Page 1 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.
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 choose for placing the unit provides a level surface that will properly support the unit, and keep it from wobbling.
Page 4: Important Notes
• The unit should be located so that its location or position does not interfere with its proper ventilation. 101c • This unit for use only with Roland keyboard stand KS-12. Use with other stands is capable of resulting in instability causing possible injury.
Page 5: Handling Floppy Disks
• Unfortunately, it may be impossible to restore the contents of data that was stored on a floppy disk, in the unit’s memory or another MIDI device (e.g., a sequencer) once it has been lost. Roland Corporation assumes no liability concerning such loss of data.
Page 6: How To Use This Manual
How To Use This Manual This owner’s manual is organized as follows. Before you start reading it, we’d like to suggest going through the Quick Start manual. For parameter lists, sound lists, and MIDI implementation, refer to the separate “Sound/Parameter List.” In addition, the separate “Q&A”...
Page 7: Notation Used In This Owner's Manual
Notation Used in This Owner’s Manual To make operation procedures easy to understand, the following notation system is adopted: Characters and numbers in square brackets [ ] indicate buttons and knobs on the front panel. For example, [MODE] indicates the MODE button, and [CURSOR] indicates the cursor buttons (p.
Page 8: Table Of Contents
Contents IMPORTANT NOTES ...4 How To Use This Manual...6 Notation Used in This Owner’s Manual... 7 Main Features...14 Panel Descriptions...16 Front Panel... 16 Rear Panel ... 18 Overview of the Fantom ...19 How the Fantom Is Organized ... 19 Basic Structure ... 19 Classification of Fantom Sound Types...
Page 9 Playing Percussion Instruments... 40 Selecting a Rhythm Set ... 40 Playing a Rhythm Set ... 41 Playing Rhythm Patterns from the Keyboard... 41 Holding the Playback of a Rhythm Pattern ... 41 Making Rhythm Pattern Settings... 41 Creating a Patch...42 How to Make the Patch Settings ...
Page 10 Contents Using the Fantom As a Master Keyboard... 90 Changing the Connections between Keyboard and Sound Generator (Zone) ... 90 Confirming MIDI Information for Each Part (Part Information) ... 90 Creating a Performance ...91 How to Make the Performance Settings... 91 Initializing Performance Settings (Init)...
Page 11 Playing Back a Song...122 Playing a Song Immediately from Disk (Quick Play) ... 122 Playing Back Songs Consecutively (Chain Play) ... 122 Creating a Chain... 122 Saving a Chain to Disk (Save) ... 123 Loading a Chain from Disk (Load)... 124 Playing a Chain ...
Page 12 Contents Extracting and Moving a Part of Sequencer Data (Extract) ... 149 Shifting Performance Data Forward and Back (Shift Clock) ... 150 Thinning Out the Sequencer Data (Data Thin) ... 151 Swapping Two Phrase Tracks or Patterns (Exchange) ... 152 Adjusting the Song’s Playback Time (Time Fit) ...
Page 13 Settings Common to All Modes (System Function) ...178 How to Make the System Function Settings... 178 Initializing the System Settings (Init) ... 178 Saving the System Settings (Write) ... 178 Functions of System Parameters ... 179 Settings Common to the Entire System (General)... 179 Sequencer Settings (Sequencer)...
Page 14: Main Features
The total of 90 types of multi-effects (M-FX) include not only effects such as RSS, 3D delay, and slicer, but also effects that use Roland’s proprietary COSM modeling technology, such as guitar amp simulations, guitar multi’s, bass multi’s, and keyboard multi’s.
Page 15: General Midi
In a departure from the straight-line design of previous workstations, the Fantom features a distinctive design, which proclaims its worthiness as a true musical instrument, while at the same time projecting a sense of quiet dignity. General MIDI- and General MIDI 2-...
Page 16: Panel Descriptions
Panel Descriptions Front Panel Floppy Disk Drive 3.5” 2DD/2HD floppy disks can be used. To remove the disk, press the eject button located at the right of the disk drive. Subsequently, this manual will abbreviate “floppy disk” as “disk.” D BEAM You can apply a variety of effects to sounds simply by moving your hand.
Page 17: Pitch Bend/Modulation Lever
[BEAT] (Beat Indicator) This blinks in sync with the tempo and beat of the song. Display This displays information regarding the operation you are performing [1]–[8] These buttons let you select/register your favorite patches or performances. The lower part of the screen will show the names of the favorite sounds you’ve registered.
Page 18: Rear Panel
This can also be set so it supports the use of half-pedaling techniques. So, after connecting an optional expression pedal (EV-5, etc.), you can employ pedal work to achieve even finer control in performances in which piano tones are used. fig.00-05 DIGITAL OUT Connectors...
Page 19: Overview Of The Fantom
Overview of the Fantom How the Fantom Is Organized Basic Structure Broadly speaking, the Fantom consists of a keyboard controller section, a sound generator section, and a sequencer section. These sections are internally connected via MIDI. fig.01-01.e Playback Sound Sequencer Generator Section Section...
Page 20: Rhythm Sets
Overview of the Fantom Patches Patches are the basic sound configurations that you play during a performance. Each patch can be configured by combining up to four tones. How the four tones are combined is determined by the Structure Type parameter (PATCH/TMT) (p. 56). fig.01-03.e Patch Tone 4...
Page 21: About Simultaneous Polyphony
About Simultaneous Polyphony The Fantom can play a maximum of 64 sounds simultaneously. The following paragraphs discuss what this means, and what will happen when more than 64 simultaneous voices are requested from the Fantom. Calculating the Number of Voices Being Used The Fantom is able to play up to 64 notes simultaneously.
Page 22: About Memory
Overview of the Fantom About Memory Patch and performance settings are stored in what is referred to as memory. There are three kind of memory: temporary, rewritable, and non-rewritable. fig.01-06.e Fantom Preset E (PR-E) Preset D (PR-D) Preset C (PR-C) Preset B (PR-B) Preset A (PR-A) Patch...
Page 23: About The Onboard Effects
About the Onboard Effects Effect Types The Fantom has three built-in effect units, and you can independently edit each unit’s settings. Multi-Effects The multi-effects are multi-purpose effects that completely change the sound type by changing the sound itself. Contained are 90 different effects types;...
Page 24: About The Sequencer
Overview of the Fantom In the Performance Mode or Multitimbre Mode The multi-effects, chorus and reverb effects can be set individually for each performance and multitimbre. The intensity of each effect will be set for each part (Fig. 1), but the Send Level setting for each tone can also influence effect intensity (Fig.
Page 25: Songs And The Sound Generator Mode
16 different sounds. Thus, this mode is suitable for recording and playing back a song that uses an ensemble of multiple instruments, such as drums, bass, and piano. If you wish to record your playing using a layered/split performance, set the sound generator to Performance mode.
Page 26: Positions For Storing A Song
Overview of the Fantom Positions for Storing a Song fig.01-11.e Sequencer Section Load Internal Memory Sound Generator Section User Memory Disk Song file Standard MIDI file Chain file Data file Internal Memory The sequencer has an area called internal memory that can temporarily store one song.
Page 27: Basic Operation Of The Fantom
Basic Operation of the Fantom Switching the Sound Generator Mode ([MODE]) The Fantom has three sound generating modes: Patch mode, Multitimbre mode, and Performance mode. You can select the sound generating mode (state) that is most appropriate for how you are playing the Fantom.
Page 28: Switching Screens From The Menu ([Menu])
Overview of the Fantom Switching Screens from the Menu ([MENU]) The Fantom has a variety of screens and windows in which its numerous functions can be executed, and you can move between these screens as desired. Use the following procedure to access the desired screen or window. 1.
Page 29: Moving The Cursor
Moving the Cursor A single screen or window displays multiple parameters or items for selection. To edit the setting of a parameter, move the cursor to the value of that parameter. To select an item, move the cursor to that item.
Page 30: Assigning A Name
