Selecting A Patch

    Sets the volume of the Keyboard part and Pad part. Selecting a Patch The Fantom-S has eight patch groups, including the User group and Preset groups A–E and GM, with each group storing 128 patches (256 in GM, USER). What’s more, you can further expand your...

  • Page 28: Selecting Favorite Patches (Favorite Sound)

    Playing in Patch Mode 1. Press [PATCH/RHYTHM] to access the Patch Play screen. fig.02-00a.e Patch number Patch Category Patch type Patch group Patch name 2. Press [1 (Kbd Part)] or [2 (Pad Part)] to move the cursor to the pad part or the keyboard part. fig.02-02.e Patch type Patch group...

  • Page 29: Auditioning Patches (Phrase Preview)

    4. Press [8 (Select)] to select the patch. Auditioning Patches (Phrase Preview) The Fantom-S allows you to preview patches by hearing a phrase appropriate for each type of patch. 1. Press [PATCH/RHYTHM] to access the Patch Play screen. 2. Press [3 (Patch List)] to access the Patch List screen.

  • Page 30: Registering A Favorite Patch (Favorite Sound)

    Playing in Patch Mode The following categories can be selected. Category Contents - - - No Assign No assign AC.Piano Acoustic Piano EL.Piano Electric Piano Keyboards Other Keyboards (Clav, Harpsichord etc.) Bell Bell, Bell Pad Mallet Mallet Organ Electric and Church Organ Accordion Accordion Harmonica...

  • Page 31: Registering Favorite Rhythm Sets (Favorite Sound)

    If you press both buttons simultaneously, the amount of movement will be zero. fig.02-07 There is a single Octave Shift setting (Setup parameter) for the entire Fantom-S. The changed setting will be remembered even if you switch patches or performances.

  • Page 32: Transposing The Keyboard In Semitone Steps (Transpose)

    Transpose setting (G–F#: -5–+6 semitones). There is a single Transpose setting (Setup parameter) for the entire Fantom-S. The changed setting will be remembered even if you switch patches or performances. If you assign “Transpose Up” “Transpose Down” as a function...

  • Page 33: Creating Smooth Pitch Changes (Portamento)

    Controlled by the Realtime Controllers or D Beam Controller (Control Setting) The Fantom-S lets you assign the parameters that will be affected when you operate the realtime control knobs, assignable switches, D Beam, pitch bend, or modulation lever. This lets you modify the sound in a variety of ways by operating the controllers.

  • Page 34: Assigning A Parameter To A Controller

    Playing in Patch Mode Assigning a Parameter to a Controller Here's how to specify the parameter that will be affected when you operate a controller. 1. Press [PATCH/RHYTHM] to access the Patch Play screen. 2. Press [5 (Ctrl Setting)]. 3. Press [5 (Ctrl Setting)]. fig.02-20_50 4.
  • Page 35 When you press [7 (Panel View)], the Panel View screen will appear, which displays the above parameters in graphical fashion, simulating an analog synthesizer. From the Panel View screen, you can press [2 (Image View)] to open the Image View screen, where you can see a graphical indication of the D Beam output value.
  • Page 36 “MIDI Implementation” (Parameter List). Pitch Bend: Pitch Bend Aftertouch: Aftertouch Arp Style: Arpeggio Style Arp Grid: Arpeggio Grid Arp Duration: Arpeggio Duration Arp Motif: Arpeggio Motif Chord Form: Chord Form Master Level: The volume of the entire Fantom-S. ] knobs.

  • Page 37: Playing Percussion Instruments

    Selecting a Rhythm Set The Fantom-S has four rhythm set groups, including the User group, Preset group and GM group, with 32 rhythm sets in the User group, 32 rhythm sets in Preset group, and 9 rhythm sets in GM group.

  • Page 38: Playing A Rhythm Set

    Playing in Patch Mode 1. Press [PATCH/RHYTHM] to access the Patch Play screen. 2. Press [1 (Kbd Part)] or [2 (Pad Part)] to select the pad part or the keyboard part. fig.02-15.e Patch Type Rhythm set group Rhythm set number * Make sure that the Patch Type is set to “Rhythm.”...

  • Page 39: Creating A Patch

    Creating a Patch With the Fantom-S, you have total control over a wide variety of settings. Each item that can be set is known as a parameter. When you change the values of parameters, you are doing what is referred to as Editing.

  • Page 40: Editing In A Graphic Display (Zoom Edit)

    The Initialize operation will affect only the currently selected sound; the sounds that are stored in user memory will not be affected. If you wish to restore all of the Fantom-S’s settings to their factory values, perform a Factory Reset (p. 196).

  • Page 41: The Compare Function

    Cautions When Selecting a Waveform The sounds of the Fantom-S are based on complex PCM waveforms, and if you attempt to make settings that are contrary to the type of the original waveform, the results will not be as you expect.

  • Page 42: Saving Patches You've Created (Write)

    6. Turn the VALUE dial or use [INC][DEC] and [2 (⇑)][3 (⇓)] to select the write destination and patch number. The write destination can be either the Fantom-S's internal user area (User), or a memory card (Card). By pressing [6 (Compare)] you can check the save-destination patch (Compare function).

  • Page 43: Functions Of Patch Parameters

    Functions of Patch Parameters This section explains the functions the different patch parameters have, as well as the composition of these parameters. Parameters marked with a “ ” can be controlled using specified MIDI messages (Matrix Control). Settings in the Control screen will determine how these parameters are controlled (p.
  • Page 44 Creating a Patch fig.Stretch.e Pitch difference from equal temperament Low note range Analog Feel (Analog Feel Depth) Specifies the depth of 1/f modulation that is to be applied to the patch. (1/f modulation is a pleasant and naturally-occurring ratio of modulation that occurs in a babbling brook or rustling wind.) By adding this “1/f modulation,”...

  • Page 45: Modifying Waveforms (Wave)

    Modifying Waveforms (Wave) fig.03-15_50 For details on the setting, refer to “How to Make the Patch Settings” (p. 39). Wave Group Selects the group for the waveform that is to be the basis of the tone. Value INT: Waveforms stored in internal memory EXP: Waveform stored in a Wave Expansion Board (SRX series) installed in EXP slots.

  • Page 46: Changing How A Tone Is Sounded (Tmt)

    Creating a Patch Changing How a Tone Is Sounded (TMT) You can use the force with which keys are played, or MIDI messages to control the way each Tone is played. This is referred to as the Tone Mix Table (TMT). fig.03-14_50 For details on the setting, refer to “How to Make the Patch Settings”...

  • Page 47: Ring Modulator

    fig.Struct-10 TYPE 10 TONE 1 (3) TONE 2 (4) This type passes the filtered sound of each tone through a ring modulator to create new overtones, and also mixes in the sound of tone 2 (4). Since the ring-modulated sound can be mixed with tone 2 (4), tone 1 (3) TVA can adjust the amount of the ring-modulated sound.

  • Page 48: Tmt Velocity Control Switch

    Creating a Patch Key Fade Lower (Keyboard Fade Width Lower) This determines what will happen to the tone’s level when a note that’s lower than the tone’s specified keyboard range is played. Higher settings produce a more gradual change in volume. If you don’t want the tone to sound at all when a note below the keyboard range is played, set this parameter to “0.”...

  • Page 49: Tone Coarse Tune

    Modifying Pitch (Pitch/Pitch Env) fig.03-16_50 For details on the setting, refer to “How to Make the Patch Settings” (p. 39). Tone Coarse Tune Adjusts the pitch of the tone’s sound up or down in semitone steps (+/-4 octaves). Value: -48– +48 Tone Fine Tune Adjusts the pitch of the tone’s sound up or down in 1-cent steps (+/- 50 cents).

  • Page 50: Pitch Env

    Creating a Patch higher than C4 to have increasingly shorter times, and negative (-) settings will cause them to have increasingly longer times. Larger settings will produce greater change. Value: -100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80, +90, +100 fig.Time KF.e Time...

  • Page 51: Cutoff Frequency

    Cutoff Frequency Selects the frequency at which the filter begins to have an effect on the waveform’s frequency components. * Cutoff Frequency: the frequency at which the filter begins to have an effect on the waveform’s frequency components. Value: 0–127 With “LPF/LPF2/LPF3”...
  • Page 52 Creating a Patch Resonance V-Sens (Resonance Velocity Sensitivity) This allows keyboard velocity to modify the amount of Resonance. If you want strongly played notes to have a greater Resonance effect, set this parameter to positive (+) settings. If you want strongly played notes to have less Resonance, use negative (-) settings.

