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FR-7/FR-5
Owner’s Manual
WARNING – To reduce the risk of fire or electric shock, do not expose this device to rain or moisture.
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
ATTENTION: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK,
DO NOT REMOVE COVER (OR BACK).
NO USER-SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
The lightning flash with arrowhead symbol, within an equilateral triangle, is intended to alert the user to the presence of uninsulated
“dangerous voltage” within the product’s enclosure that may be of
sufficient magnitude to constitute a risk of electric shock to persons.
The exclamation point within an equilateral triangle is intended to
alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the
product.
INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS.
IMPORTANT SAFETY INSTRUCTIONS
SAVE THESE INSTRUCTIONS
WARNING – When using electric products, basic precautions should always be followed, including the following:
1.
2.
3.
4.
5.
6.
7.
Read these instructions.
Keep these instructions.
Heed all warnings.
Follow all instructions.
Do not use this apparatus near water.
Clean only with a dry cloth.
Do not block any of the ventilation openings. Install in accordance with the manufacturers instructions.
8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat.
9. Do not defeat safety purpose of the polarized or grounding-type
plug. A polarized plug has two blades with one wider than the
other.
A grounding type plug has two blades and third grounding
prong. The wide blade or the third prong are provided for your
safety. If the provided plug does not fit into your outlet, consult
an electrician for replacement of the obsolete outlet.
10. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where
they exit from the apparatus.
11. Only use attachments/accessories specified by the manufacturer.
12. Unplug this apparatus during lightning storms or when unused
for long periods of time.
13. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such
as power-supply cord or plug is damaged, liquid has been
spilled or objects have fallen into the apparatus, the apparatus
has been exposed to rain or moisture, does not operate normally, or has been dropped.
For the U.K.
IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING
CODE.
NEUTRAL
BLUE:
BROWN: LIVE
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying
the terminals in your plug, proceed as follows:
The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.
Under no circumstances must either of the above wires be connected to the earth terminal of a three pin plug.
The technology used in the FR-5 and FR-7 is covered by patents pending in certain countries throughout the world.
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ENGLISH
FR-7/FR-5
Owner’s Manual
ENGLISH
ENGLISH
Before using this instrument, carefully read the “Important notes” (p. 9). They provide information concerning the
proper operation of the FR-7/FR-5. Be sure to keep this manual in a safe place for future reference.
Copyright © 2004 ROLAND EUROPE. All rights reserved. No part of this publication may be reproduced in any form without the written permission of Roland Europe S.p.a.
ENGLISH
Thank you for purchasing the Roland FR-7/FR-5 V-Accordion. The FR-7/FR-5 is an amazingly versatile electronic instrument that can emulate the sounds of a vast array of accordions. You may know that the term “accordion” refers to a
portable musical instrument of the free reed family, that its sound is controlled by air flow from the bellows, and that
there are almost as many types as there are countries. The accordion family indeed includes instruments called
“Aeloine”, “Aerophone”, “Bayan”, “Buzika”, “Concertina”, “Drängkammarorgel”, “Fisarmonica”, “Hanuri”, “Melodeon”,
“Pedalowka”, “Schwyzerorgeli”, “Squeeze Box”, “Sun Fin Chin”, and many others.
For the first time in history, Roland introduces an accordion instrument that can emulate (recreate) the sounds and
behavior of several bellows instruments. Though it is also the most sophisticated MIDI controller to date (even more
powerful than any keyboard instrument), the major advantage of the FR-7/FR-5 is probably that it allows you to
change sounds without changing instruments. Apart from the financial benefit (the FR-7/FR-5 costs far less than what
you have to pay for the emulated originals), this also means that you can use your familiar playing style and techniques while covering a host of different musical genres.
To get the most out of the FR-7/FR-5 and to ensure many years of trouble-free service, we urge you to read through
this Owner’s Manual thoroughly.
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FR-7/FR-5 V-Accordion
|
4
V-Accordion
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Contents
1. Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
2. Important notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
3. Panel descriptions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Treble control panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Bass control panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Display and master bar. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Connection panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
4. Setting up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Switching the power on and off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Listening to the demo songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
First steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Touring the FR-7/FR-5’s sections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Using the orchestral sounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Other practical functions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
5. About the FBC-7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Using the FBC-7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Charging the battery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
6. Editing sounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Selecting parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Setting parameter values. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
TUNING parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
TREBLE EDIT parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
BASS EDIT parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
FREE BASS EDIT parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
ORC.BASS EDIT parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
ORCH. EDIT parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
SET COMMON parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
SYSTEM parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
UTILITY parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
7. MIDI functions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
About MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Global MIDI parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
MIDI parameters for the various sections/parts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Archiving your settings via MIDI (Bulk Dump) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
8. Miscellaneous functions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Saving settings using the WRITE function . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Restoring the factory defaults . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Troubleshooting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Specifications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Parameter list. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Factory Sets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Demo Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
9. MIDI implementation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
MIDI Implementation Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
10. Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
11. Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
5
FR-7/FR-5 V-Accordion
Features |
1. Features
Stand-alone electronic instrument
Though the FR-7/FR-5 is a fully electronic instrument, you do not need to connect the FR-7 to an
amplifier in order to produce sounds. Its onboard
amplification system is powerful enough for small
venues, restaurants, etc. (The FR-5 has no internal
amplification.)
Furthermore, the FR-7 comes with a rechargeable
battery (Ni-Mh) so that you do not need to connect it
to a wall outlet. The battery should last ±8 hours.
(The battery is available as an optional item for the
FR-5.)
Sophisticated MIDI control
The FR-7/FR-5 is the most versatile and “musical”
MIDI controller to date, going far beyond the control
possibilities of a MIDI keyboard with optional performance functions or of MIDIfied wind instruments.
The piano-style Treble keyboard even transmits aftertouch messages.
PBM (Physical Behavior Modeling)
The FR-7/FR-5 V-Accordion is based on Roland’s latest sound generation technology called “PBM” (Physical Behavior Modeling) whose sonic result is very
close to the sound of traditional accordions.
Super realistic accordion simulations
The FR-7/FR-5 provides 40 memories called “Sets”,
with 14 treble registers, 7 bass & chord registers and
7 free bass registers each. All sounds it produces were
obtained by sampling the most popular traditional
acoustic accordions. Different tuning systems are
also available.
This V-Accordion allows you to switch from an Italian
jazz accordion to German folk, French musette or a
historic bandoneon sound – without changing your
technique.
The digital advantage
•
•
•
•
•
•
•
The V-Accordion includes all functions and sounds of
a traditional accordion, thus conveying a really natural feel and sound. Yet it also provides the advantages only an electronic musical instrument can give
you:
reduced overall weight;
possibility to choose among a wide variety of sounds;
you can create and customize the accordion timbres
(program your own sounds);
you can choose among various bass button operation
modes (Minor 3rd Free Bass, 5th, Bayan, North
Europe, etc.);
tuning stability over time and wear resistance of all
mechanical parts;
you can sound in a different key than the one you are
playing in (transpose function);
you can play with headphones, i.e. without disturbing
your neighbors or family.
Superb performance flexibility
The V-Accordion allows you to control external MIDIcompatible instruments. The Treble keyboard and
chord/bass buttons are velocity-sensitive, while the
bellows controller provides more articulation possibilities than any other MIDI keyboard, MIDI wind
instrument, etc., you may know.
In High or Low mode (see p. 25), you can control up
to 4 parts simultaneously (two sounds in the right
hand/two sounds in the left).
Orchestral sounds
22 orchestral sounds can be used in combination
with traditional accordion sounds – complete with
full bellows articulation (something like breath control for accordions, but much more refined) and
unique keyboard modes (Solo, Dual, High and Low).
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Orchestra Bass
6
The FR-7/FR-5 also provides 7 orchestral bass sounds
for the Bass section that can be added to the Bass
accordion sound.
• All product names mentioned in this document are trademarks or
registered trademarks of their respective owners.
V-Accordion r
Using the unit safely
Using the unit safely
Used for instructions intended to alert
the user to the risk of death or severe
injury should the unit be used
improperly.
Used for instructions intended to alert
the user to the risk of injury or material
damage should the unit be used
improperly.