Overview of the Fantom Assigning a Name On the Fantom, you can assign names to each patch, rhythm set, multitimbre, performance, Song, and Pattern. The procedure is the same for any type of data. 1. Press [CURSOR] to move the cursor to the location where you wish to input a character.
Page 31: Playing In Patch Mode
Playing in Patch Mode Patch mode is the mode in which you can play the keyboard using a single sound (patch or rhythm set). If a rhythm set is selected, you can play percussion instruments from the keyboard. About the PATCH PLAY Screen Displaying PATCH PLAY Screen To access the PATCH PLAY screen, use the following procedure.
Page 32: Selecting A Patch
Playing in Patch Mode Selecting a Patch The Fantom has six patch groups, including the User group and Preset groups A–E and GM, with each group storing 128 patches (256 in GM), for a total of 1,024 patches. What’s more, you can further expand your options by installing up to three optional Wave Expansion Boards (one SR-JV80, two SRX series), enabling you to select from a huge assortment of available patches.
Page 33: Selecting Favorite Patches (Favorite Sound)
Selecting Favorite Patches (Favorite Sound) You can bring together your favorite and most frequently used patches in one place by registering them in the Favorite sound. By using this function, you can rapidly select favorite patches from internal memory or a Wave Expansion Board. If a patch stored in a Wave Expansion Board has been registered as a Favorite Sound, it cannot be selected unless the corresponding wave expansion board is installed.
Page 34: Auditioning Patches (Phrase Preview)
Playing in Patch Mode Auditioning Patches (Phrase Preview) The Fantom allows you to preview patches by hearing a phrase appropriate for each type of patch. 1. Access the Patch List window (p. 33). fig.01-18_50 2. Press and hold [8 (Prevu)]. The patch selected in the Patch List window will be sounded.
Page 35: Transposing The Keyboard In Octave Units (Octave Shift)
5. Press [EXIT] to close the Patch List window. 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...
Page 36: Transposing The Keyboard In Semitone Steps (Transpose)
Playing in Patch Mode Transposing the Keyboard in Semitone Steps (Transpose) Transpose changes keyboard pitch in units of semitones. This function is useful when you play transposed instruments such as trumpet or clarinet following a printed score. 1. Access the PATCH PLAY screen (p. 31). 2.
Page 37: Playing Single Notes (Mono)
Playing Single Notes (Mono) When using a patch for a naturally monophonic instrument such as sax or flute, it is effective to play in mono. 1. Access the PATCH PLAY screen (p. 31). 2. Press [MENU] to open the Menu window. 3.
Page 38: Playing Arpeggios (Arpeggiator)
Playing in Patch Mode Playing Arpeggios (Arpeggiator) The Arpeggiator provides for the play of the various notes in chords. With the Arpeggiator, you can play arpeggios that use the component notes of a chord, just by pressing the chord. In addition to normal arpeggios, you can also accurately simulate rhythm guitar or strumming techniques depending on the Arpeggiator settings.
Page 39: Using An External Midi Keyboard To Play Arpeggios
Using an External MIDI Keyboard to Play Arpeggios You can also use the keyboard of an external MIDI instrument to play arpeggios. 1. Use a MIDI cable to connect the Fantom’s MIDI IN connector to the MIDI OUT connector of the external MIDI keyboard. 2.
Page 40: Playing Percussion Instruments
Playing in Patch Mode Playing Percussion Instruments In Patch mode, you can play percussion instruments from the keyboard by selecting a rhythm set. As the rhythm tone assigned to each key varies by the rhythm set selected, you can play a wide range of percussion instruments.
Page 41: Playing A Rhythm Set
Playing a Rhythm Set 1. Select the rhythm set that you wish to play. 2. Press a key on the keyboard to play a percussion instrument. Below the rhythm set name, the screen shows the note name of the key you pressed, and the name of the percussion instrument (rhythm tone name) assigned to that key.
Page 42: Creating A Patch
Creating a Patch With the Fantom, you have total control over a wide variety of settings. Each item that can be set is known as a parameter. When you change the values of parameters, you are doing what is referred to as Editing.
Page 43: Initializing Patch Settings (Init)
• If you have selected a screen for parameters that can be set for each tone, first move the cursor to the parameter that you want to edit, and then press to select a tone. From the left, this is tone 1–4. •...
Page 44: The Compare Function
Loop waveforms repeatedly play back (loop) the portion of the waveform after the sound has reached a relatively steady state. The Fantom’s looped waveforms also include components of other sounds, such as piano-string resonant vibrations and the hollow sounds of brass instruments.
Page 45: Saving Patches You've Created (Write)
Cautions When Using a Loop Waveform With many acoustic instruments such as piano and sax, extreme timbral changes occur during the first few moments of each note. This initial attack is what defines much of the instrument’s character.
Page 46: Auditioning The Save-Destination Patch (Compare)
Creating a Patch By pressing [7 (Compare)] you can check the save-destination patch (Compare function). 6. Press [8 (Execute)]. The display will indicate Are you sure?.” 7. Press [8 (OK)] to execute the save operation. To cancel the operation, press [EXIT]. Auditioning the Save-Destination Patch (Compare) Before you save a patch, you can audition the patch which currently...
Page 47: 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 48: Portamento Switch
Creating a Patch Attack Time Offset Attack Time Offset alters the attack time of the overall patch, while preserving the relative differences between the attack time values set for each tone in the Env Time 1 parameters (PATCH/TVA) (p. 66). Range: -63–...
Page 49: Portamento Time
Portamento Mode Specifies the performance conditions for which portamento will be applied. Value NORMAL: Portamento will always be applied. LEGATO: Portamento will be applied only when you play legato (i.e., when you press the next key before releasing the previous key). Portamento Type Specifies the type of portamento effect.
Page 50: Tone Delay
Creating a Patch Tone Delay This produces a time delay between the moment a key is pressed (or released), and the moment the tone actually begins to sound. You can also make settings that shift the timing at which each tone is sounded. This differs from the Delay in the internal effects, in that by changing the sound qualities of the delayed tones and changing the pitch for each tone, you can also perform arpeggio-like passages just by pressing one key.
Page 51: Arpeggiator Settings (Arpeggio)
If you want to sustain the sound, set this “ON.” When using this function, also set the Rx Hold-1 parameter “ON.” This function is effective for piano sounds. Value: OFF, ON Arpeggiator Settings (Arpeggio) fig.03-11_50...
Page 52: Realtime Controller / D Beam Controller Settings (Controller)
Creating a Patch Shuffle Rate (Arpeggio Shuffle Rate) This setting lets you modify the note timing to create shuffle rhythms. With a setting of “50%” the notes will be spaced evenly. As the value is increased, the note timing will have more of a “dotted” (shuffle) feel.
Page 53: Setting Effects For A Patch (Effects/Mfx/Mfx Control/Chorus/Reverb)
BEND UP: Raises the pitch in semitone steps (up to 4 octaves higher). BEND DOWN: Lowers the pitch in semitone steps (up to 4 octaves lower). AFTERTOUCH: Aftertouch OCT UP: Raises the key range in octave steps (up to 3 octaves higher).
Page 54: Matrix Control Settings (Matrix Ctrl)
Creating a Patch Matrix Control Settings (Matrix Ctrl) fig.03-13_50 For details on the setting, refer to “How to Make the Patch Settings” (p. 42). Matrix Control Ordinarily, if you wanted to change tone parameters using an external MIDI device, you would need to send System Exclusive messages—MIDI messages designed exclusively for the Fantom.
Page 55 • There are parameters that determine whether or not Pitch Bend, Controller Number 11 (Expression) and Controller Number 64 (Hold 1) are received (p. 51). When these settings are “ON,” and the MIDI messages are received, then when any change is made in the settings of the desired parameter, the Pitch Bend, Expression, and Hold 1 settings also change simultaneously.
Page 56: Changing How A Tone Is Sounded (Tmt)