  • Page 53: Adjusting The Volume (Tva/Tva Env)

    Adjusting the Volume (TVA/TVA Env) fig.03-18_50 For details on the setting, refer to “How to Make the Patch Settings” (p. 39). Tone Level Sets the volume of the tone. This setting is useful primarily for adjusting the volume balance between tones. Value: 0–127 Level V-Curve (TVA Level Velocity Curve) You can select from seven curves that determine how keyboard...

  • Page 54: Random Pan Depth

    Creating a Patch fig.Pan KF.e Random Pan Depth Use this parameter when you want the stereo location to change randomly each time you press a key. Higher settings will produce a greater amount of change. Value: 0–63 Alter Pan Depth (Alternate Pan Depth) This setting causes panning to be alternated between left and right each time a key is pressed.

  • Page 55: Patch Out Assign

    Output Patch Out Assign Specifies for each patch how the direct sound will be output. Value: Output in stereo through multi-effects. You can also apply MFX: chorus or reverb to the sound that passes through multi- effects. Output to the OUTPUT A (MIX) jack or OUTPUT B jack in A, B: stereo without passing through multi-effects.

  • Page 56: Modulating Sounds (Lfo)

    Creating a Patch Modulating Sounds (LFO) fig.03-19_50 For details on the setting, refer to “How to Make the Patch Settings” (p. 39). An LFO (Low Frequency Oscillator) causes change over a cycle in a sound. Each tone has two LFOs (LFO1/LFO2), and these can be used to cyclically change the pitch, cutoff frequency and volume to create modulation-type effects such as vibrato, wah and tremolo.
  • Page 57 Delay Time KF (LFO1/LFO2 Delay Time Key Follow) Adjusts the value for the Delay Time parameter depending on the key position, relative to the C4 key (center C). To decrease the time that elapses before the LFO effect is applied (the effect is continuous) with each higher key that is pressed in the upper registers, select a positive value;...

  • Page 58: Apply Portamento Or Legato To The Sound (Solo Porta)

    Creating a Patch Apply the LFO immediately when the key is pressed, and then gradually begin to decrease the effect fig.LFO-2.e high (more) Delay Time Pitch Cutoff Frequency Level Note on low (less) Fade Mode: ON > Delay Time: The time that the LFO will continue after the keyboard is played.

  • Page 59: Portamento Mode

    Let's say you have the Legato Switch set to “ON,” and the Legato Retrigger set to “OFF.” When you try to sound a legato (by pressing a higher key while a lower key is held down), the pitch may sometimes not be able to rise all the way to the intended pitch (stopping instead at an intermediate pitch).

  • Page 60: Miscellaneous Settings (Misc)

    Creating a Patch Miscellaneous Settings (Misc) fig.03-13a_50 Tone Delay Mode Selects the type of tone delay. Value NORM: The tone begins to play after the time specified in the Delay Time parameter has elapsed. fig.NORM.e No Tone Delay Delay time Note on Note off HOLD: Although the tone begins to play after the time specified in the Delay...

  • Page 61: Matrix Control Settings (Ctrl1-4)

    For that reason, a number of the more typical of the Fantom-S’s tone parameters have been designed so they accept the use of Control Change (or other) MIDI messages for the purpose of making changes in their values.

  • Page 62: Matrix Control 1-4 Source

    Envelope, they can be used as Matrix Control. In this case, you can change the tone settings in realtime by playing patches. • If you want to use common controllers for the entire Fantom-S, select “SYS CTRL1”–”SYS CTRL4.” MIDI messages used as System Control 1–4 are set with the System Ctrl 1–4 Source...

  • Page 63: Setting Effects For A Patch (Effects/Mfx/Mfx Control/Chorus/Reverb)

    Changing the TVF Envelope TVA ENV A-TIME: Changes the Env Time 1 parameter of the TVA envelope. TVA ENV D-TIME: Changes the Env Time 2 and Env Time 3 parameters of the TVA envelope. TVA ENV R-TIME: Changes the Env Time 4 parameter of the TVA envelope.

  • Page 64: Creating A Rhythm Set

    Creating a Rhythm Set With the Fantom, you have total control over a wide variety of settings. Each item that can be set is known as a parameter. When you change the values of parameters, you are doing what is referred to as Editing.

  • Page 65: Initializing Rhythm Set Settings (Init)

    2. Press [EDIT], and then press [3 (Zoom Edit)]. The Zoom Edit screen will appear. fig.04-10c_50 3. The parameters are organized into several edit groups. Press [1]–[4] to select the tab for the parameters that you want to edit. • To select a Wave for editing or switch a Wave on/off Press [8 (Tone Sw/Sel)].

  • Page 66: Cautions When Selecting A Waveform

    Creating a Rhythm Set Cautions When Selecting a Waveform The sounds of the Fantom are based on complex PCM waveforms, and if you attempt to make settings that are contrary to the type of the original waveform, the results will not be as you expect. The internal waveforms of the Fantom fall into the following two groups.

  • Page 67: Auditioning The Save-Destination Rhythm Set (Compare)

    6. Turn the VALUE dial or use [INC][DEC] and [2 (⇑)] [3 (⇓)] to select the write destination and rhythm set number. The write destination can be either the Fantom-S's internal user area (User), or a memory card (Card). fig.04-08a_50 By pressing [6 (Compare)] you can check the save-destination Rhythm set (Compare function).

  • Page 68: Modifying Waveforms (Wave)

    Creating a Rhythm Set Tone Name (Rhythm Tone Name) You can assign a name of up to 12 characters to the rhythm tone. Value: space, A-Z, a-z, 0-9, ! " # $ % & ' ( ) * + , - . / : ; < = > ? @ [ \ ] ^ _ ` { | } For details on assigning names, refer to “Assigning a Name”...
  • Page 69 Tips on Creating a Rhythm Tone The Waves for the bass drum, snare, hi-hat, toms, and other percussion instruments are each assigned to one rhythm tone. When adding 3D effects to the sound, make the Pan settings for each rhythm tone individually. Wave Group Select the groups containing the Waves comprising the rhythm tone.

  • Page 70: Changing How A Rhythm Tone Is Sounded (Wmt)

    Creating a Rhythm Set Changing How a Rhythm Tone Is Sounded (WMT) The WMT (Wave Mix Table) uses key velocity to control the four waveforms assigned to the rhythm tone. fig.04-12a_50 For details on the setting, refer to “How to Make the Rhythm Set Settings”...

  • Page 71: Modifying Pitch (Pitch/Pitch Env)

    Velo Fade Upper (Velocity Fade Width Upper) This determines what will happen to the tone’s level when the tone is played at a velocity greater than its specified velocity range. Higher settings produce a more gradual change in volume. If you want notes played outside the specified key velocity range to not be sounded at all, set this to “0.”...

  • Page 72: Modifying The Brightness Of A Sound With A Filter (Tvf/Tvf Env)

    Creating a Rhythm Set P-Env Level 0–4 (Pitch Envelope Level 0–4) Specify the pitch envelope levels (Level 0–Level 4). It determines how much the pitch changes from the reference pitch (the value set with Coarse Tune or Fine Tune on the Pitch screen) at each point. Positive (+) settings will cause the pitch to be higher than the standard pitch, and negative (-) settings will cause it to be lower.

  • Page 73: Adjusting The Volume (Tva/Tva Env)

    Cutoff V-Curve (Cutoff Frequency Velocity Curve) Selects one of the following seven curves that determine how keyboard playing dynamics (velocity) influence the cutoff frequency. Set this to “FIXED” when the Cutoff frequency is not to be changed according to the force with which the keys are pressed. Value: FIXED, 1–7 fig.Curve-7 Cutoff V-Sens (Cutoff Velocity Sensitivity)
  • Page 74 Creating a Rhythm Set Tone Level (Rhythm Tone level) Sets the volume of the rhythm tone. Use this parameter to adjust the volume balance between rhythm tones. Value: 0–127 The volume levels of the Waves from which the rhythm tone is composed is set with the WMT1–4 Wave Level parameter (p.

  • Page 75: Output Settings

    Output Settings fig.04-15a_50 For details on the setting, refer to “How to Make the Rhythm Set Settings” (p. 64). Rhythm Out Assign Specifies for each rhythm set how the direct sound will be output. Value: MFX: Output in stereo through multi-effects. You can also apply chorus or reverb to the sound that passes through multi-effects.