* Material damage refers
other adverse effects
respect to the home
furnishings, as well
animals or pets.
to damage or
caused with
and all its
to domestic
• Before using this instrument, read the instructions below
and the Owner’s Manual.
...................................................................................................................................
• Do not open or perform any internal modifications on
the unit.
...................................................................................................................................
• Do not attempt to repair the FR-7/FR-5 or FBC-7 or
replace parts within it (except when this manual provides
specific instructions directing you to do so). Refer all servicing to your retailer, the nearest Roland Service Center
or an authorized Roland distributor, as listed on the
“Information” page.
...................................................................................................................................
• Never use or store the FR-7/FR-5 or FBC-7 in places that
are:
• Subject to temperature extremes (e.g., direct sunlight
in an enclosed vehicle, near a heating duct, on top of
heat-generating equipment); or are
• Damp (e.g., baths, washrooms, on wet floors); or are
• Humid; or are
• Exposed to rain; or are
• Dusty; or are
• Subject to high levels of vibration.
...................................................................................................................................
• When not in use, do not place the FR-5 or FR-7 vertically
due to instability. If placed in the vertical position on the
floor/stage, ensure that it leans against a stable vertical
surface e.g. a wall or a heavy musical instrument.
...................................................................................................................................
• The FBC-7 should only be connected to a power supply of
the type described in the operating instructions or as
marked on the bottom of the FBC-7.
...................................................................................................................................
The
symbol alerts the user to important instructions
or warnings.The specific meaning of the symbol is
determined by the design contained within the
triangle. In the case of the symbol at left, it is used for
general cautions, warnings, or alerts to danger.
The
symbol alerts the user to items that must never
be carried out (are forbidden). The specific thing that
must not be done is indicated by the design contained
within the circle. In the case of the symbol at left, it
means that the unit must never be disassembled.
The ● symbol alerts the user to things that must be
carried out. The specific thing that must be done is
indicated by the design contained within the circle. In
the case of the symbol at left, it means that the powercord plug must be unplugged from the outlet.
• Do not excessively twist or bend the power cord, nor
place heavy objects on it. Doing so can damage the cord,
producing severed elements and short circuits. Damaged
cords are fire and shock hazards!
....................................................................................................................................
• This instrument, either alone or in combination with an
amplifier and headphones or speakers, may be capable of
producing sound levels that could cause permanent
hearing loss. Do not operate for a long period of time at a
high volume level or at a level that is uncomfortable. If
you experience any hearing loss or ringing in the ears,
you should immediately stop using the FR-7/FR-5 or
FBC-7 and consult an audiologist.
....................................................................................................................................
• Do not allow any objects (e.g., flammable material, coins,
pins); or liquids of any kind (water, soft drinks, etc.) to
penetrate the FR-7/FR-5 or FBC-7.
....................................................................................................................................
• In households with small children, an adult should provide supervision until the child is capable of following all
rules essential for the safe operation of the FR-7/FR-5 or
FBC-7.
....................................................................................................................................
• Protect the FR-7/FR-5 and FBC-7 from strong impact.
(Do not drop it!)
....................................................................................................................................
• Immediately turn the power off, remove the power cord
from the outlet and request servicing by your retailer, the
nearest Roland Service Center or an authorized Roland
distributor, as listed on the “Information” page when:
• The power-supply cord or the plug has been damaged;
or
• Objects have fallen into or liquid has been spilled onto
the FR-7/FR-5 or FBC-7; or
• The unit has been exposed to rain (or otherwise has
become wet); or
• The unit does not appear to operate normally or
exhibits a marked change in performance.
7
FR-7/FR-5 V-Accordion
Features | Using the unit safely
• Do not force the FBC-7’s power cord to share an outlet
with an unreasonable number of other devices. Be especially careful when using extension cords—the total
power used by all devices you have connected to the
extension cord’s outlet must never exceed the power rating (watts/amperes) for the extension cord. Excessive
loads can cause the insulation on the cord to heat up and
eventually melt through.
• Before using the FBC-7 in a foreign country, consult with
your retailer, the nearest Roland Service Center or an
authorized Roland distributor, as listed on the “Information” page.
• The FR-7/FR-5 or FBC-7 should be located so that its
location or position does not interfere with its proper
ventilation.
...................................................................................................................................
• Always grasp only the plug on the power-supply cord
when plugging into or unplugging from, an outlet or this
unit.
...................................................................................................................................
• Try to prevent cords and cables from becoming entangled. Also, all cords and cables should be placed out of
the reach of children.
...................................................................................................................................
• Never climb on top of, nor place heavy objects on the
FR-7/FR-5 or FBC-7.
...................................................................................................................................
• Never handle the power cord or its plugs with wet hands
when plugging into or unplugging from, an outlet or this
unit.
...................................................................................................................................
• If you need to move the FBC-7, take note of the precautions listed below. Make sure to have a firm grip, to protect yourself from injury and the instrument from damage.
• Disconnect the power cord.
• Disconnect all cords coming from external devices.
...................................................................................................................................
• Before cleaning the FR-7/FR-5, turn off the power and
unplug the power cord from the outlet.
...................................................................................................................................
• Whenever you suspect the possibility of lightning in your
area, disconnect the FBC-7’s power cord from the outlet.
...................................................................................................................................
• Should you remove screws, make sure to put them in a
safe place out of children’s reach, so there is no chance
of them being swallowed accidentally.
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...................................................................................................................................
8
V-Accordion r
Important notes
2. Important notes
In addition to the items listed under “Using the unit safely” on p. 7, please read and observe the following:
Power supply
Repairs and data
• Do not use this instrument on the same power circuit with any
device that will generate line noise (such as an electric motor or
variable lighting system).
• Before connecting the FR-7/FR-5 to other devices, turn off the
power to all units. This will help prevent malfunctions and/or damage to speakers or other devices.
• Although the LCD and LEDs are dark when the POWER switch is
off, this does not mean that the unit has been completely disconnected from the power source. To turn off the power completely,
first turn off the POWER switch, then unplug the power cord from
the wall outlet. For this reason, the outlet to which you connect
the power cord’s plug should be one that is within easy reach.
• Please be aware that all data contained in the instrument’s memory may be lost when it is sent for repairs. In certain cases (such as
when circuitry related to memory itself is out of order), we regret
that it may not be possible to restore the data. Roland assumes no
liability concerning such loss of data.
Placement
• Using the FR-7/FR-5 near power amplifiers (or other equipment
containing large power transformers) may induce hum. To alleviate the problem, change the orientation of this unit; or move it
farther away from the source of interference.
• This device may interfere with radio and television reception. Do
not use this device in the vicinity of such receivers.
• Do not place the FR-7/FR-5 near devices that produce a strong
magnetic field (e.g., loudspeakers).
• Install the FR-7/FR-5 on a solid, level surface.
• Noise may be produced if wireless communications devices, such
as cell phones, are operated in the vicinity of this unit. Such noise
could occur when receiving or initiating a call or while conversing.
Should you experience such problems, relocate such wireless
devices so they are at a greater distance from this unit or switch
them off.
• Do not expose the unit to direct sunlight, place it near devices that
radiate heat, leave it inside an enclosed vehicle or otherwise subject it to temperature extremes. Also, do not allow lighting devices
that normally are used while their light source is very close to the
unit (such as a piano light) or powerful spotlights to shine upon
the same area of the unit for extended periods of time. Excessive
heat can deform or discolor the unit.
• To avoid possible breakdown, do not use the unit in a wet area,
such as an area exposed to rain or other moisture.
• Do not allow rubber, vinyl or similar materials to remain on the
instrument for long periods of time. Such objects can discolor or
otherwise harmfully affect the finish.
• Do not put anything that contains water (e.g., flower vases) on the
instrument. Also, avoid the use of insecticides, perfumes, alcohol,
nail polish, spray cans, etc., near the unit. Swiftly wipe away any
liquid that spills on the unit using a dry, soft cloth.
• Do not allow objects to remain on top of the keyboard or buttons.
This can be the cause of malfunction, such as keys or buttons ceasing to produce sound.
• Do not paste stickers, decals or the like on this instrument. Peeling
these off, particularly when strong adhesives have been used, can
damage the instrument’s exterior finish (the stickers provided with
this instrument feature a weak adhesive).