Creating a Patch Sns 1–4 (Matrix Control Sens 1–4) Sets the amount of the Matrix Control’s effect that is applied. If you wish to modify the selected parameter in a positive (+) direction – i.e., a higher value, toward the right, or faster etc. – from its current setting, select a positive (+) value.
Page 57 fig.Struct-04 TYPE 4 TONE 1 (3) TONE 2 (4) This type applies a booster to distort the waveform, and then combines the two filters. The TVA for tone 1 (or 3) controls the volume balance between the two tones and adjusts booster level. fig.Struct-05 TYPE 5 TONE 1 (3)
Page 58: Ring Modulator
Creating a Patch Booster The Booster is used to distort the incoming signal. fig.Booster-1.e Booster level In addition to using this to create distortion, you can use the waveform (WG1) of one of the tones as an LFO which shifts the other waveform (WG2) upward or downward to create modulation similar to PWM (pulse width modulation).
Page 59: Modifying Waveforms (Wave)
Vel Fade Lower (Velocity Fade Width Lower) This Determines what will happen to the tone’s level when the tone is played at a velocity lower than its specified velocity range. Higher settings produce a more gradual change in volume. If you want notes played outside the specified key velocity range to not be sounded at all, set this to “0.”...
Page 60: Modifying Pitch (Pitch)
Creating a Patch FXM Depth Specifies the depth of the modulation produced by FXM. Value: 0–16 Tempo Sync (Wave Tempo Sync) When you wish to synchronize a Phrase Loop to the clock (tempo), set this to “ON.” This is valid only when an optional Wave Expansion Board, such as “SR-JV80-10: BASS&DRUMS,”...
Page 61 Rnd Pitch Depth (Random Pitch Depth) This specifies the width of random pitch deviation that will occur each time a key is pressed. If you do not want the pitch to change randomly, set this to “0.” These values are in units of cents (1/100th of a semitone).
Page 62: Modifying The Brightness Of A Sound With A Filter (Tvf)
LPF. This makes it a comparatively warmer low pass filter. This filter is good for use with simulated instrument sounds such as the acoustic piano. LPF3: Low Pass Filter 3. Although frequency components above the Cutoff frequency (Cutoff Freq) are cut, the sensitivity of this filter changes according to the Cutoff frequency.
Page 63 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 64: Adjusting The Volume (Tva)
Creating a Patch Env Time KF (TVF Envelope Time Key Follow) Use this setting if you want the TVA envelope times (Time 2–Time 4) to be affected by the keyboard location. Based on the TVF envelope times for the C4 key (center C), positive (+) settings will cause notes higher than C4 to have increasingly shorter times, and negative (-) settings will cause them to have increasingly longer times.
Page 65 Bias Position Specifies the key relative to which the volume will be modified. Value: C-1–G9 Bias Direction Selects the direction in which change will occur starting from the Bias Position. Value LOWER: The volume will be modified for the keyboard area below the Bias Point.
Page 66: Modulating Sounds (Lfo)
Creating a Patch Env T4 V-Sens (TVA Envelope Time 4 Velocity Sensitivity) The parameter to use when you want key release speed to control the Time 4 value of the TVA envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value.
Page 67 SQR: Square wave RND: Random wave BND-U: Once the attack of the waveform output by the LFO is allowed to develop in standard fashion, the waveform then continues without further change. BND-D: Once the decay of the waveform output by the LFO is allowed to develop in standard fashion, the waveform then continues without further change.
Page 68 Creating a Patch 1:/2:Key Trigger (LFO1/LFO2 Key Trigger) This specifies whether the LFO cycle will be synchronized to begin when the key is pressed (ON) or not (OFF). Value: OFF, ON 1:/2:Pitch Depth (LFO1/LFO2 Pitch Depth) Specifies how deeply the LFO will affect pitch. Value: -63–...
Page 69: 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 70: Copying Rhythm Set Settings (Copy)
Creating a Rhythm Set 3. Press [7 (Init)]. The Rhythm Initialize window appears. fig.04-03_50 4. Move the cursor to “Type,” and select the initialization type. Type (Initialize Type) There are three initialize methods. Select either of them depending on the application. DEFAULT: Resets the currently selected rhythm set in the Temporary memory to the standard values.
Page 71: Cautions When Selecting A Waveform
Loop waveforms repeatedly play back (loop) the portion of the waveform after the sound has reached a relatively steady state. The Fantom’s looped waveforms also include components of other sounds, such as piano-string resonant vibrations and the hollow sounds of brass instruments.
Page 72: Saving Rhythm Sets You've Created (Write)
Cautions When Using a Loop Waveform With many acoustic instruments such as piano and sax, extreme timbral changes occur during the first few moments of each note. This initial attack is what defines much of the instrument’s character.
Page 73: Auditioning The Save-Destination Rhythm Set (Compare)
By pressing [7 (Compare)] you can check the save-destination rhythm set (Compare function). 6. Press [8 (Execute)]. The display will indicate “Are you sure?” 7. Press [8 (OK)] to execute the save operation. To cancel the operation, press [EXIT]. Auditioning the Save-Destination Rhythm Set (Compare) Before you save a rhythm set, you can audition the rhythm set which currently occupies the save destination to make sure that it is one...
Page 74: Functions Of Rhythm Set Parameters
Creating a Rhythm Set Functions of Rhythm Set Parameters This section explains the functions the different rhythm set parameters have, as well as the composition of these parameters. Settings Common to the Entire Rhythm Set (General) fig.04-10a_50 For details on the setting, refer to “How to Make the Rhythm Set Settings”...
Page 75: Rhythm Pattern Settings (Rhythm Ptn)
Rx Hold-1 (Rhythm Tone Receive Hold-1 Switch) For each rhythm tone, specify whether MIDI Hold-1 messages will be received (ON), or not (OFF). If “NO SUS” is selected for Env Mode parameter (RHYTHM/ General), this setting will have no effect. Rx Pan Mode (Rhythm Tone Receive Pan Mode) For each rhythm tone, specify how pan messages will be received.
Page 76: Realtime Controller / D Beam Controller Settings (Controller)
Creating a Rhythm Set Realtime Controller / D Beam Controller Settings (Controller) fig.04-11_50 For details on the setting, refer to “How to Make the Rhythm Set Settings” (p. 69). Knob Assign 1–4 (Realtime Control Knob Assign 1–4) Specify the functions that will be controlled by the [ Value OFF: The realtime control knob will not be used.
Page 77: Setting Effects For A Rhythm Set (Effects/Mfx/Mfx Control/Chorus/Reverb)
BEND UP: Raises the pitch in semitone steps (up to 4 octaves higher). BEND DOWN: Lowers the pitch in semitone steps (up to 4 octaves lower). AFTERTOUCH: Aftertouch NOTE: Play the sound of the most recently pressed key. OCT UP: Raises the key range in octave steps (up to 3 octaves higher).
Page 78: Fine Tune
Creating a Rhythm Set Wave No. (L) (Wave Number (L)) Wave No. (R) (Wave Number (R)) This selects the Waves comprising the rhythm tone. Along with the Wave number, the Wave name appears at the lower part of the display. When in monaural mode, only the left side (L) is specified.
Page 79: Modifying Pitch (Pitch)
Wave Level You can set the volume of the waveform. Value: 0–127 The volume level of each rhythm tone is set with the Tone Level parameter (RHYTHM/TVA); the volume levels of the entire rhythm set is set with the Rhythm Level parameter (RHYTHM/ TVA) (p.
Page 80: Modifying The Brightness Of A Sound With A Filter (Tvf)
LPF. This makes it a comparatively warmer low pass filter. This filter is good for use with simulated instrument sounds such as the acoustic piano. LPF3: Low Pass Filter 3. Although frequency components above the...
Page 81: Cutoff Frequency
Cutoff Frequency Selects the frequency at which the filter begins to have an effect on the waveform’s frequency components. Value: 0–127 With “LPF/LPF2/LPF3” selected for the Filter Type parameter, lower cutoff frequency settings reduce a tone’s upper harmonics for a more rounded, warmer sound. Higher settings make it sound brighter.
Page 82: Adjusting The Volume (Tva)
Creating a Rhythm Set Env Time 1–4 (TVF Envelope Time 1–4) Specify the TVF envelope times (Time 1– Time 4). Higher settings will lengthen the time until the next cutoff frequency level is reached. (For example, Time 2 is the time over which Level 1 will change to Level 2.) Value: 0–127 fig.TVF Env.e...