  • Page 76: Playing In Performance Mode

    Playing in Performance Mode A performance contains settings that apply to each individual part, such as the patch (rhythm set) assigned to each part, and its volume and pan. Broadly speaking, Performance mode consists of two screens: Layer screen and Mixer screen. Use the Layer screen (p.

  • Page 77: Functions In The Performance Layer/Mixer Screen

    Functions in the PERFORMANCE Layer/Mixer Screen fig.05-02.e MIXER screen Indicates the current sound generating mode. Indicates the name of the currently selected song, the measure location, the time signature, and the sequencer status. Indicates the Octave Shift (Oct) and the Transpose (Trans). Indicates multi-effects (MFX), chorus (CHO), reverb (REV) and mastering (MASTER) on and off.

  • Page 78: Selecting A Performance

    Preset groups, with each group storing 64 performances, for a total of 128 performances. USER This is the group inside the Fantom-S which can be rewritten. Performances you yourself create can be stored in this group. The Fantom-S contains 64 preset performances.

  • Page 79: Registering A Favorite Performance (Favorite Sound)

    Registering a Favorite Performance (Favorite Sound) You can bring together your favorite and most frequently used Performances in one place by registering them in the Favorite sound. By using this function you can rapidly select favorite Performances from internal memory or a Wave Expansion Board. You can register a total of 64 Performances (8 sounds x 8 banks) as favorite sounds.

  • Page 80: Combining And Playing Sounds Together (Layer)

    Playing in Performance Mode fig.01-18_50 To switch groups, press [1 (⇑)] [2 (⇓)]. By Pressing [7 (Preview)] you can audition the sound of the patch, by means of a phrase preselected as being suitable for that particular type (category) of patch (Phrase Preview). 4.

  • Page 81: Using The Mixer Screen

    Using the Mixer Screen Selecting a Part The currently selected part is called the “current part.” 1. From the Mixer screen, Use fig.05-21 * Use [CURSOR] to move the “Part”, and turn VALUE dial or press [INC] [DEC] to select the part. Here’s how to select the part that you want to sound the assigned patch or rhythm set.

  • Page 82: Editing The Part Settings

    Playing in Performance Mode Selecting the Rhythm Set 1. Press [MIXER] to access the Mixer screen, and use [CURSOR] to move the cursor to the following location. fig.05-25 2. Turn the VALUE dial or press [INC] [DEC] to select “R.” The rhythm set will be selected.

  • Page 83: Viewing The Part Settings As A List (Performance Part View)

    Viewing the Part Settings as a List (Performance Part View) In Performance mode you can view the part settings as a list. This is called the “Part View” screen. In this screen you can view a list that shows settings for all parts at once, such as the patch assigned to each part, and its volume and pan settings.

  • Page 84: Creating A Performance

    Creating a Performance With the Fantom-S, you have total control over a wide variety of settings. Each item that can be set is known as a parameter. When you change the values of parameters, you are doing what is referred to as Editing.
  • Page 85 Mute Switch Temporarily mutes ( ) or releases the mute (OFF) for the Performance of each part. Use this setting when, for example, you want to use the instrument for karaoke by muting the part playing the melody, or when you want to play something using a separate sound module.

  • Page 86: Part Mono/Poly

    Creating a Performance [3 (Pitch)] fig.06-21_50 For details on the setting, refer to “Adjusting the Parameters of Each Part” (p. 84). Part Octave Shift Adjusts the pitch of the part’s sound up or down in units of an octave (+/-3 octaves). Value: -3–...

  • Page 87: Part Decay Time Offset

    [4 (Offset)] fig.06-22_50 For details on the setting, refer to “Adjusting the Parameters of Each Part” (p. 84). Part Cutoff Offset Adjusts the cutoff frequency for the patch or rhythm set assigned to a part. Value: -64– +63 Patches also have a Cutoff Offset setting (p. 44). The final Cutoff frequency value is the sum of the tone Cutoff Frequency value and the patch and part Cutoff Offset values.

  • Page 88: Part Vibrato Delay

    Voice Reserve parameter. Calculating the Number of Voices Being Used The Fantom-S is able to play up to 64 notes simultaneously. The polyphony, or the number of voices (sounds) does not refer only to the number of sounds actually being played, but changes according to the number of tones used in the patches, and the number of Waves used in the tones.
  • Page 89 G and B, C and E, F and G#, Bb and C#, and Eb and F# have a natural third—the interval between a major third and a minor third. On the Fantom-S, you can use Arabian temperament in the three keys of G, C and F.

  • Page 90: Velocity Curve

    Creating a Performance Ext Pan (External Pan) If you want Pan messages to also be transmitted when you select a Performance, specify the desired value (L64–0–63R) for the part. If you do not want this message to be transmitted, set this to “OFF.” Value: L64–0–63R, OFF The data of the part for which the Keyboard Switch is turned off will not be transmitted.

  • Page 91: Selecting The Parameter Controlled By The Realtime Controllers Or D Beam Controller (Control Setting)

    Controlled by the Realtime Controllers or D Beam Controller (Control Setting) The Fantom-S lets you assign the parameters that will be affected when you operate the realtime control knobs, assignable switches, D Beam, pitch bend, or modulation lever. This lets you modify the sound in a variety of ways by operating the controllers.

  • Page 92: Make Settings For The Realtime Controllers And D Beam Controller (Ctrl)

    Creating a Performance Control Knob (Control Knob Switch) Specifies whether each part will be controlled by the control knob. Value: OFF, ON Make Settings for the Realtime Controllers and D Beam Controller (Ctrl) fig.06-11_50 For details on the setting, refer to “Selecting the Parameter Controlled by the Realtime Controllers or D Beam Controller (Control Setting)”...
  • Page 93 OSC1 Sync Switch Turning this switch on produces a complex sound with many harmonics. This is effective when the OSC1 pitch is higher than the OSC2 pitch. Value: OFF, ON Filter Type Selects the type of filter. OFF: No filter is used. LPF: Low Pass Filter.
  • Page 94 Arp Duration: Arpeggio Duration Arp Motif: Arpeggio Motif Chord Form: Chord Form Master Level: The volume of the entire Fantom-S Switch fig.06-18_50 For details on the setting, refer to “Selecting the Parameter Controlled by the Realtime Controllers or D Beam Controller (Control Setting)”...

  • Page 95: Mfx Ctrl Ch

    Tempo fig.06-28a_50 For details on the setting, refer to “Selecting the Parameter Controlled by the Realtime Controllers or D Beam Controller (Control Setting)” (p. 91). Recommended Tempo If you want the sequencer tempo to change when you switch Performances, specify the tempo that will follow this change. This setting is valid when the Seq Tempo Override parameter is “ON.”...

  • Page 96: Initializing Performance Settings (Init)

    The Initialize operation will affect only the currently selected sound; the sounds that are stored in user memory will not be affected. If you wish to restore all of the Fantom-S’s settings to their factory values, perform a Factory Reset (p. 196).
  • Page 97 6. Turn the VALUE dial or use [INC][DEC] and the write destination and patch number. The write destination can be either the Fantom-S's internal user area (User), or a memory card (Card). 7. Press [8 (Write)]. A message will ask you for confirmation.

  • Page 98: Modifying The Sound In Real Time

    You can also create effects in which the sound changes instantaneously, in a way that would not be possible by operating a knob or the bender lever. On the Fantom-S, the D Beam controller can be used not only to modify the sounds assigned to the Keyboard part or Pad part, but also to control the pitch of a monophonic (solo) synthesizer sound.
  • Page 99 Assignable Type Specifies the function controlled by the D Beam controller. Value CC01–31, 33–95: Controller numbers 1–31, 33–95 For more information about Control Change messages, please refer to “MIDI Implementation” (Parameter List). Bend Up: Raises the pitch in semitone steps (up to 4 octaves higher).

  • Page 100: Solo Synth

    Modifying the Sound in Real Time SOLO SYNTH On the Fantom-S you can play a monophonic synthesizer whose pitch is controlled by the D Beam. 1. Hold down [JUMP] and press D BEAM [SOLO SYNTH]. The Solo Synth screen appears.