Maintenance
• For everyday cleaning wipe the FR-7/FR-5 with a soft, dry cloth or
one that has been slightly dampened with water. To remove stubborn dirt, use a mild, non-abrasive detergent. Afterwards, be sure
to wipe the instrument thoroughly with a soft, dry cloth.
• Never use benzene, thinner, alcohol or solvents of any kind, to
avoid the possibility of discoloration and/or deformation.
Additional precautions
• Please be aware that the memory contents can be irretrievably lost
as a result of a malfunction or the improper operation of the
instrument. Therefore, be sure to archive important settings using
the FR-7/FR-5’s Bulk Dump function (see p. 75).
• Use a reasonable amount of care when using the instrument’s buttons, other controls and jacks/connectors. Rough handling can
lead to malfunctions.
• Never strike or apply strong pressure to the display.
• When connecting/disconnecting cables, grasp the connector
itself—never pull on the cable. This way you will avoid causing
shorts or damage to the cable’s internal elements.
• A small amount of heat will radiate from the instrument during
normal operation. This is perfectly normal.
• To avoid disturbing your neighbors, try to keep the instrument’s
volume at reasonable levels. You may prefer to use headphones, so
you do not need to be concerned about those around you (especially late at night).
• When you need to transport the instrument, package it in the box
(including padding) that it came in. Otherwise, you will need to use
equivalent packaging materials or a flightcase.
• Use only the specified expression pedal (EV-5, EV-8; sold separately). By connecting any other expression pedals, you risk causing malfunction and/or damage to the FR-7/FR-5.
• Use a cable from Roland to make the connection. If using some
other make of connection cable, please note the following precautions.
Some connection cables contain resistors. Do not use cables that
incorporate resistors for connecting to this unit. The use of such
cables can cause the sound level to be extremely low or impossible
to hear. For information on cable specifications, contact the manufacturer of the cable.
Precautions for the included (FR-7) or optional
(FR-5) battery
• The temperature range for use of the batteries is as follows. Using
them outside this range may impair battery performance and
shorten battery service life. Use (discharging): 0~50°C, Storage:
–20~30°C, Charging: 0~40°C.
• Do not use or store a battery at high temperature, such as in
strong direct sunlight, in cars during hot weather or directly in
front of heaters. This may cause battery fluid leakage, impaired
performance and shorten the battery’s service life.
• Do not charge a battery while it is cold (below 0°C) or outside
when it is freezing. This may cause battery fluid leakage, impaired
performance and shorten the battery’s service life.
• Do not splash fresh or saltwater on a battery or allow the terminals to become damp. This may cause heat generation and formation of rust on the battery and its terminals.
• Use only the supplied FBC-7 to charge the FR-7/FR-5’s battery.
Failure to follow proper charging procedures may cause excessive
current flow, loss of control during charging, leakage of battery
fluid, heat generation, bursting or fire.
• For the procedure for charging the FR-7/FR-5’s battery, please
read page 32.
9
FR-7/FR-5 V-Accordion
Important notes | Using the unit safely
• Do not connect the battery directly to a power outlet or
insert it into a cigarette lighter socket in a car. High voltage
may cause excessive current flow, leakage of battery fluid, heat,
bursting or fire.
• If a newly purchased battery exhibits rust, generates heat or seems
abnormal in any other way, do not use it. Take it back to your
Roland dealer.
• Be sure to fully deplete a battery before recharging it for the first
time.
• Keep the battery out of reach of babies or small children. Ensure
that babies or small children cannot remove a battery from the
FBC-7 while it is being charged.
• Be sure to carefully instruct any person on the proper way of handling a battery.
• Never dispose of the battery in a fire. Never heat it. Doing so may
melt the insulation, damage the gas release vents or protective
devices, cause combustion through chemical reaction with generated hydrogen, ejection of battery fluid, bursting or fire.
• Do not charge or use the battery with the positive (+) and negative
(–) terminals reversed, as this may drain the battery or cause
abnormal chemical reactions. Under normal operation, this should
be impossible, because the battery or cable can only be connected
in one direction.
• Do not remove the outer tube from a battery or damage it.
• Do no strike or drop the battery. Strong impact can cause leakage
of battery fluid, heat generation, bursting or fire.
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• Never try to connect two batteries in parallel as this may cause
leakage of battery fluid, heat generation, bursting or fire.
• Do not alter or remove protective mechanisms or other parts.
Never disassemble the battery.
• The positive (+) terminal section of the battery is equipped with a
gas release vent. Never deform this section or cover it. Do not
obstruct the release of gas as this could result in leakage of battery
fluid, heat generation, bursting or fire.
• Do not overcharge the battery by exceeding the predetermined
charging period of the FBC-7 or indicator. Never recharge a battery that is already fully charged. This could result in leakage of
battery fluid, heat generation, bursting or fire.
• If the battery is not fully charged after the predetermined charging period has elapsed, stop the charging process. Prolonged
charging could result in leakage of battery fluid, heat generation,
bursting or fire.
• If any fluid from a battery comes in contact with the eyes, flush
the eyes immediately, washing them thoroughly with clean water
from a tap or other source and consult a doctor. Strong alkaline
fluid can damage the eyes and lead to permanent loss of eyesight.
• If skin or clothing comes in contact with any fluid from the battery, wash the area immediately with clean water from a tap. Battery fluid can cause skin damage.
• When a battery is no longer usable, dispose of it in accordance
with all applicable local laws and regulations.
• If the battery leaks fluid, changes color or shape or changes in any
other way, do not use it, otherwise it may cause heat generation,
bursting or fire.
10
V-Accordion r
Panel descriptions
3. Panel descriptions
Treble control panel
A
I
B
J
D
C
B
K
E
L
F
M
G
H
A DATA/ENTER knob
This knob allows you to enter values and to select
menu entries or shortcuts by turning it. You can also
press it (ENTER) to confirm a setting or to jump to
another parameter in the display.
B UP/DOWN buttons
On the Main page, [UP] and [DOWN] allow you to
select 6 important functions: TRANSPOSE (press [UP]
once), MUSETTE DETUNE (press [UP] twice), SCALE
TUNING (press [UP] three times), ORCHESTRA VOLUME (press [DOWN] once), ORCHESTRA BASS VOLUME (press [DOWN] twice) and VALVE & BUTTON
NOISE (press [DOWN] three times).
After selecting the MENU, [UP] and [DOWN] are used
to enter values (same function as the [DATA÷ENTER]
knob).
C EXIT/JUMP button
The [EXIT÷JUMP] button allows you to return to the
Main page (the display page that is shown while you
are playing the FR-7/FR-5). After selecting a Menu
function, briefly pressing [EXIT÷JUMP] takes you back
to a higher level. Press it again to return to the Main
page.
By holding down [EXIT÷JUMP] while the Main page is
displayed, you activate the JUMP function (see p. 35).
D MENU/WRITE button
This button allows you to select the FR-7/FR-5’s
MENU environment where you can set and view the
available functions. By holding down [MENU÷WRITE],
you activate the WRITE function, which allows you to
save your settings.
E VOLUME knob
This knob allows you to set the V-Accordion’s overall
volume.
F BALANCE knob
This knob allows you to set the balance between the
Bass and the Treble sections. Turn it towards “BASS”
to decrease the Treble section’s volume. Turn it
towards “TREBLE” to decrease the Bass section’s volume.
G SET buttons
These two buttons allow you to choose among 40
accordion Sets. Each Set contains suitable settings
for the 14 Treble, 7 Bass, 7 Free Bass registers, 22
orchestral sounds and 7 orchestral bass sounds.
H Treble registers
The Treble section provides the following 14 switches
(“registers”):
1
Bassoon
8
Master
2
3
Bandon
9
Musette
Cello
10 Celeste
4
Harmon
11 Tremolo
5
Organ
12 Clarinet
6
Accord
13 Oboe
7
Violin
14 Piccolo
The [ORCHESTRA] register allows you to assign the
Treble registers to the 22 on-board Orchestra sounds.
Activate it, then press one of the registers 1~13 to
select the desired sound (“BRASS”, “SAX”, “WIND”,
“HARMONICA”, “VIOLIN”, etc.). Press [CANCEL] to
restore the “accordion functions” of registers 1~14.