Page 83 Env T4 V-Sens (TVA Envelope Time 4 Velocity Sensitivity) The parameter to use when you want key release speed to control the Time 4 value of the TVA envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value.
Page 84: Playing In Performance Mode
Playing in Performance Mode Performance mode is where you can combine multiple sounds (patches or rhythm sets) to create complex sounds, or use the Fantom as a master keyboard. You can also create and play layers (patches played together) or splits (separate patches played from different areas of the keyboard).
Page 85: Selecting A Performance
Functions in the PERFORMANCE PLAY Screen fig.05-02.e Indicates the current sound generating mode. Indicates the name of the currently selected song, the measure location, the time signature, and the sequencer status. Sets the Octave Shift (Oct) and the Transpose (Trans). Indicates the song file name.
Page 86: Selecting Favorite Performances (Favorite Sound)
Playing in Performance Mode Selecting Favorite Performances (Favorite Sound) You can bring together your favorite and most frequently used performances in one place by registering them in the Favorite sound. By using this function you can quickly select your favorite performances from internal memory.
Page 87: Combining And Playing Sounds Together (Layer)
Part 16 keyboard into a maximum of 16 sections. (Rx ch.16) For instance, you can play strings in the lower range, piano in the upper range, and both sounds in the middle range. fig.05-09.e Part 1: Strings A split performance is one application of a layer performance.
Page 88: Playing Arpeggios In A Specific Region Of The Keyboard
Playing in Performance Mode 3. Make sure the Performance Edit screen is displayed, and press [1 ( )] or [2 ( )] to select the “Zone” tab. A screen like the one shown below appears. fig.05-08_50 4. To set the lower limit of the range, use [CURSOR] to move the cursor to “Key Range Lower.”...
Page 89: Playing Rhythm Patterns In A Specific Region Of The Keyboard
9. Turn the VALUE dial or press [INC]/[DEC] to specify the range of notes. This specifies the range of the zone that is connected to the part that will be played by the arpeggios. 10.Press to select a zone that is connected to a part that is not playing arpeggios.
Page 90: Using The Fantom As A Master Keyboard
Playing in Performance Mode Using the Fantom As a Master Keyboard Although the Fantom’s keyboard controller section and sound generator section are connected internally using a MIDI connection, in Performance mode, you can then make even more detailed settings affecting the way the connection works between the keyboard controller section and the sound generator section, as well as with an external MIDI device.
Page 91: Creating A Performance
Creating a Performance 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 92: Copying Performance Settings (Copy)
Creating a Performance Type (Initialize Type) There are three initialize methods. Select either of them depending on the application. DEFAULT: Resets the currently selected performance in the Temporary memory to the standard values. This is called a ‘Initial Data.’ Use this setting when you wish to create a sound from scratch. PRESET: Resets the currently selected performance in user memory to the factory settings.
Page 93: Saving Performance You've Created (Write)
Saving Performance You’ve Created (Write) Changes you make to sound settings are temporary, and will be lost if you turn off the power or select another sound. If you want to keep the modified sound, you must save it in the internal USER group (user memory) When you modify the settings of a performance, the PERFORMANCE PLAY screen will indicate “EDITED.”...
Page 94: Functions Of Performance Parameters
Creating a Performance Using [1]–[8] to Register 1. Access the PERFORMANCE PLAY screen, and select the performance that you wish to register (p. 85). 2. Hold down [JUMP (BANK)] and press a [1]–[8] to select the bank in which you wish to register the sound. 3.
Page 95: Arpeggiator Settings (Arpeggio)
Arpeggiator Settings (Arpeggio) fig.05-11_50 For details on the setting, refer to “How to Make the Performance Settings” (p. 91). Arpeggio Switch (Arpeggio Switch) Switches the Arpeggiator on/off. Value: OFF, ON Hold (Arpeggio Hold Switch) Switch between Hold On/Hold Off for the Arpeggiator performance.
Page 96: Rhythm Pattern Settings (Rhythm Ptn)
Creating a Performance Key Trigger (Arpeggio Key Trigger) Turn this “ON” if you want the arpeggio to start at the moment that you press the key. If you want the arpeggio to start playing in synchronization with the sequencer or rhythm pattern, turn this “OFF.”...
Page 97: Realtime Controller / D Beam Controller Settings (Controller)
Realtime Controller / D Beam Controller Settings (Controller) fig.06-11_50 For details on the setting, refer to “How to Make the Performance Settings” (p. 91). Knob Assign 1–4 (Realtime Control Knob Assign 1–4) Specify the functions that will be controlled by the [ Value OFF: The realtime control knob will not be used.
Page 98: Zone Settings (Zone)
Creating a Performance D Beam Switch (D Beam Switch) Switches the D Beam controller on/off. Value: OFF, ON Assign (D Beam Assign) Specifies the function controlled by the D Beam controller. Value OFF: The D Beam controller will not be used. CC01–31, 33–95: Controller numbers 1–31, 33–95 For more information about Control Change messages, please refer to “MIDI Implementation”...
Page 99 Ext Bank Select LSB (External Bank Select LSB) If you want a Bank Select number LSB (controller number 32) to also be transmitted when you switch performances, specify the value that you want to transmit (0–127) for each zone. Value: 0–127 The data of the zone for which the External Switch is turned off will not be transmitted.
Page 100: Making Settings For Each Part (Part)
Creating a Performance Making Settings for Each Part (Part) fig.06-13_50 For details on the setting, refer to “How to Make the Performance Settings” (p. 91). Patch/Rhythm (Patch/Rhythm Set) Sets the assignment of a patch (PAT) or rhythm set (RHY) to each of the parts.
Page 101 Pitch Bend Range (Part Pitch Bend Range) Specifies the amount of pitch change in semitones (2 octaves) that will occur when the Pitch Bend Lever is moved. The amount of change when the lever is tilted is set to the same value for both left and right sides.
Page 102 Creating a Performance Octave Shift (Part Octave Shift) Adjusts the pitch of the part’s sound up or down in units of an octave (+/-3 octaves). Value: -3– +3 Note that when a rhythm set is assigned to a part, if the Octave Shift parameter is set, the rhythm tone that is played also changes.
Page 103: Making Settings For Receiving Midi (Midi)
Calculating the Number of Voices Being Used The Fantom is able to play up to 64 notes simultaneously. The polyphony, or the number of voices (sounds) does not refer only to the number of sounds actually being played, but changes according to the number of tones used in the patches, and the number of Waves used in the tones.
Page 104: Setting Effects For A Performance (Effects/Mfx/Mfx Control/Chorus/Reverb)
Creating a Performance Volume (Receive Volume Switch) For each MIDI channel, specify whether MIDI Volume messages will be received (ON), or not (OFF). Assigning a check mark ( ) will turn it on, and removing the check mark will turn it off. Pan (Receive Pan Switch) For each MIDI channel, specify whether MIDI Pan messages will be received (ON), or not (OFF).
Page 105: Equal Temperament
Equal Temperament This tuning divides the octave into 12 equal parts, and is the most widely used method of temperament used in Western music. The Fantom employs equal temperament when the Scale Tune Switch is set to “OFF.” Just Temperament (Tonic of C) Compared with equal temperament, the principle triads sound pure in this tuning.
Page 106: Playing In Multitimbre Mode
Playing in Multitimbre Mode Multitimbre mode is ideal when you want to use the sequencer to create a song, or when you want to play song data. When creating songs or playing song data, a different MIDI channel is assigned for each patch or rhythm set used in a part.
Page 107: Selecting A Multitimbre
Selecting a Multitimbre The Fantom has two multitimbre groups, including the User group and Preset groups, with each group storing 16 multitimbres, for a total of 32 multitimbres. USER This is the group inside the Fantom which can be rewritten. performances you yourself create can be stored in this group.
Page 108: Playing Back A Song
Playing in Multitimbre Mode Playing Back a Song Use Multitimbre mode to play back a song stored on disk. 1. Access the MULTITIMBRE PLAY screen (p. 106). 2. Into the disk drive, insert the disk that contains the song you want to play.