  • Page 101: Using Knobs Or Buttons To Modify The Sound (Realtime Controller)

    “MIDI Implementation” (Parameter List). PITCH BEND: Pitch Bend AFTERTOUCH: Aftertouch ARP STYLE: Arpeggio Style ARP GRID: Arpeggio Grid ARP DURATION: Arpeggio Duration ARP MOTIF: Arpeggio Motif Chord Form CHORD FORM: MASTER LEVEL: The volume of the entire Fantom-S ] knobs.

  • Page 102: Using A Pedal To Modify The Sound (Control Pedal)

    Pedal such as expression pedals (DP-8; available separately), pedal switches (DP series; available separately), or foot switches (BOSS FS- U; available separately) can be connected to the Fantom-S. 1. Access the Patch Play screen (p. 26). 2. While playing the keyboard to produce sound, operate a pedal.
  • Page 103 If your pedal has an effect opposite of what you expect, set this parameter to “REVERSE.” If you are using a Roland pedal (that has no polarity switch), set this parameter to “STANDARD.”...

  • Page 104: Playing Arpeggios (Arpeggio/Rhythm Function)

    The button will light. fig.Arp button 2. Play a chord on the keyboard. The Fantom-S will play an arpeggio, according to the notes forming the chord you have just voiced. 3. To finish playing arpeggios, press [ON/OFF] again so the indicator turns off.

  • Page 105: Turning Arpeggio Switch On And Off

    For details on the settings, refer to “Arpeggio Settings” (p. 105) For more on the prepared Arpeggio Styles already programmed in the Fantom-S, refer to Sound List. About Arpeggio Styles An Arpeggio Style is a series of data for basic arpeggio patterns and chord styles recorded in the form of a grid consisting of a maximum of 32 steps x 16 pitches.

  • Page 106: Changing The Beat And Shuffle (Grid)

    Playing Arpeggios (ARPEGGIO/RHYTHM Function) Changing the Beat and Shuffle (Grid) This sets the particular note division and resolution in a “single grid” used in creating the arpeggio in an Arpeggio Style, and how much of a “shuffle” syncopation is to be to applied (none/weak/ strong) to it (grid type).

  • Page 107: Selecting The Part That Will Play Arpeggios In Performance Mode (Part)

    Selecting the Part that Will Play Arpeggios in Performance Mode (Part) Here’s how to specify the part that will use the arpeggio in Performance mode. You can specify only one part for playing arpeggios. If a rhythm set is assigned to a part in Performance mode, you can play a rhythm pattern along with the arpeggios.
  • Page 108 Playing Arpeggios (ARPEGGIO/RHYTHM Function) • Tie: [2 (Tie)] Input a tie at the cursor location and proceed to the next step. • Rest (Clear): [3 (Rest (Clear))] Input a rest at the cursor location and proceed to the next step. •...

  • Page 109: Saving The Styles You Have Created (Write)

    6. Press [8 (Write)]. A message will ask you for confirmation. 7. To write the data, press [8 (Exec)]. Never switch off the Fantom-S while data is being saved. * To cancel, press [7 (Cancel)]. Playing Arpeggios (ARPEGGIO/RHYTHM Function)

  • Page 110: Using The Chord Memory Function (Chord Memory)

    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 keyboard. The Fantom-S can store 64 preset chord forms and 64 user chord forms. If you wish, you can overwrite any of the 64 user (factory set) chord forms.

  • Page 111: Creating Your Own Chord Forms

    The Chord Form you create are temporary; they are deleted as soon as you turn off the power or select some other Style. If you want to keep a Chord Form you have made, save it to the Fantom-S’s user memory.

  • Page 112: Playing Rhythms

    Playing Rhythms About Rhythm Patterns The Fantom-S contains 256 preset rhythm patterns. You can play a variety of rhythm patterns simply by pressing the pads. In addition to using these built-in rhythm patterns, you can also create your own. The 256 rhythm patterns are maintained as independent data; they are not part of a performance’s data.

  • Page 113: Select The Rhythm Group

    Using a controller to adjust the playback tempo Since tempo control is assigned to one of the Fantom-S’s realtime control knobs, it’s easy to adjust the tempo at which the rhythm pattern will play back. fig.09-04ab Tempo 1. Press the REALTIME CONTROL button so the ARP/RHY indicator lights.

  • Page 114: Applying Staccato And Tenuity (Duration)

    Playing Rhythms 1/16: Sixteenth note (four grid sections = one beat) 1/16L: Sixteenth note shuffle Light (four grid sections = one beat, with a light shuffle) 1/16H: Sixteenth note shuffle Heavy (four grid sections = one beat, with a heavy shuffle) 1/24: Sixteenth note triplet (six grid sections = one beat) Applying Staccato and Tenuity...

  • Page 115: Creating Your Own Styles (Rhythm Pattern Edit)

    Creating Your Own Styles (Rhythm Pattern Edit) Not only can you use the prepared internal Rhythm Pattern that determine how rhythm patterns are played, but you can also create them as well. This way, you can enjoy performing your own original rhythm pattern.

  • Page 116: Saving The Patterns You Have Created (Write)

    6. Press [8 (Write)]. A message will ask you for confirmation. 7. To write the data, press [8 (Exec)]. Never switch off the Fantom-S while data is being saved. * To cancel, press [7 (Cancel)]. Rhythm pattern settings are saved as independent data, not as part of the data for each patch.

  • Page 117: Saving The Rhythm Group You Have Created (Write)

    6. Press [8 (Write)]. A message will ask you for confirmation. 7. To write the data, press [8 (Exec)]. Never switch off the Fantom-S while data is being saved. * To cancel, press [CANCEL]. Rhythm group settings are saved as independent data, not as part of the data for each patch.

  • Page 118: Sampling

    Sampling The Fantom-S lets you sample audio sources, such as an audio device, mic, or CD. This section explains the sampling procedure and what the parameters do. Making Input Source Settings (INPUT SETTING) 1. Connect the input device whose sound you will sample (e.g., CD player or mic) to the AUDIO INPUT jacks located on the rear panel of the Fantom-S.

  • Page 119: Input Effect Setup Settings

    Input Effect Setup Settings 1. Press [INPUT SETTING], and then press [7 (In FX Setup)]. The Input Effect Setup screen appears. 2. Press to move the cursor. 3. Turn the VALUE dial, or press [INC] /[DEC] to set the value. •...
  • Page 120 Sampling • Solo sampling:[5 (Solo)] While playing the internal sound generator as usual, sample only the sound from the external input. * Effects cannot be applied to the external input sound. fig.SMPL05_50 3. Make the settings for things such as the input source of the sound to be sampled, and triggering.

  • Page 121: Dividing A Sample During Sampling

    128 samples (L/R total 256 samples). Sampling time The Fantom-S contains 32 MB of memory, which allows about 6 minutes of mono or about 3 minutes of stereo sampling. If you want to sample for a longer time than this, you must install separately sold memory (DIMM) (p.

  • Page 122: Editing A Sample

    If you want to keep them, you must Write the sample. The Fantom-S has a parameter (Sample Default Load, (p. 195)) that specifies whether the samples in user memory, the samples in a memory card, or the preset samples will be automatically loaded into sample memory when you turn on the power.

  • Page 123: Loading A Sample

    Loading a Sample Here’s how you can load a sample from the user area, a memory card, or a preset into sample memory. 1. Press [SAMPLE LIST]. The Sample List display appears. 2. From [1 (Preset)]–[3 (Card)], select the bank that contains the desired sample.

  • Page 124: Importing A Audio File

    Editing a Sample Importing a Audio File Here’s how an audio file (WAV/AIFF) can be loaded into memory as a sample. Place the audio files in the “TMP/AUDIO_IMPORT” folder on the user memory or memory card. For details on how you can use your computer to copy a file into the user area or memory card, refer to p.

  • Page 125: Setting The Start/End Points Of The Sample

    Setting the Start/End Points of the Sample You can specify the portion of the sample that will actually sound. You can also specify the region that is to be looped. 1. Press [SAMPLE LIST] and select the sample that you want to edit (p.

  • Page 126: Assigning Samples To A Pad (Assign To Pad)

    Editing a Sample ONE-SHOT The sample will be played back only once, from the Start point to the End point. fig.loop2 Loop Start P. Start P. End P. REV (Reverse) When the sample has been played back from the End point to the Start point, it will be repeatedly played back in the reverse direction, from the Loop Start point to the Start point.