Note: In Orchestra mode the first 9 registers provide access to
two sounds (A/B) of the family whose name is printed below
the register. To select a “B” sound, press the corresponding
register twice.
By holding down [ORCHESTRA], while pressing a register 9~14, you activate the Link functions (see p. 42)
or select an Orchestra mode (see p. 25).
11
FR-7/FR-5 V-Accordion
Panel descriptions | Bass control panel
I POWER button
Press this button to switch the V-Accordion on (the
button lights) and off (button dark).
K DELAY knob
The FR-7/FR-5 contains three digital effects that can
be used simultaneously. This knob is used to set the
level of the Delay (echo) effect (see p. 58).
L CHORUS knob
Use this knob to set the level of the Chorus effect
(see p. 56).
M REVERB knob
Use this knob to set the level of the Reverb effect (see
p. 55).
Note: The FR-7/FR-5 is automatically switched off after 10
minutes of inaction to save battery power. This can be
changed, however (see p. 63).
J SORDINA switch
This ON/OFF switch allows you to switch the simulation of the wooden resonance chamber on and off.
Bass control panel
N
O
N Bass registers
These switches allow you to select the desired bass
mix. They include the following feet:
1
2’
5
8’/4’/2’
2
4’
6
16’/8’/8-4’
3
8-4’
7
16’/2’
4
16’/8’/8-4’/4’/2’
Press the last three registers (viewed from the top)
simultaneously to switch the Orchestra Bass section
on or off (see p. 27).
P
O ORCH BASS registers
Press the last three (“ORCH BASS”) registers (viewed
from the top) simultaneously to enter Orchestra Bass
mode. Press the last three registers again simultaneously to return to normal bass mode.
P FREE BASS registers
Press the first three (“FREE BASS”) registers (viewed
from the top) simultaneously to enter Free Bass
mode. The FR-7/FR-5 provides several systems for
this mode (see p. 62). Press the first three registers
again simultaneously to return to normal bass mode.
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Display and master bar
12
Q Master bar
In most cases, this bar (which
you can press) recalls a Treble
register you specify. In Dual,
High or Low mode, however, it
allows you to switch the Orchestra section on and off.
R Display
The display keeps you informed
about the FR-7/FR-5’s status.
P
Q
V-Accordion r
Connection panel
Connection panel
S
T
R
S TO FBC-7 socket
Use the supplied cable to connect this socket to the
supplied FBC-7 power supply/footswitch unit/battery charger. This may be necessary in the following
cases:
• To power the FR-7/FR-5 without using the supplied
battery. In most instances, this may be unnecessary,
because the supplied battery (FR-7) lasts up to 8
hours.
Note: See also “Connecting the FBC-7” on p. 31 for details
about maximizing the life span of the battery.
If you connect the 19-pin cable, be sure to never
place the FR-7/FR-5 on the side when not using it.
• Always stand the V-Accordion on its rubber feet (and
in the corresponding direction) to avoid damaging
the 19-pin plug.
• Always handle and move the FR-7/FR-5 with care
and pay special attention to the cable slack to avoid
damaging or bending the 19-pin cable.
• If you place the FR-7/FR-5 on your lap, ensure that
the 19-pin cable runs between you legs (not sideways) to avoid damaging or bending the 19-pin
cable.
• To be able to control certain functions by foot (see
p. 31).
• To use the FR-7/FR-5 as a MIDI controller (only the
FBC-7 has MIDI sockets).
T OUTPUT L/MONO & R/MONO sockets
These sockets can be connected to an amplifier, a
mixing console or a wireless system.
If you use both connectors, the FR-7/FR-5’s output is
stereo. If you only use one jack (connected to the “L”
or “R” socket), the FR-7/FR-5’s output is mono.
Note: If you don’t want to use a wireless system, consider
connecting the FR-7/FR-5 to the FBC-7 when you need to
connect it to an external amplifier.
Note: On the FR-7, connecting jacks to these sockets does not
mute the internal speakers.
U PHONES socket
This is where you can connect stereo headphones
(Roland RH-25, RH-50 or RH-200). On the FR-7, connecting a pair of headphones mutes the internal
speakers.
Connection panel of the FBC-7
A
B
C
D E
F
A POWER ON switch
Press it to switch the FBC-7 (but not the FR-7/FR-5)
on and off.
B AC connector
This is where you need to connect the supplied power
cable. See also page 15.
C MIDI THRU/OUT/IN sockets
Use these sockets to connect the FR-7/FR-5 to external MIDI gear (see p. 66).
D OUTPUT R/MONO & L/MONO sockets
Connect these sockets to an external amplifier or
mixing console. For stereo operation, be sure to connect both jacks.
E EXPRESSION PEDAL socket
This is where you can connect an optional EV-series
expression pedal (see p. 31).
F TO FR7/5 V-ACCORDION socket
Use the suplied 19-pin cable to connect this socket to
your FR-7/FR-5 (see p. 31).
Note: See also “Using the FBC-7” on p. 31 for additonal functions of the FBC-7.
13
FR-7/FR-5 V-Accordion
Setting up | Connections
4. Setting up
Connections
The FR-7 can be used without any connections to either an amplification system or the FBC-7 power supply/battery
charger unit. An FR-5 without an optional battery needs to be connected to the supplied FBC-7, however.
Connecting the FR-7/FR-5 to the supplied FBC-7
If you do not have a battery (FR-5) or prefer
not to use it (FR-7), you need to connect the
V-Accordion to the FBC-7 using the supplied
cable. That cable powers the FR-7/FR-5, transmits pedal messages and sends the FR-7/
FR-5’s audio signals to the OUTPUT L/MONO &
R sockets on the FBC-7.
In that case, there is no real need to connect
the OUTPUT sockets on the FR-7/FR-5 to an
external amplifier.
Connect the FR-7/FR-5 as shown in the illustration.
INPUT
L+R
Note: This connection is required if you wish to take
advantage of the FR-7/FR-5’s MIDI functions (see
p. 66).
The FR-7/FR-5’s sounds have been arranged
in such a way as to provide a natural stereo
image. If you connect the V-Accordion to a
mixing console, set the PAN control of the
input to which the OUTPUT L socket (Treble
section) is connected to “11 o’clock” and the
PAN control of the channel to which the
OUTPUT R socket (Bass & chord section) is
connected to “3 o’clock” to preserve this balance. Something like this: T
B/C . This
setting can be changed, however (see p. 62).
Use the supplied 19-pin
cable.
OUTPUT
L/MONO + R/MONO
Note: Do not forget to connect the
FBC-7’s AC socket to a suitable wall
outlet.
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Using the OUTPUT sockets
If you are using the supplied
rechargeable battery (FR-7) and
need to connect the FR-7/FR-5 to a
PA system or mixer, we recommend using a wireless system to
avoid having to use an excessively
long signal cable.
The FR-7 is equipped with an internal speaker system and thus does
not need to be connected to an
amplifier at all. The FR-5, on the
other hand, does require an audio
connection. As long as it does not
contain an optional battery, we
OUTPUT
INPUT
recommend connecting it to the
L/MONO + R/MONO
L+R
FBC-7 (see above).
You can also use a pair of headUse either a long signal cable (10m or more) or an optional wireless system (recommended).
phones (Roland RH-25, RH-50 or
RH-200). In the case of the FR-7,
connecting headphones switches off the internal speakers.
Note: The FR-7/FR-5’s OUTPUT sockets are also available if you connect the FR-7/FR-5 to the FBC-7. Do not try to connect them to any of the
FBC-7’s sockets, because that does not work.
14
V-Accordion r
Switching the power on and off
Switching the power on and off
The power-on procedure depends on whether you are
using a battery or the FBC-7 Foot Pedal/DC Power/ Battery Charger Unit.
Note: Only use the battery that either came with your FR-7 or
that you purchased from your Roland dealer. Using other batteries can severely damage the FR-7/FR-5 or FBC-7. Roland assumes
no responsibility for damages caused by batteries that have not
been explicitly approved. Such damages are not covered by
Roland’s warranty regulations.
If you are using a battery and no external
amplification (FR-7 only)
(1) Press the FR-7’s [POWER] button (it lights) to
switch it on.
—To switch off your system—
(6) Turn down the output volume of the receiving
audio device or switch it off.