Page 109: Silencing The Playback Of A Specific Part (Mute)
Silencing the Playback of a Specific Part (Mute) While you play along with the playback of a song, you can turn off the specific part. This allows you to turn off the melody part for karaoke applications or for practicing the muted part. 1.
Page 110: Recording An Arpeggio Performance
Playing in Multitimbre Mode Recording an Arpeggio Performance The Arpeggiator provides for the play of the various notes in chords. With the Arpeggiator, you can play arpeggios that use the component notes of a chord, just by pressing the chord. When you use the sequencer to create a song, it is also convenient to use the Arpeggiator to record the bass part.
Page 111: Confirming Midi Information For Each Part (Part Information)
7. Press [REC]. The [REC] indicator will blink, and the Recording Standby window appears. In this window you can change various settings related to realtime recording. fig.07-11_50 8. Select the recording method. For details on making this setting, refer to “Recording Your Performance as You Play It (Realtime Recording)”...
Page 112: Creating A Multitimbre
Creating a Multitimbre 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 113: Copying Multitimbre Settings (Copy)
Type (Initialize Type) There are three initialize methods. Select either of them depending on the application. DEFAULT: Resets the currently selected multitimbre in the Temporary memory to the standard values. This is called a ‘Initial Data.’ Use this setting when you wish to create a sound from scratch. PRESET: Resets the currently selected multitimbre in user memory to the factory settings.
Page 114: Saving Multitimbre You've Created (Write)
Creating a Multitimbre Saving Multitimbre You’ve Created (Write) Changes you make to sound settings are temporary, and will be lost if you turn off the power or select another sound. If you want to keep the modified sound, you must save it in the internal USER group (user memory) When you modify the settings of a multitimbre, the MULTITIMBRE PLAY screen will indicate “EDITED.”...
Page 115: Functions Of Multitimbre Parameters
Functions of Multitimbre Parameters This section explains the functions the different multitimbre parameters have, as well as the composition of these parameters. Settings Common to the Entire Multitimbre (General) fig.08-02_50 For details on the setting, refer to “How to Make the Multitimbre Settings”...
Page 116 Creating a Multitimbre Mono/Poly (Part Mono/Poly) Set this parameter to “MON” when the patch assigned to the part is to be played monophonically, or to “POL” when the patch is to be played polyphonically. When using the setting of the patch assigned to each part (p.
Page 117 Vibrate Rate (Part Vibrate Rate) For each part, adjust the vibrato speed (the rate at which the pitch is modulated). The pitch will be modulated more rapidly for higher settings, and more slowly with lower settings. Value: -64– +63 Vibrate Depth (Part Vibrate Depth) For each part, this adjusts the depth of the vibrato effect (the depth at which the pitch is modulated).
Page 118: Making Settings For Receiving Midi (Midi)
Creating a Multitimbre Voice Reserve This setting specifies the number of voices that will be reserved for each part when more than 64 voices are played simultaneously. Value: 0–63, FUL It is not possible for the settings of all parts to total an amount greater than 64.
Page 119: Velocity Curve
Mute Switch Temporarily mutes (MUT) 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 120: Setting Effects For A Multitimbre (Effects/Mfx/Mfx Control/Chorus/Reverb)
Creating a Multitimbre Setting Effects for a Multitimbre (Effects/MFX/MFX Control/Chorus/ Reverb) For details regarding effect settings, refer to the pages shown below. • “Applying Effects in Performance Mode or Multitimbre Mode” (p. 170) • “Making Multi-Effects Settings (MFX/MFX Control)” (p. 174) •...
Page 121: Changing The Settings Of The Patch Assigned To A Part
Changing the Settings of the Patch Assigned to a Part When using patches in Multitimbre mode, some settings such as effects settings will be affected by multitimbre settings. If you wish to edit a patch while hearing how it will sound in the multitimbre, use this procedure: * Here we explain how to change the setting of a patch assigned to a part.
Page 122: Playing Back A Song
Multitimbre mode (p. 106). In Multitimbre mode, up to sixteen different sounds can be played separately by the sixteen parts, making this mode ideal for playing songs that are multi-instrument ensembles of drums, bass, piano, etc. Playing a Song Immediately from Disk (Quick Play) The Fantom is able to play a song from disk immediately, without first loading the song into internal memory.
Page 123: Saving A Chain To Disk (Save)
5. Use to specify the songs in the chain, in the desired order of playback. • By holding down [SHIFT] and pressing jump to the beginning or end of the song list. • By pressing [6 (Select All)] you can add all songs on the disk to the chain.
Page 124: Loading A Chain From Disk (Load)
Playing Back a Song Loading a Chain from Disk (Load) Here’s how to load a previously saved Chain file from disk. 1. Into the disk drive, insert the disk that contains the desired chain file. 2. Access the Chain Play screen (p. 122). 3.
Page 125: Muting The Playback Of A Specific Instrument
Muting the Playback of a Specific Instrument If you want to silence the playback of a specific instrument, you can mute the phrase track that contains the sequencer data for that instrument. For details on the procedure, refer to “Silencing the Playback of a Track (Mute)”...
Page 126: Using The D Beam Controller To Start/Stop Song Playback
Playing Back a Song Using the D Beam Controller to Start/Stop Song Playback You can start/stop song playback by passing your hand over the D Beam controller. 1. Select the song that you want to play back (p. 122). 2. Hold down [JUMP] and press D BEAM [ON/OFF]. The D Beam window appears.
Page 127: Recording Songs
16 different sounds. Thus, Multitimbre mode is suitable for recording and playing back a song that uses an ensemble of multiple instruments, such as drums, bass, and piano. Two Recording Methods You can use one of two methods of recording: realtime recording or step recording.
Page 128: Specify The Time Signature
Recording Songs Specify the Time Signature Before you record a new song, you must specify the time signature. However, a time signature of 4/4 is automatically specified when you perform the Song Initialize operation or when the power is turned on, so you will need to make this setting only if you want to record a new song in a different time signature.
Page 129: Recording Your Performance As You Play It (Realtime Recording)
Recording Your Performance as You Play It (Realtime Recording) Realtime Recording is the recording method in which your keyboard playing and controller operations are recorded just as you perform them. Use this recording method when you want to capture the nuances of your own performance.
Page 130: Recording Tempo Changes In A Song (Tempo Recording)
Recording Songs Recording Tempo Changes in a Song (Tempo Recording) If you want the tempo to change during the song, you can record those tempo changes in the Tempo track. If tempo changes have already been recorded in the tempo track, they will be rewritten. Set the following recording parameters in addition to the basic settings described in step 3 of “Basic Operation for Realtime Recording”...
Page 131: Correct The Timing Of Your Playing As You Record (Recording Quantize)
Correct the Timing of Your Playing as You Record (Recording Quantize) The Quantize function automatically corrects inaccuracies in the timing of your keyboard performance, aligning the notes to accurate timing intervals. During realtime recording, you can quantize while you record. Set the following recording parameters in addition to the basic settings described in step 3 of “Basic Operation for Realtime Recording”...
Page 132: Erasing Unwanted Data While You Record (Realtime Erase)
Recording Songs Erasing Unwanted Data While You Record (Realtime Erase) Realtime Erase is a function that erases unwanted data during realtime recording. This is particularly convenient during loop recording, since it lets you erase data without stopping recording. Realtime Erase can be executed only if the Recording Mode is set to “MIX.”...