  • Page 127: Assigning A Sample As A Patch To A Part (Assign To Keyboard)

    fig.SMPL18_50 4. Press to select the part, and then press [8 (Select)]. If a rhythm set is not assigned to the selected part, a message will ask "Change into Rhythm and Initialize?", asking if you want to assign an initialized rhythm set to the selected part. The Assign to Pad screen will appear.

  • Page 128: Create A Rhythm Set (Create Rhythm)

    A set of two or more samples assigned to be played from the keyboard is called a “multisample.” A multisample can contain up to 128 splits. The Fantom-S can hold 128 multisamples in user memory and 128 multisamples in a memory card. You can also assign a multisample to a part as a patch.

  • Page 129: Unloading A Sample (Unload)

    7. If you are sure you want to write the multisample, press [8 (Exec)]. If you decide to cancel, press [7 (Cancel)]. Never switch off the Fantom-S while data is being saved. Unloading a Sample (Unload) In the Sample Edit screen you can press [1 (Unload)] to unload the currently selected sample and return to the previous screen.

  • Page 130: Boosting Or Limiting The High-Frequency Range Of The Sample (Emphasis)

    Editing a Sample Boosting or Limiting the High- frequency Range of the Sample (Emphasis) In some cases, the audio quality will be improved if you boost the high- frequency range of an imported sample. Also, the high-frequency range of the sample may be emphasized when you use a sampler made by another manufacturer.

  • Page 131: Amp

    This operation applies an envelope (time-variant change) to the volume of the sample. You can also adjust the volume of the entire sample. * You cannot execute this with more than one sample selected. 1. Press [SAMPLE EDIT] to access the Sample Edit screen. 2.

  • Page 132: Dividing A Sample Into Notes (Chop)

    Editing a Sample Dividing a Sample into Notes (Chop) The chop function divides a sample waveform into separate notes. * The Create Rhythm function (p. 128) makes it easy to create a rhythm set from a chopped sample. * You cannot execute this with more than one sample selected. 1.

  • Page 133: Auditioning The Divided Samples

    Auditioning the Divided Samples After dividing the sample, you can press the velocity pads to audition each of the divided samples. From the sample nearest to the start point, the samples will be played by pads [1], [2],...[16] Moving a Dividing Point 1.

  • Page 134: Saving A Sample

    7. Turn the VALUE dial or use [INC][DEC] or the write destination and sample number. The write destination can be either the Fantom-S’s internal user memory (User), or a memory card (Card). 8. Press [8 (Write)]. A message will ask you for confirmation.

  • Page 135: Using The Pads

    Using the Pads The pads of the Fantom-S function in the same way as the keyboard, and can also be used to play RPS and rhythm patterns. You can add dynamics to the sound by varying the force with which you strike the pads.

  • Page 136: Using The Clipboard To Copy Pad Settings

    Using the Pads Using the Clipboard to Copy Pad Settings The “clipboard” temporarily stores pad velocity and note number settings. This provides an easy way to copy settings from one pad to another, and also lets you swap (exchange) the settings of two pads. * The clipboard is available when the Pad Set parameter is set to “USER.”...

  • Page 137: Multi-Velocity

    Assigning a Pattern to a Pad (RPS Function) The Fantom-S lets you assign a previously recorded phrase to a pad as a pattern, and play it by pressing that pad. For details, refer to “Playing a Phrase at the Touch of a Finger (RPS Function)” (p.

  • Page 138: Playing Back A Song

    Playing a Song Immediately (Quick Play) The Fantom-S is able to play a song from user memory and memory card immediately, without first loading the song into internal memory. This is called the Quick Play function.

  • Page 139: Various Playback Methods

    By holding down [SHIFT] and pressing jump to the beginning or end of the song list. If you want to perform Chain Play repeatedly, press [7 (Repeat All)] and assign a check mark ( ). If you press [6 (Auto Step)] to assign a check mark ( ), playback will ends, and the next song will begin playing automatically.

  • Page 140: Playing A Song Back At A Fixed Tempo (Muting The Tempo Track)

    Track (Mute)” (p. 150). Playing Back a S-MRC Format Song The Fantom-S is able to play back S-MRC format songs created on the MC-50 in the same way as MRC Pro songs or Standard MIDI Files. However, S-MRC format songs cannot be Quick Played. You must first load them into internal memory and convert them to MRC Pro song format before playing them.

  • Page 141: Recording Songs

    Performance mode. The reason for this is that in this mode, only the sound of the specified MIDI channel will be heard when you record while playing the keyboard of the Fantom-S, and that when the song is played back, the parts can independently play up to 16 different sounds.

  • Page 142: Recording Your Performance As You Play It (Realtime Recording)

    Recording Songs If you are recording to a phrase track, see “Recording Your Performance as You Play It (Realtime Recording)” (p. 142). Specifying the Time Signature of a Pattern Each pattern has a Pattern Beat setting that manages the time signature of that pattern.

  • Page 143: Recording Tempo Changes In A Song (Tempo Recording)

    Value MIX: Mix-recording will be carried out. Normally, you will record using this method. If a performance has already been recorded on the recording-destination track, your newly recorded performance will be added to the existing performance without erasing it. By using this in conjunction with Loop- recording, you can record repeatedly over a specified area without erasing the previously recorded performance.

  • Page 144: Start Point

    Recording Songs AUTO PUNCH: Auto punch-in recording will be performed. You must pre-specify the area (punch points) in which recording is to take place. This is convenient when you want to re-record over a mistake. The song will play back when you begin recording. When you reach the punch-in point, playback will switch to record mode.

  • Page 145: Selecting The Sequencer Data That Will Be Recorded (Recording Select)

    SysEx (System Exclusive): System exclusive messages. These MIDI messages are used to make settings unique to the Fantom-S, such as sound parameters. 4. Turn the VALUE dial or press [INC]/[DEC] to add a check mark. The message will be recorded if you assign a check mark ( ), and will not be recorded if you remove the check mark.

  • Page 146: Inputting Data One Step At A Time (Step Recording)

    Recording Songs Inputting Data One Step at a Time (Step Recording) Step Recording is the method of inputting notes and rests individually, as if you were writing them onto a musical staff. In addition to inputting notes, this method can also be used to create a song by joining patterns.
  • Page 147 Gate Time The relation between the length of the note value and the gate time is shown below. Since the Fantom-S’s sequencer uses a TPQN (Ticks Per Quarter Note; i.e., resolution) of 480, a quarter note gate time is 480 clocks.

  • Page 148: Assigning A Pattern To A Phrase Track

    Recording Songs Assigning a Pattern to a Phrase Track You can create a song by combining previously recorded patterns. This is done using step recording to assign patterns to a phrase track. However, please be aware that the patterns themselves are not placed in the phrase track.

  • Page 149: Editing Songs

    Editing Songs This chapter explains the procedure for editing songs. Loading the Song You Want to Edit When you edit a song, you’re modifying a song that’s already recorded into internal memory. When you’re going to edit a song saved to user memory or memory card, you have to first load it into the internal memory.

  • Page 150: Using Different Sound Generators For Each Track

    3. By turning the VALUE dial or by pressing [INC]/[DEC], set the value. OFF: The track will not be sounded. INT: The track will be sounded by the Fantom-S’s internal sound generator. MIDI: The track will be sounded by an external sound generator connected to the MIDI OUT connector.

  • Page 151: Specifying The Area Of A Song That Will Repeat (Loop Points)

    Moving to a Locate Position Use the following procedure to change the song location to a Locate Position. 1. Access the Locate window. 2. Press [1 (Jump1)] – [4 (Jump4)]. You will move to the specified locate position. You can hold down [SHIFT] and press [BWD] to jump to the preceding location position, or hold down [SHIFT] and press [FWD] to jump to the next locate position.

  • Page 152: Aligning A Song's Timing (Quantize)

    Alternatively, it is also possible to quantize a song that has already been recorded. The Fantom-S has a Preview function that allows playing back the results of a Quantize operation while you are still setting parameters (before actual execution). This helps to make optimal Quantize settings.
  • Page 153 “shuffle” or “swing” rhythmic feel. fig.10-06.e Shuffle quantize with Rate = 75% TEMPLATE: The Fantom-S provides 71 quantize templates. These templates contain various quantize settings for applying rhythmic ‘feels’ of many different musical categories. Select the template you want for quantization.