(7) Press the FR-7/FR-5’s [POWER] button again so
that it goes dark.
If you are using the FBC-7
If the FR-7/FR-5 is powered by the supplied FBC-7
unit, proceed as follows:
(1) Connect the FR-7/FR-5 to the FBC-7 using the
supplied 19-pin cable.
(2) Connect the FBC-7’s AC INLET socket to a wall outlet that meets the specifications (see p. 81).
To a wall outlet
The FBC-7 should only be connected to a power
source of the type marked on the bottom of the unit.
For details on the power consumption, please refer to
page 81.
Note: You can also connect headphones.
(2) Start playing (see “First steps” on page 17).
(3) Press the [POWER] button again so that it goes
dark when you are finished.
If you are using a battery and an audio connection to an external device
The FR-5 needs to be connected to an amplification
system of some sort (unless you want to use headphones), while you also need the FBC-7.
Note: You can also purchase a wireless transmitter from your
Roland dealer and connect it to the OUTPUT sockets on the
FR-7/FR-5.
(3) Turn down the output volume of the receiving
audio device.
You can also simply switch it off.
(4) Connect the FBC-7’s OUTPUT sockets to the external audio device (amplifier, mixing console, etc.).
Though you can also use the FR-7/FR-5’s OUTPUT
sockets, doing so is probably only a good idea if you
are working with a wireless transmitter. Using the
FBC-7’s OUTPUT sockets indeed means that you only
need one connection between the FR-7/FR-5 and the
FBC-7.
(5) Press the FBC-7’s [POWER¥ON] button to switch it
on.
(1) Turn down the output volume of the receiving
audio device.
You can also simply switch it off.
(2) Connect the FR-7/FR-5’s OUTPUT sockets to the
external audio device using two 1/4” guitar cables.
Note: You can also connect headphones to the PHONES
socket, in which case you do not need to establish an audio
connection.
The POWER ON indicator on the FBC-7’s top panel
lights red.
(3) Press the FR-7/FR-5’s [POWER] button (it lights) to
switch it on.
The
icon informs you that the FR-7/FR-5 runs on
the battery (it also indicates the battery’s status).
(4) Switch on the receiving audio device.
(5) Start playing (see “First steps” on page 17).
15
FR-7/FR-5 V-Accordion
Setting up | Listening to the demo songs
(6) Press the FR-7/FR-5’s [POWER] button (it lights) to
switch it on.
The
icon in the display means that the FR-7/FR-5
is powered by the FBC-7.
(7) Switch on the receiving audio device.
(8) Start playing (see “First steps” on page 17).
—To switch off you system—
(9) Turn down the output volume of the receiving
audio device or switch it off.
(10) Press the FR-7/FR-5’s [POWER] button again so
that its indicator goes dark.
(11) Switch off the FBC-7.
Listening to the demo songs
One of the most striking aspects of your V-Accordion may be that it can play all by itself! It contains indeed a series of
demo songs that illustrate its wide variety of sounds and applications. Here is how to listen to the demo songs:
(3) If necessary, use the SET [√][®] buttons to select
(1) Switch on the FR-7/FR-5.
another demo song.
See “Switching the power on and off” on p. 15. The
display now looks more or less as follows:
(4) Use the [VOLUME] knob to change the volume if it
is too loud or too soft.
Note: All demo songs are copyright ©2004 by Roland Europe.
Public performance or recording of these songs is prohibited.
(5) Press [EXIT÷JUMP] (or SET [√] and [®] simultaneously)
to leave the demo mode.
Let us agree to call this page the “Main page”.
Note: If you like, you can program a short message that is displayed each time the FR-7/FR-5 is switched on.
(2) Simultaneously press and hold SET [√] and [®] to
jump to the following display page:
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Playback starts automatically with the first demo
song (there are 17 demo songs in all).
16
V-Accordion
r
First steps
First steps
The sections of your FR-7/FR-5
Before showing you how to use the FR-7/FR-5, let’s briefly look at
the various “sections” of your instrument, as that will help you
Master bar
understand how your V-Accordion works.
The FR-7/FR-5 is a “virtual” accordion. That term was borrowed
Bass, Orchestra
from synthesizers that recreate the sounds of other synthesizers
Bass & Free Bass
using a different technology (hence the term “virtual analog synsection
thesizer”, for example).
The FR-7/FR-5 recreates the sounds of various accordion instruments (the “virtual” part) and can even generate orchestral sounds, Treble section
like trumpet, flute, etc. (the synthesizer part).
Bass, Orchestra Bass &
The sections outlined in the illustration to the right contain several
Free Bass registers
functions you can set. Let us agree to call those functions “parameters”.
The parameters allow you to change certain aspects of
If you are really into programming, however, you could
the FR-7/FR-5’s sound: you can select a French
also assign completely different instruments to each
musette, an Italian accordion, etc., specify how strongly
register, in which case a Set becomes a container (the
the virtual reeds should be detuned, add digital effects
aforesaid car trunk) for a variety of accordion sounds.
and more. Each section has its own parameters, so that
One possibility: each Treble
Treble 14:
you can fine-tune your sounds until you really like the
register represents a differCajun
ent instrument.
entire accordion sound. You can save your settings and
select them each time you want to play a given piece.
The same system also
Treble 2:
There is thus no need to set the parameters time and
applies to the Bass, Free
Italian
Bass, Orchestra Bass
again.
Treble 1:
and Orchestra section.
Bandoneon
The various sections are combined into “Sets”. Why
is that? Because that way, you only need to select one
Another advantage of the Set structure is that it allows
memory (the Set) in order to save and recall the setyou to reconfigure the three digital effects processors
tings of all sections.
(Reverb, Chorus, Delay) whose settings always apply to
Set 40
all sections.
O, and… the Sets can be selected with the SET [√][®]
Set 3
buttons on the FR-7/FR-5 and the SET ([1], [2]) footsSet 2
COMMON
witches on the FBC-7 (if it is connected to the FR-7/
Set 1
Reverb
Chorus
FR-5).
Delay
Name
Icon
Master Bar
Treble
1~14
Bass
1~7
Free Bass
1~7
Orch. Bass
1~7
Orchestral
1~22
There are 40 Set memories that already contain useful
settings right out of the box. But you can replace them
with your own settings. (And if 40 Sets are not enough,
you can archive and load new sets via MIDI, see
page 75).
Sets are like the trunk of a car that contains several
instruments (bandoneon, musette, etc.). The instruments themselves can be recalled via the registers.
There are 14 Treble memories, 7 Bass, Free Bass and
Orchestra Bass registers and 22 Orchestra registers per
Set. Except for the Orchestra sounds, the registers can
behave like on an acoustic accordion, i.e. they allow you
to change the footage combinations.
17
FR-7/FR-5 V-Accordion
Setting up | First steps
Selecting Easy or Full mode
At first, the FR-7/FR-5 is configured to start up in
“Easy” mode. In that mode, only the main parameters
can be selected. It has the advantage that you do not
feel overwhelmed by the FR-7/FR-5’s possibilities. The
downside, however, is that there are certain (albeit
rather specialized) parameters you cannot even select.
To use the full potential of your FR-7/FR-5, you need to
select “Full” mode:
(1) Switch on the FR-7/FR-5.
See “Switching the power on and off” on p. 15. The
display now looks more or less as follows:
(6) Press [EXIT÷JUMP] to return to the main page.
The FR-7/FR-5 asks you whether you want to save your
changes:
Let us agree to call this page the “Main page”.
(2) Press and hold the [EXIT÷JUMP] button until the
display looks as follows:
“YES” is selected by default. To save your changes, proceed as described below. (If you don’t want to save
them, turn the [DATA÷ENTER] knob to select “NO”, then
press the [DATA÷ENTER] knob.)
To save your changes:
(7) Press the [DATA÷ENTER] knob. The display now
responds with:
(3) Press registers [8] and [2] to jump to the following
page:
Note: The GLOBAL page shows all parameters that are saved
to the Global memory (there is only one such memory).
(8) Press the [MENU÷WRITE] button to save your
changes. The display briefly shows a confirmation:
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(4) Press the [DATA÷ENTER] knob.