Page 133 Specify the strength with which the note will be played. If you want this to be the strength with which you actually pressed the key, select “REAL.” Otherwise, use settings of p (piano)=60, mf (mezzo forte)=90, or f (forte)=120 as general guidelines.
Page 134: Assigning A Pattern To A Phrase Track
Recording Songs Inputting a Chord Press the chord. A chord will be input when you release all keys simultaneously. The chord will not be input as long as even one key remains pressed, so you can change the keys being pressed to correct the chord.
Page 135: Saving A Recorded Song On Disk
Saving a Recorded Song on Disk A song you record is temporarily stored in internal memory. A song in internal memory will be lost when the power is turned off or when you load another song. If you want to keep the song, you must save it to disk.
Page 136: 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 disk, you have to first load it into the internal memory. The internal song will be lost if you turn power off or load another song into internal memory.
Page 137: Silencing The Playback Of A Track (Mute)
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 internal sound generator. MIDI: The track will be sounded by an external sound generator connected to the MIDI OUT connector.
Page 138: Assigning A Name To A Pattern (Pattern Name)
Editing Songs 4. Press to move the cursor to the location where you want to input a character. 5. Turn the VALUE dial or press [INC]/[DEC] to select a character. 6. Repeat steps 4 and 5 to assign a song name. You can press [8 (Name)] and use the Name window to assign a song name (p.
Page 139: Specifying The Area Of A Song That Will Repeat (Loop Points)
Specifying the Area of a Song that will Repeat (Loop Points) When using Loop Play or Loop Recording, you can use the loop points you specify here to specify the repeated area, as an alternative to repeating the specified number of measures. If the song time signature is different than the pattern time signature (pattern beat), the loop points will be displayed differently in the song and pattern.
Page 140: Aligning A Song's Timing (Quantize)
Editing Songs 3. Use to select the desired function, and press [8 (Select)]. A message like the following appears, prompting you to specify the region that is to be affected by the track editing operation. fig.11-12_50 4. Specify the region that you want to edit. Use [CURSOR] to move the cursor to the measure of the track or pattern that you want to edit.
Page 141: Preview Function
Measure, for (Edit Range) Check/modify the range of measures that are to be quantized. If you set “for” to “ALL,” all measures will be specified. Type (Quantize Type) Specifies the Quantize range. Value GRID: Grid Quantize will be applied to recording. Since the notes will be adjusted to the timing of the specified note value, you can use this when you want drums or bass (for example) to play in an accurate rhythm.
Page 142: Erasing Unwanted Performance Data (Erase)
Editing Songs Erasing Unwanted Performance Data (Erase) This function erases all the sequencer data inside the specified area. As the erased data is replaced by rests, the original measures will remain. 1. Access the Song Edit screen, and then load the song you want to edit (p.
Page 143: Deleting Unwanted Measures (Delete)
Deleting Unwanted Measures (Delete) This function deletes a specified area of sequencer data, and moves the subsequent data to fill the gap. As a result, the measure length will be shortened by the number of deleted measures. 1. Access the Song Edit screen, and then load the song you want to edit (p.
Page 144 Editing Songs Track (Destination Track) Check/modify the copy-destination track or pattern. Value ALL: Phrase tracks 1–16, the beat track, and the tempo track TRK 1–TRK 16: The specified phrase track TEMPO: Tempo track PTN001–PTN100: The specified pattern • If you set the source track to “ALL,” the destination track can be set to either “ALL”...
Page 145: Inserting A Blank Measure (Insert Measure)
Inserting a Blank Measure (Insert Measure) This function inserts blank measures into a specified song position. As you can set the time signature of the blank measures, this is convenient when inserting a phrase having a different time signature in the middle of a song. 1.
Page 146: Changing The Velocity (Volume) (Change Velocity)
Editing Songs Bias Specifies the transpose amount in semitone steps. Set a “+” (positive) value to raise the pitch, or a “-” (negative) value to lower the pitch. If you do not want to transpose, set this to “0.” Value: -127– +127 Channel (MIDI Channel) Specifies the MIDI channel(s) of the notes to be transposed.
Page 147: Changing The Midi Channel (Change Channel)
Changing the MIDI Channel (Change Channel) This function transfers the MIDI channel of a specified area of sequencer data into a different MIDI channel. 1. Access the Song Edit screen, and then load the song you want to edit (p. 136). 2.
Page 148: Combining Two Phrase Tracks Or Patterns Into One (Merge)
Editing Songs The Track Edit (Change Gate Time) window appears. fig.11-22_50 6. Use [CURSOR] to move the cursor to the desired parameter, and turn the VALUE dial or press [INC]/[DEC] to make the setting. First check the region that is to be affected by the operation, and correct it if necessary.
Page 149: Extracting And Moving A Part Of Sequencer Data (Extract)
Extracting and Moving a Part of Sequencer Data (Extract) This function extracts a specified sequencer data area from a phrase track or pattern and moves it to the same Song position of another phrase track or pattern. Additionally, just as with Standard MIDI File Format 0, when sequencer data from multiple MIDI channels is recorded on one track, you can also assign one MIDI channel to a single phrase track.
Page 150: Shifting Performance Data Forward And Back (Shift Clock)
Editing Songs Channel (MIDI Channel) Selects the MIDI channel(s) of the data to be extracted. To extract all sequencer data, set this parameter to ALL. To extract just the sequencer data of a specific MIDI channel, select that MIDI channel. Value: ALL, 1–16 If you set the Status parameter to “EXC,”...
Page 151: Thinning Out The Sequencer Data (Data Thin)
Channel (MIDI Channel) Selects the MIDI channel of the data to be shifted in time. To shift clocks of all sequencer data, set this parameter to ALL. To shift the sequencer data clock of just one specific MIDI channel, select that MIDI channel. Value: ALL, 1–16 If you set the Track parameter to “TEMPO,”...
Page 152: Swapping Two Phrase Tracks Or Patterns (Exchange)
Editing Songs Swapping Two Phrase Tracks or Patterns (Exchange) The phrase tracks or patterns will be exchanged in their entirety. 1. Access the Song Edit screen, and then load the song you want to edit (p. 136). 2. Press [8 (Track Edit)]. The Track Edit window appears.
Page 153: Deleting Blank Measures (Truncate)
Deleting Blank Measures (Truncate) Copying or merging may sometimes create blank measures at the beginning of a phrase track or pattern. Truncate deletes silent portions from the beginning of the specified phrase track to the first note-on. If other sequencer data (such as program changes or control changes) is recorded between the beginning and the first note-on of the specified phrase track, only the last data event of each type will be placed before the note-on.
Page 154: Sequencer Data Handled By A Phrase Track/Pattern
Editing Songs • If you want to move the current location in steps of a measure, move the cursor to the measure position, and turn the VALUE dial or press [INC]/[DEC]. You can also move in steps of a measure by pressing [BWD] or [FWD]. •...
Page 155: Viewing Sequencer Data (View)
Data Handled by the Beat Track The Beat track records time signature data. Beat Change This specifies the time signature (Beat). 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 lets you specify the type(s) of sequencer data that will be displayed in the screen.
Page 156: Inserting Sequencer Data (Create)
Microscope window, 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 (Checksum)] to remove the check mark ( ) from “Auto Calculate Checksum.”...
Page 157: Moving Sequencer Data (Move)
Moving Sequencer Data (Move) You can move an individual item of sequencer data to a different location. Data recorded in the tempo track or beat track can also be moved in the same way. It is not possible to move the tempo change located at the beginning of the tempo track, the beat change and key signature located at the beginning of the beat track, or the pattern beat.
Page 158: Changing The Tempo Midway Through The Song