  • Page 154: Erasing Unwanted Performance Data (Erase)

    Editing Songs Timing (Quantize Timing) This specifies how much a note will move toward the timing interval of the template you pick. At a setting of 100%, the note will be perfectly timed with the template. At a setting of 0%, the note will not move at all.

  • Page 155: Deleting Unwanted Measures (Delete)

    Range Min, Range Max If you have set the Status parameter to “NOTE,” “P.AFT,” “C.C,” or “PROG,” specify the range. Set “Range Min” to the lowest value of the range, and “Range Max” to the highest value of the range. •...

  • Page 156: Inserting A Blank Measure (Insert)

    Editing Songs REPLACE: Musical data in the copy destination will be erased (i.e., overwritten) when the copy takes place. Only the sequencer data of the MIDI channels specified by the Channel parameter will be overwritten, and data of other MIDI channels will remain. Copy Times Specifies the number of times that the data will be copied to the copy destination.

  • Page 157: Changing The Velocity (Volume) (Change Velocity)

    Track / Pattern (Source Track) Sets the phrase track(s) or pattern that is to be transposed. Value Phrase Tracks 1–16 ALL: TRK 1–TRK 16: The specified phrase track PTN001–PTN100: The specified pattern Measure, For (Edit Range) Sets the range of measures that are to be transposed. If you set “For” to “ALL,”...

  • Page 158: Changing The Midi Channel (Change Channel)

    Editing Songs Changing the MIDI Channel (Change Channel) This function transfers the MIDI channel of a specified area of sequencer data into a different MIDI channel. fig.11-21_50 For details on the settings, refer to “Basic Operation for Track Editing” (p. 151) Track / Pattern (Source Track) Specifies the phrase track(s) or pattern in which the MIDI channel will be changed.

  • Page 159: Combining Two Phrase Tracks Or Patterns Into One (Merge)

    Magnify Set this parameter if you wish to increase or decrease durations by a specified ratio. When set to “100%,” no change is made. A value of “101%” or higher increases the duration; values of “99%” or lower decrease the duration. For example, to halve duration, set this parameter to “50%.”...

  • Page 160: Shifting Performance Data Forward And Back (Shift Clock)

    Editing Songs Status Selects the type of data to be extracted. Value ALL: All types of sequencer data NOTE: Note P.AFT: Polyphonic Aftertouch C.C: Controller numbers PROG: Program numbers C.AFT: Channel Aftertouch BEND: Pitch Bend EXC: System Exclusive messages Tune: Tune Request PTN: Pattern Call Message data Range Min, Range Max...

  • Page 161: Thinning Out The Sequencer Data (Data Thin)

    • To shift all notes or polyphonic aftertouch data, set “Range Min” to “C -1” and “Range Max” to “G9.” To shift C4, set “Range Min” and “Range Max” to “C4.” To shift C3 through C4, set “Range Min” to “C3” and “Range Max” to “C4.” •...

  • Page 162: Adjusting The Song's Playback Time (Time Fit)

    Editing Songs Adjusting the Song’s Playback Time (Time Fit) This function calculates the playback time of a song or allows you to modify the tempo track data so that the song will play back in a specified time. fig.11-28_50 For details on the settings, refer to “Basic Operation for Track Editing”...

  • Page 163: Editing A System Exclusive Message

    Microscope screen, press [EXIT]. • In the case of a Roland type IV system exclusive message, the checksum can be calculated automatically when you finalize the values. If you do not want to calculate the checksum automatically, press [1 (Auto Sum)] to remove the check mark ( ).

  • Page 164: Viewing Sequencer Data (View)

    Since a phrase track or pattern contains a large amount of sequencer data, the display may be cluttered and difficult to read. For this reason, the Fantom-S lets you specify the type(s) of sequencer data that will be displayed in the screen. This is convenient when you want to check or edit only a specific type of sequencer data.

  • Page 165: Inserting Sequencer Data (Create)

    Inserting Sequencer Data (Create) You can insert new sequencer data into a desired location of a phrase track or pattern. For details on the sequencer data that can be inserted, refer to “Sequencer Data Handled by a Phrase Track/Pattern” (p. 163).

  • Page 166: Copying Sequencer Data (Copy)

    Editing Songs Copying Sequencer Data (Copy) Sequencer data can be copied to the desired location. This is convenient when you want to use the same sequencer data at multiple locations. Data recorded in the tempo track or beat track can also be copied in this way. 1.

  • Page 167: Changing The Time Signature Midway Through The Song

    Changing the Time Signature Midway Through the Song If you want to change the time signature midway through the song, insert a new Beat Change. The song will play back using that time signature for measures following the inserted beat change. •...

  • Page 168: Saving/Loading A Song (Save/Load)

    * When samples are saved, they will automatically be overwritten onto the same numbers of the same bank in the sample list. The samples will be saved with a file name of “smpl****.wav (aif)” in the “Roland/Smpl folder” of user memory or memory card. The number of the file name...

  • Page 169: Saving A Song (Save Song)

    Fantom-S’s own sequencer. If you want to play back your song on a sequencer other than the Fantom-S’s sequencer, you must save the song as an SMF file. Also at this time, you must record the appropriate bank selects and program numbers so that the correct sounds will be played.

  • Page 170: Saving A Song As An Smf File (Save As Smf)

    Load all Samples: Loads all samples into sample memory. Parameter Function key Load Song+Samples Load Song Load all Samples : Loading is possible * A song saved on the Fantom-S (.SVQ) also includes the data for the sound generator’s temporary area. Song Samples – –...

  • Page 171: Loading A Song With Samples (Load Song+Samples)

    Loading a Song with Samples (Load Song+Samples) Here’s how you can load a song into internal memory and all samples into sample memory. 1. From the Save /Load Menu screen, press [5 (Load S+S)]. fig.SL06_50 2. Press either [1 (User)] or [2 (Card)] to select the load- destination, and use to select a song.

  • Page 172: Playing A Phrase At The Touch Of A Finger (Rps Function)

    Playing a Phrase at the Touch of a Finger (RPS Function) The RPS (Realtime Phrase Sequence) function lets you assign patterns to the keyboard, and play a pattern by pressing a single note. For example, a complex phrase that would be difficult to play live can be assigned to a note of the keyboard, and played with one finger at the appropriate moment.

  • Page 173: Using The Rps Function While You Perform

    • Velocity Sens (Velocity Sensitivity) Turn this “OFF” if you want the pattern to play back at the volume at which it was recorded. If you want to vary the pattern playback volume according to the strength with which you pressed the key, select either “LOW,”...

  • Page 174: Recording A Performance Using The Rps Function

    Playing a Phrase at the Touch of a Finger (RPS Function) Recording a Performance Using the RPS Function A performance that uses the RPS function can be recorded in real time in the same way as a conventional performance. This provides an easy way to remix patterns and create a song.

  • Page 175: Adding Effects

    Onboard Effects” (p. 20). Turning Effects On and Off The Fantom-S’s onboard effects can be turned on/off as a whole. Turn these settings OFF when you wish to listen to the unprocessed sound as you create a sound, or when you wish to use external effects processors instead of the built-in effects.

  • Page 176: Signal Flow Diagram And Parameters

    Adding Effects Signal Flow Diagram and Parameters fig.14-04 17 18 Part Select Select the part for which you want to make settings. Value: KBD, PAD Tone Select Select the tone for which you want to make settings. Value: 1–4 * This parameter is Rhythm Key Select when a rhythm set is being selected.
  • Page 177 MFX Output Level (Multi-Effects Output Level) Adjusts the volume of the sound that has passed through the multi- effects. Value: 0–127 MFX Chorus Send Level (Multi-Effects Chorus Send Level) Adjusts the amount of chorus for the sound that passes through multi-effects.

  • Page 178: Applying Effects In Performance Mode

    Adding Effects Applying Effects in Performance Mode In Performance mode you can use three multi-effects (MFX1, MFX2, MFX3), one chorus, and one reverb. For each of the three multi- effects, the chorus, and the reverb, you can specify whether it will operate according to the effect settings of the performance, or according to the effect settings of the patch or rhythm set assigned to the part you specify.
  • Page 179 MFX Type (Multi-Effects Type) Use this parameter to select from among the 77 (Fantom-S88; 78) available multi-effects. For details on multi-effects parameters, refer to “Multi-Effects Parameters” (Parameter List). Value: 0 (Through)–77 (Fantom-S88; 78) MFX Output Level (Multi-Effects Output Level) Adjusts the volume of the sound that has passed through the multi-effects. Value: 0–127 MFX Chorus Send Level (Multi-Effects Chorus Send Level)

  • Page 180: Making Multi-Effects Settings (Mfx1-3)

    Use this parameter to select from among the 77 (Fantom-S88; 78) available multi-effects. For details on multi-effects parameters, refer to “Multi-Effects Parameters” (Parameter List). Value: 00 THROUGH–77 CHORUS →FLANGER (Fantom-S), 78 SYNPATHETHIC RESONANCE (Fantom-S88) In this setting screen, you can edit the parameters of the multi-effects that is selected by the Multi-effects Type setting.