(5) Rotate the [DATA÷ENTER] knob or press the [UP]/
[DOWN] buttons to select either “Full” (show all
parameters) or “Easy” (show only the main parameters).
18
Note: If you selected “NO”, the edited Global settings will be
used until you switch off the FR-7/FR-5 (or change them
again).
V-Accordion r
About the Main page
About the Main page
You may have realized by now that, with the exception of the display as well as the additional buttons and knobs, the
FR-7/FR-5 looks like a conventional accordion. The display contains important clues about the settings that are currently
in effect.
The exact contents depend on the Set that is currently
What’s shown in the display depends on the function
selected and on how the various sections and perforyou select. When you switch on the FR-7/FR-5 or if you
mance functions are set. The A~H fields, however, are
press the [EXIT÷JUMP] button several times, the Main
always there:
page appears. In some cases, the Main page may also
reappear automatically after changing a parameter.
A Selected Orchestra register (here “12”).
That page must be displayed whenever you wish to play
B Orchestra mode.
the FR-7/FR-5 without changing any of its “internal”
C Power source (here the battery).
settings.
If you are working with a battery, this field also
A typical Main page display looks like this:
indicates the remaining battery power.
A BC D
D Number of the currently selected Set.
E Selected Treble register (here “10”).
F Bass, Free Bass or Orchestra Bass register (here “4”).
Only one of the two available Bass sections (Free
E
G
Bass or Bass) can be active at any one time.
F
G Part Select indicator. It tells you whether the Treble
keyboard plays the accordion or orchestral sound.
Note: The information shown in the display may change when
you rotate a knob or press a button. In such cases, however,
the Main page reappears after a few seconds.
19
FR-7/FR-5 V-Accordion
Setting up | Touring the FR-7/FR-5’s sections
Touring the FR-7/FR-5’s sections
It’s time we put the FR-7/FR-5 through its paces, because that’s what you purchased it for. We’ll work section by section.
Treble section
The Treble section can be played
using the 41-key “piano” keyboard.
The sound it produces is determined by the register (1~14) you
pressed last. This section can be
used as “accordion”, to play an
orchestral sound or both.
(1) Connect the FR-7/FR-5 (if
necessary) and switch it on.
See pages 14 and 15.
(2) Grab the FR-7/FR-5, press a
Treble register and start playing on the “piano” keyboard.
Though the FR-7/FR-5 is an electronic musical instrument, it only produces sound if you move the bellows. As long as you don’t move the bellows, you
hear nothing at all (like on an acoustic accordion).
Note: When the FR-7/FR-5 is controlled via MIDI, there is no
need to move the bellows.
(3) Press one of the registers to change the sound.
The display briefly confirms your setting and indicates which footage you selected.
Black dots mean that the Cassotto function (see
p. 41) is off, hollow dots mean that the Cassotto
function is on. Here is what the registers and display
indications mean (bear in mind that the dots can
either be black or white):
Treble registers
1
Bassoon
8
Master
2
Bandon
9
Musette
3
Cello
10
Celeste
4
Harmon
11
Tremolo
5
Organ
12
Clarinet
6
Accord
13
Oboe
7
Violin
14
Piccolo
On the Main page, the number of the selected register appears in the TREBLE field:
(4) If you think the sound is too loud or too soft, you
can change the setting of the [VOLUME] knob.
These indications refer to the octaves (vertical direction,
) and the number of slightly detuned reeds
that are used (horizontal direction,
). The detuned
reeds are only available for the central register (8’).
r
8–' 4' 2 2/3 ' 5 1/3 '
20
8'
16' 8+'
(5) If you still can’t hear the Treble notes, set the
[BALANCE] knob to the center position.
This knob is used to set the balance between the Treble and Bass registers. When it is turned all the way
to BASS, the Treble section is inaudible. When you
change the Balance setting, the display briefly confirms your setting:
V-Accordion r
Treble section
(6) Use the SET [√][®] buttons to select another Set and
again play a few notes.
■Using the FR-7/FR-5’s digital effects
While playing on the Treble keyboard, you may have
noticed that the accordion sounds were enhanced by
effects (probably reverb). It may also have struck you
that the effects change whenever you select a different Set. That’s because the effect settings are part of
the parameters you can save for each Set independently.
The FR-7/FR-5 contains 3 digital effects:
Reverb: This effect gives the
impression that you are playing
in a concert hall, a church or a
room. It adds “depth” to the
sound.
The number of the selected Set is shown in the upper
right corner of the display. Note that you can also
use the FBC-7’s SET footswitches to select Sets.
■Using the Sordina
The [SORDINA] switch
allows you to attenuate
the sound (make it
softer). On an acoustic
accordion, this closes
the wooden resonance
chamber inside the
instrument.
The FR-7/FR-5 simulates
this effect electronically (it contains not a
single reed!).
When you switch on the
Sordina, the display briefly confirms your selection:
Note: The Sordina only applies to the Treble section.
Note: If you add an organ sound (8A~9B) to the Treble register (using the Orchestra section), the Sordina function is no
longer available. Organ sounds indeed use a Rotary effect that
blocks the Sordina function (in order to add the modulation of
an organ speaker cabinet). You can use aftertouch, to switch
between the fast and slow Rotary speeds. “Aftertouch” refers
to the fact that you press a key even further down after playing a note.
Chorus: This effect gives the
impression that several instruments of the same type are
playing at the same time (it is
similar to detuning several
reeds of a register).
Delay: This effect creates echoes, i.e. repetitions.
Short intervals (called “slapback”) create an effect
similar to reverb. Longer intervals, on the other hand,
create real echoes.
The [DELAY], [CHORUS] and [REVERB] knobs allow you
to set the volume of these three effects. Turn them
all the way towards the left (the small dot) if you
don’t need the effect in question.
Turn them towards the right (the big dot) to increase
the effect volume.
Note: The settings of these knobs apply to all sections and all
Sets.
After familiarizing yourself with the FR-7/FR-5’s
parameters, you will realize that these knobs should
only be used as a last resort (i.e. on stage). You can
indeed program the effect level for each section separately, so that the [DELAY], [CHORUS] and [REVERB]
knobs can be left in the center position, while the
amount of effects changes with every Set you select.
Note: In certain cases, changing the knob position of an effect
may not produce any audible result. This is due to the Send
Level settings of the sections (see page 42, for example). It
means that a given section was programmed not to send any
signal to the effects processor in question. Even setting the
corresponding knob to the maximum therefore produces no
change.
21
FR-7/FR-5 V-Accordion
Setting up | Touring the FR-7/FR-5’s sections
Bass section
The Bass section can be played via the “Stradella” buttons.
The buttons in this section allow you to play both bass
notes and chords. The chords use the (sound) register
selected for the Bass section – hence the name of this
section. The “real” bass notes are assigned to the two
circled rows. The remaining buttons are used to play
chords.
The FR-7/FR-5 is supplied with several reference caps
(concave and with lines) designed to help you locate
the bass and chord buttons without looking at them. At
the factory, three caps are installed on the black buttons in the following illustration. Feel free to remove
them and to slide them over other buttons if that feels
more comfortable.
ORCH BASS
Ab3
Eb3
E3
Bb3
B3
EM
F3
F#3
BM
Em
F#M
Bm
E7
Edim
C3
C#3
C#M
F#m
B7
Bdim
G3
Ab3
AbM
C#m
F#7
F#dim
D3
Eb3
C#dim
A3
EbM
E3
F3
BbM
Ebm
Ab7
Ebdim
B3
C3
FM
Bbm
Eb7
Abdim
2'
4'
8-4'
8'
16'
These indications refer to the octaves (vertical direction) and the number of slightly detuned reeds that
are used (horizontal direction).
On the Main page, the number of the selected register appears in the display’s BASS field:
Note: You can also press several registers simultaneously to
get a fuller sound.
(4) If you think the sound is too loud or too soft, you
can change the setting of the [VOLUME] knob.