Editing Songs Changing the Tempo Midway Through the Song If you want to change the tempo midway through the song, insert a new Tempo Change into the tempo track. The song will play back at that tempo following the location at which the tempo change was inserted.
Page 159: 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 160: Playback Mode
Playing a Phrase at the Touch of a Finger (RPS Function) Playback Mode Specify how the pattern will be played. Value LOOP1: The pattern will play back repeatedly as long as the key is held down. LOOP2: The pattern will play back repeatedly. To stop playback, press a Stop Trigger key or press the same key once again.
Page 161: Performing With The Rps Function From An External Midi Keyboard
If you turn off the RPS function while a pattern is playing, the keyboard will return to the normal playing state, but the pattern will continue playing. If you want to stop playback of this pattern, turn on the RPS function once again, and perform the appropriate operation.
Page 162: Modifying The Sound In Real Time
Modifying the Sound in Real Time You can use the D Beam controller, realtime controllers, or a pedal to modify the sound while you perform. Here we will explain the procedures and settings for using these functions in Patch mode. The operations are the same in Multitimbre mode or Performance mode.
Page 163: Using Knobs Or Buttons To Modify The Sound (Realtime Controller)
For details on each parameter, refer to “Realtime Controller / D Beam Controller Settings (Controller)” (p. 52). 2. Move the cursor to the parameter that you want to set, and turn the VALUE dial or press [INC]/[DEC] to make the setting.
Page 164: Using A Pedal To Modify The Sound (Control Pedal)
Modifying the Sound in Real Time 3. Press [8 (Close)] to close the Switch window. Realtime controller settings are saved independently for each patch/performance as part of the patch/performance settings. This lets you create patches/performances that make effective use of controller settings. Using a Pedal to Modify the Sound (Control Pedal) You can modify the sound by pressing a pedal that is connected to...
Page 165: Adding Effects
Adding Effects This section explains the procedures and settings for applying effects in each mode. For details of the Fantom’s onboard effects, refer to “About the Onboard Effects” (p. 23). Turning Effects On and Off The Fantom’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 166: Signal Flow Diagram And Parameters
Adding Effects Signal Flow Diagram and Parameters When the Patch Output Assign ( fig.14-03 PATCH ) is Set to Something Other than “TONE” MAIN OUTPUT A OUTPUT B...
Page 167 When the Patch Output Assign ( fig.14-04 TONE 1 TONE 1 TONE 2 TONE 3 TONE 4 ) is Set to “TONE” MAIN Adding Effects OUTPUT A OUTPUT B...
Page 168 Adding Effects 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. You can select the rhythm tone (A0–C8) for which you want to make settings. Patch Output Assign Specifies for each patch how the direct sound will be output.
Page 169: Reverb Level
MFX Reverb Send Level (Multi-Effects Reverb Send Level) Adjusts the amount of reverb for the sound that passes through multi-effects. If you don’t want to add the Reverb effect, set it to “0.” Value: 0–127 MFX Output Assign (Multi-Effects Output Assign) Adjusts the output destination of the sound that has passed through the multi-effects.
Page 170: Applying Effects In Performance Mode Or Multitimbre Mode
Adding Effects Applying Effects in Performance Mode or Multitimbre Mode Specifying How the Sound Will Be Output (Effects) Here you can make overall settings for effects, and the output destination and level of each signal. 1. Select the sound for which you want to make output settings (p. 85, p. 107). 2.
Page 171: Signal Flow Diagram And Parameters
Signal Flow Diagram and Parameters fig.14-06 PART 1 PART 1 PART 2 PART 3 MFX-A MAIN PART 32 Adding Effects OUTPUT A OUTPUT B...
Page 172: Part Reverb Send Level
Adding Effects Part Select Select the part for which you want to make settings. Value: 1–16 Part Output Assign Specifies for each part 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 173: Chorus Level
Chorus Type Selects either chorus or delay. Value 0 (Off): Neither chorus or delay is used. 1 (Chorus): Chorus is used. 2 (Delay): Delay is used. 3 (GM2 Chorus): General MIDI 2 chorus Chorus Output Select Specifies how the sound routed through chorus will be output. Value MAIN: Output to the OUTPUT jacks in stereo.
Page 174: Making Multi-Effects Settings (Mfx/Mfx Control)
Adding Effects Chorus Source When a performance is selected Selects the chorus parameter settings that will be used by the performance. If you wish to use the performance settings, select “PRF.” If you wish to use the settings of the patch/rhythm set assigned to one of the parts, select the part number.
Page 175: Functions Of Parameters
Functions of Parameters fig.14-07_50 Select (Multi-Effects Select) Of the three types of multi-effects that can be used simultaneously, select the multi-effects for which you want to make settings. Value: MFX-A–MFX-C This parameter is not available when a patch or rhythm set is being selected.
Page 176: Making Chorus Settings (Chorus)
Adding Effects • In patch/rhythm set mode, there are parameters that determine, for each tone/rhythm tone, whether or not Pitch Bend, Controller Number 11 (Expression) and Controller Number 64 (Hold 1) are received (p. 51). When these settings are “ON,” and the MIDI messages are received, then when any change is made in the settings of the desired parameter, the Pitch Bend, Expression, and Hold1 settings also change simultaneously.
Page 177: Making Reverb Settings (Reverb)
In this setting screen, you can edit the parameters of the chorus/ delay that is selected by the Chorus Type setting. For details on the parameters that can be edited, refer to “Chorus Parameters” (Sound/Parameter List). Making Reverb Settings (Reverb) Here we will explain how to make reverb settings in Performance mode.
Page 178: Settings Common To All Modes (System Function)
Settings Common to All Modes (System Function) Settings that affect the entire operating environment of the Fantom, 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 179: Functions Of System Parameters
Functions of System Parameters This section explains what the different System parameters do, and also how these parameters are organized. Settings Common to the Entire System (General) fig.15-01_50 For details on the setting, refer to “How to Make the System Function Settings”...
Page 180: Sequencer Settings (Sequencer)
MTC synchronizes operations between devices based on an absolute time. Since Roland VS Series workstations are hard disk recorders, they cannot send MIDI Clock. Therefore, using a MTC is convenient for synchronization of the hard disk recorder and the Fantom.
Page 181 MMC Output (MMC Output Switch) Turn this “ON” if you want to synchronize with a hard disk recorder, such as one from the Roland VS series. When set “ON,” MMC (MIDI Machine Control) related commands (Play, Stop and Locate) will be transmitted.
Page 182: Midi Settings (Midi)
Settings Common to All Modes (System Function) MTC Offset Frame (MTC Offset Time Frame) Coordinates the playback timing of the Fantom and the external device in a frame units. Value: 00–29 frames MTC Error Level Determines how often the reception status is checked when MTC is being received from an external device.
Page 183 Patch/Rhythm Tx Ch (Patch/Rhythm Set Transmit Channel) Specifies the transmit channel of MIDI messages in Patch mode. If you do not want to transmit MIDI messages to external MIDI devices, turn this parameter “OFF.” If you want the transmit channel to always match the Patch/Rhythm Set Receive Channel, set this parameter to “Rx Ch.”...
Page 184: Controller Settings (Controller)
(ON), or not (OFF). When this is set to support use of half-pedaling techniques, you can then connect an optional expression pedal (EV-5, etc.), and employ pedal work to achieve even finer control in performances in which piano tones are used. Value: OFF, ON...
Page 185: Equalizer Settings (Eq)
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 186: Scale Tune Settings (Scale Tune)
Settings Common to All Modes (System Function) Scale Tune settings (Scale Tune) fig.15-09_50 For details on the setting, refer to “How to Make the System Function Settings” (p. 178). Scale Tune C–B (Patch Scale Tune C–B) Make scale tune settings for Patch mode. Value: -64–...
Page 187: Disk-Related Functions (Disk Utility)