  • Page 181: Making Multi-Effects Settings (Mfx Control)

    MIDI channel (p. 90). When using the multi-effects control, confirm that any MIDI messages used for the multi-effects control will be received. If the Fantom-S is set up such that reception of MIDI messages is disabled, then the multi-effects control will not function.

  • Page 182: Structure Type

    Adding Effects Specifying the multi-effect structure (MFX Structure) Here's how to specify how MFX 1–3 will be connected. * This parameter is not found in Patch mode. fig.14-07b_50 For details on the setting, refer to “Making Effect Settings” (p. 175) Structure Type Specify how MFX1–3 will be connected.

  • Page 183: Mastering Effect

    Mastering Effect This is a stereo compressor (limiter) that is applied to the final output of the Fantom-S. It has independent high, mid, and low ranges. Independently for the high-frequency, mid-frequency, and low-frequency regions, this compresses any sounds that exceed the specified level, making the volume more consistent.

  • Page 184: Transferring Data To/From Your Computer Via Usb

    Specify the Connection-Destination Area (USB) When the Fantom-S is connected to your computer, you can select the area on the Fantom-S to which a connection is to be made; either the internal user memory or the memory card. 1. Press [MENU].

  • Page 185: Importing Audio File (Import Audio)

    For example, you can import a favorite bitmap file into the Fantom- S, and use it as a background in the display screen. * The only files that can be transferred between the Fantom-S and your computer are bitmaps (320 x 240 pixels).

  • Page 186: Canceling Usb Communication

    1. Use the device eject button shown in the taskbar at the lower right of the screen to cancel the connection with the Fantom-S. 2. Then press [8 (Exit)] on the Fantom-S. Macintosh Users 1. Drag the Fantom-S drive icon into the trash. 2. Then press [8 (Exit)] on the Fantom-S.

  • Page 187: File-Related Functions (File Utility)

    File-Related Functions (File Utility) Here you can perform a variety of operations related to the files stored in the Fantom-S’s user memory, and on memory cards. You can copy, delete, or move files, as well as format memory cards. Basic Procedure 1.

  • Page 188: Settings Common To All Modes (System Function)

    Settings Common to All Modes (System Function) Settings that affect the entire operating environment of the Fantom- S, such as tuning and MIDI message reception, are referred to as system functions. This section explains how to make settings for the System functions and describes the functions of the different System parameters.

  • Page 189: Functions Of System Parameters

    If your pedal has an effect opposite of what you expect, set this parameter to “REVERSE.” If you are using a Roland pedal (that has no polarity switch), set this parameter to “STANDARD.”...

  • Page 190: Sys Ctrl 1–4 Source

    MIDI devices to synchronize to the Fantom-S. SLAVE-MIDI: The Fantom-S will be the slave. Choose this setting when you want the Fantom-S to synchronize to MIDI Clock messages received from another MIDI device.
  • Page 191 Settings Common to All Modes (System Function) Types of MTC The types of MTC that can be selected by the Fantom-S are shown below. Select the same frame rate as that set for the external device. When not using a video device, then any frame rate may be selected as long as the rates are the same on both devices being synchronized.

  • Page 192: Metronome

    Settings Common to All Modes (System Function) MTC Error Level Determines how often the reception status is checked when MTC is being received from an external device. Stop synchronization if a problem becomes apparent with the check. Value: 0–10 (the checking interval will be longer for larger values) In strict terms, the lower the numerical value set, the more accurate the check is.

  • Page 193: Sound

    MIDI keyboard can be set to any channel. Normally you will leave this parameter “OFF.” Value: OFF, ON Turn this “ON” when you want to control the Fantom-S from an external MIDI device when performing with the Arpeggio or RPS function (p. 104, p. 172).

  • Page 194: Preview

    G and B, C and E, F and G#, Bb and C#, and Eb and F# have a natural third—the interval between a major third and a minor third. On the Fantom-S, you can use Arabian temperament in the three keys of G, C and F.

  • Page 195: Sampling

    SRX/RAM Mode The Fantom-S provides four slots (A–D) for SRX series expansion boards. This setting specifies whether all of these slots will be available (x4) or only slots A and B will be available (x2). If you have installed a 256 MB DIMM module, setting this to “2 SRX/288MB...

  • Page 196: Data Management Functions Reset To Default Factory Settings (Factory Reset)

    4. When the display indicates “Please Power Off,” turn the power off, then on again. Factory Reset This restores all data in the Fantom-S to the factory-set condition (Factory Reset). If there is important data you’ve created that’s stored in the Fantom-As’s internal memory, all such data is discarded when a...

  • Page 197: Playing In Piano Mode

    “78:SYMPATHETIC RESONANCE.” • Patch editing will not be possible. • If you use a Hold pedal, we recommend that you use a Roland DP-8. If the DP-8 is used, you can control the amount of resonance by the depth to which you press the pedal.

  • Page 198: Adjusting The Keyboard Touch (Key Touch)

    Playing in Piano Mode Adjusting the Keyboard Touch (Key Touch) You can vary the touch of the keyboard when you play the keys. 1. In the Piano Mode screen press [3 (Key Touch)]. fig.PM05_50 2. The window will open when you press [3 (Key Touch)], and the value will change each time you press [3 (Key Touch)].

  • Page 199: Using Fantom-S Editor

    In the Fantom-S Editor CD-ROM, open the Readme_E.txt. • Macintosh users In the Fantom-S Editor CD-ROM, open the Readme(English).txt. Making Connections In order to use Fantom-S Editor, you will need a separately sold MIDI interface. fig.Editor01 MIDI IN MIDI OUT...

  • Page 200: System Requirements (Mac Os)

    Using Fantom-S Editor System Requirements (Mac OS) • Operating System: Mac OS 8.6 and 9.x • CPU/Clock: PowerPC G3 / 233 MHz or higher • Memory (RAM): 128 M bytes or more 256 M bytes or more (recommended) • Display/Colors:...

  • Page 201: About V-Link

    • Use the Fantom-S’s velocity pads to switch the Edirol DV-7PR’s images (clips/palettes). • Use the Fantom-S’s knobs to adjust the brightness or color of the image. * In order to use V-LINK with the Fantom-S and Edirol DV-7PR, you will need to make connections using an Edirol UM1/UM-1S (sold separately).

  • Page 202: Pad Mode

    Procedure: [F4 (All Reset)] * For details on clips/palettes, dissolve time, color difference signals (Cb/ Cr), refer to the Edirol DV-7PR manual. The Fantom-S does not support the Edirol DV-7PR’s dual stream mode.

  • Page 203: Installing The Wave Expansion Board

    2. From the Fantom-S/Fantom-S88, remove only the screws shown in the following diagram, and detach the cover. On the Fantom-S, the cover is located on the bottom panel. On the Fantom-S88, it is located on the front panel. fig.18-02, 02a.e...

  • Page 204: Checking The Installed Wave Expansion Boards

    Installing the Wave Expansion Board 3. There are four slots inside. As shown in the following illustration, plug the connector of the Wave Expansion Board into the connector of the relevant slot, and at the same time insert the board holder through the hole of the Wave Expansion Board.

  • Page 205: Installation De La Carte D'expansion Wave

    Fantom-S : Panneau inférieur Fantom-S88 : Panneau avant Lorsque vous déposez le Fantom-S face vers le bas, placez des piles de journaux ou de magazines sous les quatre coins (ou des deux côtés) pour le soutenir. Ainsi, les boutons, manettes et autres pièces ne seront pas endommagés.

  • Page 206: Vérification Des Cartes D'extension Audio Aprés Installation

    Installation de la carte d’expansion Wave 3. Il y a quatre emplacements à l'intérieur. Comme le montre l’illustration ci-dessous, branchez le connecteur de la carte d’expansion Wave dans la fente appropriée et, en même temps, insérez le support de carte de circuits imprimés dans l’ouverture de la carte d’expansion Wave.