FREE BASS
Bb3
Abm
C#7
The display briefly confirms your setting and indicates which footage you selected:
CM
Fm
Bb7
Bbdim
F#3
G3
GM
Cm
F7
Cdim
Ab3
A3
DM
Gm
C7
Fdim
C#3
D3
AM
Dm
G7
Eb3
E3
Gdim
EM
Am
D7
Ddim
Bb3
B3
BM
Em
A7
F3
F#3
F#M
Bm
E7
Adim
Bdim
G3
Ab3
C#M
F#m
B7
Edim
C3
C#3
AbM
C#m
F#7
F#dim
D3
Eb3
EbM
Abm
C#7
C#dim
F3
BbM
Ebm
Ab7
FM
Bbm
Eb7
Abdim
Bass
buttons
A3
Bb3
Abdim
Fm
Bb7
Bbdim
F7
Fdim
Chord buttons*
(*) This can be changed to 3 bass and 3 chord rows. See “8.5 Bass & Chord
Mode” on p. 61.
Here is what the caps look like:
Slide up to remove
Reference cap
r
Slide over button
The sound the Bass section produces is determined by
the register you pressed last. This section can be used as
“accordion”, to play orchestral sounds, or both.
(1) Connect the FR-7/FR-5 (if necessary) and switch it
on.
See pages 14 and 15.
(2) Grab the FR-7/FR-5, press a register and start playing on the Bass (button) keyboard.
Though the FR-7/FR-5 is an electronic musical instrument, it only produces sound if you move the bellows.
(3) Press another register to change the sound.
22
ORCH BASS
FREE BASS
(5) If you still do not hear the bass and chord notes
your are playing, change the [BALANCE] knob’s setting.
This knob is used to set the balance between the Treble and Bass registers. When it is turned all the way
to TREBLE, you won’t be able to hear the Bass section.
(6) Use the SET [√][®] buttons to select another Set and
again play a few notes.
V-Accordion
r
Bass section
The number of the selected Set is shown in the upper
right corner of the display. You can also use the
FBC-7’s SET footswitches to select Sets.
■Using the FR-7/FR-5’s digital effects
While playing on the Bass keyboard, you may have
noticed that the accordion sounds were enhanced by
effects (probably reverb). It may also have struck you
that the effects change whenever you select a different Set.
The FR-7/FR-5 contains 3 digital effects that apply to
all sections. See page 21 for details and how to set
them.
■Playing in Free Bass mode
The FR-7/FR-5 also provides a Free Bass mode, which
is chiefly used by professionals who prefer to play the
left-hand notes (Bass section) differently. You may
never need it, but if you wish to experiment with it…
Note: In certain cases, changing the knob position of an effect
may not produce any audible result. This is due to the Send
Level settings of the sections. It means that a given section (or
all sections) was programmed not to send any signal to the
effects processor in question. Even setting the corresponding
knob to the maximum therefore produces no change.
Note: See page 62 for how to select the note system for Free
Bass mode. That setting is shared by all Sets.
(1) Simultaneously press the three registers labeled
“FREE BASS”.
ORCH BASS
FREE BASS
The display now briefly responds with:
8'
8'
L
16'
H
16'
“L” refers to the low range and “H” to the high range.
The exact ranges depend on the FREE BASS mode you
selected. See also the illustration on page 62 where
the high range is indicated by means of black buttons, and the low range by means of white buttons.
Note: See page 62 for the assignment of the bass buttons to
the available Free Bass notes.
(2) Use the Bass registers to select another registration (if necessary).
(3) Press the three FREE BASS registers again to return
to the normal Bass mode.
Note: You can add an orchestral sound to the Bass or Free
Bass section. See page 27 for details.
23
FR-7/FR-5 V-Accordion
Setting up | Using the orchestral sounds
Using the orchestral sounds
Your FR-7/FR-5 also contains PCM sounds (samples) of various instruments that are not related to accordion sounds.
Those sounds allow you to expand your musical endeavours without using external MIDI devices. Of course, you are free
to add external MIDI tone generators to your setup and to control them from your FR-7/FR-5. See page 66 for details. Let
us first look at how to use the on-board orchestral sounds, however.
(2) Press one of the registers to select the desired
The FR-7/FR-5’s Orchestra functionality actually comOrchestra sound (see the names below the Treble
prises two sections: one for the Treble keyboard (called
registers).
“Orchestra”) and another for the Bass buttons (called
This activates the Orchestra part. The display now
“Orchestra Bass”).
changes (the sound name may be different on your
You can specify for each keyboard whether the orchesinstrument):
tral sounds should be used alongside the accordion
sounds (so that each note or chord you play results in a
combination of accordion + instrument sound) or in
isolation (no accordion).
Orchestral sounds for the Treble section
Note: Only one orchestral sound can be selected at any one time.
(1) Press the [ORCHESTRA] register.
Compare the information discussed above with what
you see now:
• There’s a sound name next to the ORCH field
(“Ac Guitar”). That’s the sound you’ll hear when you
play on the Treble keyboard.
• The keyboard icon has moved from the TREBLE to the
ORCH field.
The 22 available Orchestra sounds and associated
registers are:
Orchestral Treble sounds
The display now responds with:
•
r
•
•
•
The arrow moves from the TREBLE to the ORCH line.
By pressing a register, you therefore select an
Orchestra sound.
Let us quickly analyze the information you get on
this page:
“SOLO” means that the mode of the same name is
currently selected (there are four different modes,
see below).
“CANCEL” means that the Orchestra part is not active.
If you play on the Treble keyboard, you only hear the
Treble accordion sound.
To activate the Orchestra part at this stage, you need
to select a sound (see below).
The TREBLE field contains a keyboard icon. It means
that the Treble keyboard is assigned to the Treble
accordion part. The ORCH field, on the other hand,
contains no keyboard icon, which confirms the “CANCEL” message.
The sound name (“Celeste”) refers to the register that
was selected for the TREBLE section’s accordion part.
24
1A
Trombone
7A
HighLand*
1B
Trumpet
7B
Zampogna*
2A
Tenor Sax
8A
PercOrgan
2B
Alto Sax
8B
JazzOrgan
3A
Clarinet
9A
RotOrgan
3B
Oboe
9B
TremOrg
4A
Harmonica
10
ScatVoice
4B
Mute Harm
11
Mandolin
5A
Violin
12
AcGuitar
5B
Pizzicato
13
AcPiano
6A
Flute
6B
Pan Flute
[*] See “About the “HighLand” and “Zampogna”
sounds” on p. 25.
The first nine registers allow you to select two sounds
(“A” and “B”). To select a “B” sound, press the corresponding register again.
If you select a “B” sound (5B “Pizzicato”, for example),
then press another register (12 “AcGuitar”) and again
the first register (5), the FR-7/FR-5 automatically
recalls the “B” sound (“Pizzicato”). This “configuration” is retained until you switch the FR-7/FR-5 off. If
you need the 5A “Violin” sound at this stage, you
need to press register [5] once more.
V-Accordion r
Orchestral sounds for the Treble section
The display briefly confirms your selection and shows
both the name of the sound you selected and the
number of the register you pressed:
• To switch off the currently sounding drone note(s),
either press another key in the gray area (switch to
another drone note) or press the key(s) of the sounding drone notes again to stop the drone.
Note: This drone system is only available for the “HighLand”
and “Zampogna” sounds.
(3) Play a few notes on the Treble keyboard.
The Treble keyboard is velocity sensitive. The volume
and timbre of the notes played by the Orchestra part
depend on how hard/fast you press the treble keys
(for sounds 11, 12 or 13).
Note: The Treble accordion does not respond to velocity information generated by the keyboard. You can, however, vary its
volume and timbre by pressing/pulling the bellows harder and
softer (like on a “real” accordion).
The Treble keyboard also generates aftertouch messages. “Aftertouch” refers to the fact that you press a
key even further down after playing a note. For some
orchestral sounds (guitar, flute, etc.) as well as for the
Treble accordion section, this effect allows you to
bend the pitch down (temporarily lower the note). If
you select an organ sound, aftertouch can be used to
switch between the fast and slow Rotary effect
speeds.
Note: This aftertouch effect applies to all notes that are
sounding simultaneously. If you play a chord and then only
press down one key of the chord’s constituent notes, all notes
are bent by the same amount. (MIDI buffs call this “channel
aftertouch”.)
■About the “HighLand” and “Zampogna” sounds
Your FR-7/FR-5 contains two bagpipe-instrument
sounds, one called “HighLand”, the other called
“Zampogna”. The instruments on which those sounds
are based use one or several drone notes over which
the melody is played.