Disk-Related Functions (Disk Utility) Disk mode performs disk-related functions such as loading data from disk into the Fantom’s memory (Load), and saving a song or sound generator settings to disk (Save). You can also format a disk or create a backup disk in this mode. Before You Perform Disk Utility Operations In order to perform disk utility operations, you will need a 3.5 inch 2DD or 2HD type disk.
Page 188: Selecting The Type Of Files Displayed In The File List (View)
Disk-Related Functions (Disk Utility) Selecting the Type of Files Displayed in the File List (View) By specifying the type of files that are displayed in the file list of the Disk Utility screen, you can locate a desired file on disk more rapidly.
Page 189: Loading Individual Items Of Sound Data
System settings to disk. • Data cannot be saved to the master disks of Standard MIDI File releases, etc. from Roland. • Song data with copyrighted information cannot be re-saved in the Standard MIDI File format.
Page 190: Copying A File To Another Name (Copy)
Copying a File to Another Name (Copy) Here’s how to copy a file to one having a different name. Master disks of Standard MIDI Files releases, etc. from Roland cannot be copied. 1. Access the Disk Utility screen (p. 187).
Page 191: Renaming A File (Rename)
Fantom, it must be formatted on the Fantom. • Please be aware that formatting will erase all the data already resident on the disk. • Master disk releases of Standard MIDI Files from Roland, etc. cannot be formatted. 1. Access the Disk Utility screen (p. 187).
Page 192: Modifying The Name Of The Disk
This function changes the volume label that was assigned when the disk was formatted. It is not possible to modify the volume label of the master disks of the Standard MIDI Files releases, etc. from Roland. 1. Access the Disk Utility screen (p. 187). 2. Press [6 (Tools)].
Page 193: Creating A Duplicate Disk
• It is not possible to make a backup copy of the master disk of Standard MIDI Files releases, etc. from Roland. • It is not possible to create a backup copy of a 2DD disk on a 2HD disk, and vice versa.
Page 194: Transmitting Sound Settings/Reset To Default Factory Settings
Transmitting Sound Settings/Reset to Default Factory Settings Transmitting Sound Settings (Data Transfer) Sound generator settings and system settings stored in the Fantom’s internal memory or on a Wave Expansion Board can be transmitted to an external MIDI device, or to user memory. Transmitting Data to an External MIDI Device Patch, rhythm set, multitimbre, performance, and setup and system...
Page 195: Transmitting Data To User Memory
Transmitting Data to User Memory Patch, rhythm set, multitimbre, and performance settings will be transmitted to user memory. Use this when you want to arrange sounds in user memory in the desired order. If the Fantom internal memory already contains important data that you have created, this operation will cause all of this data to be lost.
Page 196: Installing The Wave Expansion Board
Installing the Wave Expansion Board Up to three optional Wave Expansion Boards (one SR-JV80 series, two SRX series) can be installed in the Fantom. Wave Expansion Boards store Wave data, patches, and rhythm sets, and by equipping the Fantom with these boards, you can greatly expand your sound palette.
Page 197: Checking The Installed Wave Expansion Boards
3. Inside, you will find a slot for an SR-JV80 series board (EXP A), and slots for two SRX series boards (EXP B, EXP C). 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 198: Installation De La Carte D'expansion Wave (French Language For Canadian Safety Standard)
Installation de la carte d’expansion Wave Un maximum de trois cartes d’expansion Wave (une carte SR-JV80, deux cartes SRX) peuvent être installées dans le Fantom. Les cartes d’expansion Wave emmagasinent des données Wave, correctifs et rythmes, et en ajoutant ces cartes au Fantom, il est possible d’élargir considérablement la palette de sons.
Page 199: Vérification Des Cartes D'extension Audio Aprés Installation
3. À l’intérieur, vous apercevrez une fente pour la carte SR- JV80 (EXP A) et des fentes pour deux cartes SRX (EXP B, EXP C). 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 200: Specifications
Specifications Fantom (FA-76): Synthesizer Keyboard (Conforms to General MIDI 2 System) Keyboard 76 keys (with velocity and channel aftertouch) Synthesizer Section Multitimbre Parts 16 parts Maximum Polyphony 64 voices Wave Memory 64 M bytes (16-bit linear equivalent) Waveforms: 1,083 (XV-5080 equivalent) Expansion Slot Wave Expansion Board SR-JV80 Series: 1 slot Wave Expansion Board SRX Series: 2 slots...
Page 201 Index Symbols ]–[ ] ... 16, 163 ]–[ ] ... 16, 163 Numerics [1]–[8] ... 17, 28 1:Delay Time ... 67 1:Delay Time KF ... 67 1:Fade Mode ... 67 1:Fade Time ... 67 1:Key Trigger ... 68 1:Offset ... 67 1:Pan Depth ...
Page 202 Index Chorus Output Assign (rhythm set) ... 169 Chorus Output Select (multitimbre) ... 173 Chorus Output Select (patch) ... 169 Chorus Output Select (performance) ... 173 Chorus Output Select (rhythm set) ... 169 Chorus Source ... 174 Chorus type ... 176 Chorus Type (multitimbre) ...
Page 203 Env Level 1–3 (rhythm tone) ... 83 Env Level 1–3 (tone) ... 66 Env Mode (rhythm tone) ... 74 Env Mode (tone) ... 49 Env T1 V-Sens (rhythm tone) ... 80–82 Env T1 V-Sens (tone) ... 61, 63, 65 Env T4 V-Sens (rhythm tone) ... 80–81, 83 Env T4 V-Sens (tone) ...
Page 204 Index Key Range Lower (multitimbre part) ... 117 Key Range Lower (performance part) ... 102 Key Range Lower (tone) ... 58 Key Range Upper (multitimbre part) ... 117 Key Range Upper (performance part) ... 102 Key Range Upper (tone) ... 58 Key Range Upper (zone) ...
Page 205 MIDI Multitimbre ... 118 Performance ... 103 System ... 182 MIDI clock ... 180 MIDI connector ... 18 MIDI time code ... 180 MIDI update ... 124 Mix/Parallel ... 179 MMC Mode ... 181 MMC Output ... 181 MMC output switch ... 181 [MODE] ...
Page 206 Index Part Information ... 90, 111 Part level (multitimbre part) ... 115 Part level (performance part) ... 100 Part Output Assign ... 172 Part Output MFX Select ... 172 Part output multi-effects select ... 172 Part pan (multitimbre part) ... 115 Part pan (performance part) ...
Page 207 Pitch Key follow ... 61 Pitch KF ... 61 Polarity (patch) ... 53 Polarity (performance) ... 98 Polarity (rhythm set) ... 77 Poly Key Pressure (multitimbre) ... 119 Poly Key Pressure (performance) ... 103 Portamento ... 37, 48 Portamento Mode ... 49 Portamento Start ...
Page 208 Index Reverb Output Assign (rhythm set) ... 169 Reverb Source ... 174 Reverb type ... 177 Reverb Type (multitimbre) ... 173 Reverb Type (patch) ... 169 Reverb Type (performance) ... 173 Reverb Type (rhythm set) ... 169 [RESET] ... 16 [RHYTHM] ...
Page 209 Source 1–4 ... 54, 175 Standard MIDI file ... 26 Step recording ... 132 Step Recording Standby ... 132 Step time ... 133 [STOP/PLAY] ... 16, 108, 122 Stretch Tune ... 60 Stretch tune depth ... 60 Structure 1 & 2 ... 56 Structure 3 &...
Page 210 Index TVA level velocity sensitivity (rhythm tone) ... 82 TVA level velocity sensitivity (tone) ... 65 Patch ... 62 Rhythm set ... 80 TVF envelope depth (rhythm tone) ... 81 TVF envelope depth (tone) ... 63 TVF envelope level 0–4 (rhythm tone) ... 81 TVF envelope level 0–4 (tone) ...
Page 211 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 212 Information When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as shown below. SINGAPORE AFRICA AFRICA Swee Lee Company 150 Sims Drive, EGYPT SINGAPORE 387381 TEL: 846-3676 Al Fanny Trading Office...
Page 213 Additional Functions of the Fantom and Changes in Operation Linked settings for Loop mode See pp. 139, 125, 130 in the Owner’s Manual In the Loop window, you can now select the loop modes (POINT, 1 MEAS, 2 MEAS, 4 MEAS, 8 MEAS, 16 MEAS, SONG ALL).
Page 214 Changes in the Recording Standby window and how to start recording See p. 129 in the Owner’s Manual In the Recording Standby window, the functions assigned to the [1]–[8] buttons have been expanded and modified. Recording Standby window before the change Button name Function [3 (Metronome)]...

Roland Piano Owner's Manual

Important Notes

How to Use this Manual

Main Features

Panel Descriptions

Overview of the Fantom

Playing in Patch Mode

Creating a Patch

Creating a Rhythm Set

Playing in Performance Mode

Creating a Performance

Playing in Multitimbre Mode

Creating a Multitimbre

Playing Back a Song

Recording Songs

Editing Songs

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

Modifying the Sound in Real Time

Adding Effects

Settings Common to All Modes (System Function)

Quick Links

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Summary of Contents for Roland Piano