  • Page 207: Expanding The Memory

    From the Fantom-S/S88, remove only the screws shown in the following diagram, and detach the cover. On the Fantom-S, the cover is located on the bottom panel. On the Fantom-S88, it is located on the front panel. From the Fantom-S/S88, remove only the screws shown in the following diagram, and detach the cover.

  • Page 208: Checking That Memory Is Installed Correctly

    * If a 512 MB DIMM is installed, the result will be the same as if a 256 MB DIMM were installed (p. 195 SRX/RAM Mode). * The Fantom-S/Fantom-S88 has been confirmed to work with standard memory that meets the above specifications.

  • Page 209: Ajouter De La Mémoire

    • Installez uniquement le module DIMM spécifié. Retirez uniquement les vis spécifiées (p. 209). 928(F) • Lorsque vous déposez le Fantom-S/Fantom-S88 face vers le bas, placez des piles de journaux ou de magazines sous les quatre coins (ou des deux côtés) pour le soutenir. Ainsi, les boutons, manettes et autres pièces ne seront pas endommagés.

  • Page 210: Vérifier Que La Mémoire Est Installée Correctement

    Ajouter de la mémoire 4. Prenez bien note de l’emplacement et de l’orientation de l’encoche du module de mémoire et insérez-le verticalement à l’intérieur des guides qui se trouvent de chaque côté de la prise. fig.DIMM-02 * Si vous éprouvez de la difficulté à insérer le module de mémoire, inclinez-le légèrement et insérez une extrémité...

  • Page 211: Troubleshooting

    Troubleshooting If the Fantom-S does not function in the way you expect, first check the following points. If this does not resolve the problem, consult your dealer or a nearby Roland Service Station. * If any sort of message is being displayed on the screen during an operation, refer to “Error Messages”...
  • Page 212 The Fantom-S's internal effects are in stereo, so if you have effects applied to a Patch, even if the Pan is set all the way to one side, you will still be able to hear sounds of the effect component from the other channel.

  • Page 213: Issues Related To Effects

    The Modulation or other controller is always Check the Matrix Controller settings. (p. 61) The Fantom-S allows you to use the Matrix Control to control Patches in real time. The Matrix Control functions as the control source for the Control Change and other MIDI messages received by the Fantom-S, and makes changes to the various Patch parameters based on these messages.

  • Page 214: Issues Related To Sequencer

    Fantom-S was encountered in the song. No sound is played if the tone group is not one designated by the Fantom-S with Bank Select MSB/LSB. Note that if you omit the Bank Select, and send only the Program Change, the tone in the currently selected group that has the specified Program Change number will play.

  • Page 215: Issues Related To Midi And External Devices

    Step Recording, or if the data is quantized after being input with a keyboard in real time. Because of this, large amounts of data are sent to the Fantom-S, and the processing for expressing sounds becomes bogged down.

  • Page 216: Issues Related To A Memory Card

    Turn off the power, remove the memory card, then re-insert the memory card correctly. • Is the memory card an appropriate type? The Fantom-S can use 8 MB–128 MB (3.3V) SmartMedia memory cards. Other types cannot be used. (p. 187) I can't use a memory card Is the memory card formatted? An unformatted floppy disk cannot be used.

  • Page 217: Specifications

    Specifications Fantom-S/S88: Synthesizer Keyboard (Conforms to General MIDI 2 System) Keyboard [S] 61 keys (with velocity and channel aftertouch) [S88] 88 keys (Progressive Hammer action mechanism and channel aftertouch) Sound Generator Section Maximum Polyphony 64 voices (shared with the sampling section)

  • Page 218: Index

    Index Numerics [4 (Mark Clear)] ...123 [4 (Mark Clr All)] ...123 [5 (Mark Set All)] ...123 [5 (Mark Set)] ...123 Accent Rate Rhythm Pattern ...114 A-Env Level 1–3 (rhythm tone) ...74 A-Env Level 1–3 (tone) ...54 A-Env T1 V-Sens (rhythm tone) ...74 A-Env T1 V-Sens (tone) ...54 A-Env T4 V-Sens (rhythm tone) ...74 A-Env T4 V-Sens (tone) ...54...
  • Page 219 External Reverb Send Level ...118 External Source Select (system) ...195 Extract ...159 Factory Reset ...196 Fade Mode ...57 Fade Time ...57 Fantom-S Editor ...199 Fantom-S Librarian ...199 Favorite sound Patch ...28, 30 Performance ...78, 79 Rhythm set ...31 Features ...195 F-Env Depth (rhythm tone) ...73...
  • Page 220 Index FXM Depth (tone) ...45 FXM Switch (rhythm wave) ...69 FXM Switch (tone) ...45 Gap Time ...120 Gap Time (system) ...195 Gate Time ...146 General Patch ...43 Performance ...95 Rhythm set ...67 General MIDI ...13 General MIDI 2 ...13 Grid Arpeggio ...106 Rhythm Pattern ...113 Grid Quantize Strength ...144...
  • Page 221 Mark Clr All ...123 Mark Set ...123 Mark Set All ...123 Master Key Shift ...193 Master Level ...193 Master Tune ...193 Mastering Effect ATTACK ...183 LEVEL ...183 RATIO ...183 RELEASE ...183 Split Frequency High ...183 Split Frequency Low ...183 THRESHOLD ...183 Matrix control ...61 Matrix control destination 1–4 ...62 Matrix control sens 1–4 ...63...
  • Page 222 Index Pad Common Velo ...137 Pad Common Velocity ...137 Pad Control Mode ...34, 99 Pad Control Mode (performance) ...92 Pad Mode ...116 Pad Note ...116 Pad Number ...34, 99, 136 Pad Number (performance) ...92 Pad Part ...136 Pad Patch Receive/Transmit Channel ...192 Pad Patch Rx/Tx Ch ...192 Pad Sens ...137 Pad Sensitivity ...137...
  • Page 223 Phase lock switch (performance) ...90 Phrase loop ...45, 69 Phrase preview ...29 Piano mode (fFantom-S88) ...197 Pitch Patch ...49 Rhythm set ...71 Pitch Bend (performance) ...90 Pitch bend range (rhythm tone) ...68 Pitch bend range down ...49 Pitch bend range up ...49 Pitch Depth ...57 Pitch envelope depth (tone) ...50 Pitch envelope level 0–4 (rhythm tone) ...72...
  • Page 224 Index Reverb Output Assign (patch) ...177 Reverb Output Assign (performance) ...179 Reverb Output Assign (rhythm set) ...177 Reverb Send Level ...35, 100 Reverb Send Level (Solo Synth) ...93 Reverb Source ...85, 180 Reverb Source (patch) ...177 Reverb Source (rhythm set) ...177 Reverb type ...182 Reverb Type (multitimbre) ...179 Reverb Type (patch) ...177...
  • Page 225 Source 1–4 ...181 Split Frequency High ...183 Split Frequency Low ...183 SRX Information ...195 SRX/RAM Mode ...195 Start Fine ...126 Start Point ...125 Start up ...195 Step Back Step Rec ...147 Step Rec Arpeggio Edit ...108 Rhythm Pattern Edit ...115 Step recording ...146 Step Recording Standby ...146, 148 Stop Trigger ...120...
  • Page 226 Index TVA envelope time 1 velocity sensitivity (tone) ...54 TVA envelope time 1–4 (rhythm tone) ...74 TVA envelope time 1–4 (tone) ...54 TVA envelope time 4 velocity sensitivity (rhythm tone) ...74 TVA envelope time 4 velocity sensitivity (tone) ...54 TVA envelope time key follow ...54 TVA level velocity curve (rhythm tone) ...74 TVA level velocity curve (tone) ...43, 53 TVA level velocity sensitivity (tone) ...53...

  • Page 227: Federal Communications Commission Radio Frequency Interference Statement

    This product complies with the requirements of European Directives EMC 89/336/EEC and LVD 73/23/EEC. FEDERAL COMMUNICATIONS COMMISSION RADIO FREQUENCY INTERFERENCE STATEMENT This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules.

  • Page 228: Australia/New Zealand

    Information When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as shown below. MALAYSIA AFRICA AFRICA BENTLEY MUSIC SDN BHD 140 & 142, Jalan Bukit Bintang EGYPT 55100 Kuala Lumpur, MALAYSIA...

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