To recreate the same sensation on the FR-7/FR-5, the
lowest octave on the Treble keyboard is assigned to
the drone notes when you select one of these
sounds:
Can be used to play the melody.
■Selecting the Orchestra mode
Depending on the settings of the Set you selected,
the Orchestra part may sound together with the Treble accordion section. That’s because there are four
ways in which the Orchestra section can be combined
with the Treble accordion section.
If the Orchestra part is off (set to CANCEL), the Master bar always recalls the Treble register selected
with “7.8 Master Bar Recall” (page 59).
After selecting one of the modes (DUAL, HIGH, LOW
or SOLO) and switching on the Orchestra part (CANCEL off), the Master bar allows you to switch the
Orchestra part on and off. In SOLO mode, this means
that you alternate between the Treble and Orchestra
parts.
SOLO [14]: When you switch on the Orchestra section
(see step (2) above), you only hear the Orchestra
instrument sound. Press [CANCEL] to return to the
Treble accordion sound.
DUAL [13]: The Orchestra
sound is added to the Treble
accordion, so that each note
you play sounds like an accordion and the selected instrument playing in unison.
Just as a reminder: here, both the ORCH and TREBLE
fields contain a keyboard icon to indicate that they
sound simultaneously.
HIGH [12]: Now it becomes a little more complicated
– but very interesting indeed. If you select this mode
and play just one note, it is sounded by the orchestral
sound. If you keep holding that key while pressing
another (lower) key to its left, the upper note is
played by the Orchestra sound. Lower notes, however, are played by the Treble accordion sound. This is
perfect for situations where you need to play chords
and a solo line using different sounds. Something like
this:
Played by the Orchestra sound
Sound the drone notes.
Here is how the drone function works:
• If you press a single gray key (see the illustration),
only that note is held. You can release the key immediately after playing the note – it will be held indefinitely.
• If you press two (or more) keys simultaneously, those
notes are held (the drone function is polyphonic).
Played by the accordion
25
FR-7/FR-5 V-Accordion
Setting up | Using the orchestral sounds
LOW [11]: This is the opposite of HIGH and can be
used in situations where the melody (or countermelody) lies above the notes you wish to hold.
(6) Press the Master bar that protrudes from underneath the Treble keyboard to switch the Orchestra
part on or off.
Played by the accordion
Played by the Orchestra sound
(4) While holding down the [ORCHESTRA] register,
press [11], [12], [13] or [14] to select the desired
mode.
The display now looks as follows (same system for the
HIGH and LOW modes):
Note which field contains a keyboard icon, then press
the Master bar again and look at the display. Play a
few notes to understand what happens.
The display briefly confirms your selection (only one
of the following messages is actually displayed):
■Setting the volume of the (Treble) Orchestra
sound
There may be times (in DUAL, HIGH or LOW mode)
when the ORCHESTRA sound is too loud or too soft
with respect to the Treble accordion sound. In that
case, you can change its volume:
(7) Press the [DOWN] button once.
(5) Again play a few notes and listen to the result.
r
Note: The Orchestra mode setting is saved to a Set (see p. 43).
The saved mode is recalled when you activate the Orchestra
part.
■Quickly adding and muting the Orchestra sound
After activating the Orchestra section and selecting a
mode, you can play certain phrases using the accordion sound and then add the selected Orchestra
sound to it when you play it again.
The following switches the Orchestra part on and off
in DUAL, HIGH or LOW mode. The Treble accordion
part goes on sounding, however.
26
(8) Use the [DATA÷ENTER] knob to set the desired
value.
This is actually a balance parameter with a setting
range of –30~“Std”~+30. “Std” means that the
Orchestra part uses its “normal” volume. Negative
values (–) make the Orchestra part softer, while positive values (+) make it louder.
You can save the new value (and the remaining
changes you make). See page 77.
(9) Return to the Main page by pressing [EXIT÷JUMP].
V-Accordion r
Orchestral sounds for the Bass section
■Switching off the Orchestra part
To return to a state where only the Treble accordion
section sounds:
(10) Press the [CANCEL] register. Now, FR-7/FR-5 is a
normal accordion again.
To activate the Orchestra part again, perform steps
(1) and (2) on page 24.
■Setting the volume of the Bass Orchestra sound
There may be times when the Orchestra Bass sound is
too loud or too soft with respect to the Bass/Free
Bass accordion sound. In that case, you can change
its volume:
(3) Press the [DOWN] button twice.
Orchestral sounds for the Bass section
The Orchestra Bass part can be added to either the Bass
or the Free Bass section (depending on which one is
currently active, see page 22). There are no clever
modes (DUAL, SOLO, etc.) here, nor can you alternate
between the Bass accordion and Orchestra Bass sections using the Master bar.
Furthermore, the Orchestra Bass part does what its
name implies: it only applies to the bass rows (the
ones closest to the bellows) and has no effect on the
chord buttons.
(1) Simultaneously press the three registers labeled
“ORCH BASS”.
ORCH BASS
[7]
[6]
The display now responds with:
FREE BASS
[5]
[4]
[3]
[2]
[1]
The display now briefly responds with:
(2) Use the Bass registers to select the desired sound.
Orchestra Bass sounds
1
Acoustic
5
Picked
2*
Bowed*
6*
Tuba*
3
Fingered
7
Tuba Mix
4
Fretless
Note: The dynamics of sounds marked with an asterisk (*) can
only be controlled by bellows movements. Those sounds are
not velocity senstive. For the other sounds, see also “8.11 Orch.
Bass Touch” on p. 63.
Note: The numbers shown in the illustration above do not
appear on the registers themselves. They have been added for
your reference.
(4) Use the [DATA÷ENTER] knob to set the desired
value.
This is actually a balance parameter with a setting
range of –30~“Std”~+30. “Std” means that the
Orchestra Bass part uses its “normal” volume. Negative values (–) make the Orchestra Bass part softer,
while positive values (+) make it louder.
You can save the new value (and the remaining
changes you make). See page 77.
(5) Return to the Main page by pressing [EXIT÷JUMP].
■Switching off the Orchestra Bass part
(6) Press the three ORCH BASS registers again to
return to the normal Bass mode.
27
FR-7/FR-5 V-Accordion
Setting up | Other practical functions
Other practical functions
After looking at the accordion and Orchestra functions, we will now leave the “acoustic” (but virtual) realm and look at
the first “purely electronic” functions of your FR-7/FR-5.
Your FR-7/FR-5 is what we call a virtual instrument.
(1) While the Main page is displayed, press the [UP]
Though its physical appearance is similar to that of its
button once.
acoustic ancestor, it is based on an altogether different
concept (technology) – and it can do a lot more. In this
section, we will look at functions that may be new to
you but may come in handy once you know what they
do and how they work.
General remark
The functions discussed here can be selected via the
front panel, because we figured that you might need
them more often than the other parameters.
The changes you make here are not saved automatically – and there is no “Do you want to save” page to
remind you that your changes will be lost if you don’t
save them. That’s because these shortcuts are mainly
intended for temporary adjustments. If you want to
keep them forever (or until you change them again),
you must save them (see p. 77).
The functions discussed here can also be set using the
FR-7/FR-5’s MENU.
Pitch-related functions
■Transpose
The FR-7/FR-5 contains a Transpose function that
allows you to change the key of the music you are
playing. The advantage of this system is that you can
play a song in E major (for example), while using the
fingering of the C major scale (for example). This may
come in handy when you are used to playing a given
song in one key and suddenly need to play it in a different key.
Let’s look at an example:
This is what you play…
Transpose
r
…and this is how it sounds.
28
(2) Use the [DATA÷ENTER] knob to select the key your
music should sound in.
The note indication (“C#” in the example above)
always refers to the C key, which may make it difficult for you to transpose to F# (for example) while
playing in Bb. We therefore recommend to use the
value as your main guide, because it represents the
interval. This can be calculated as follows:
• What key does the song use? (This is your “0” value.)
Example→ E major
• In what key do you want to play?
Example→ C major
• How many semitones do you need to “shift” the
notes?
Example→ [C#, D, Eb, E]= 4 up, so “4”.
(3) Press [EXIT÷JUMP] to return to the Main page.
■Musette Detune
Now here is a parameter that already hints at the
power of the FR-7/FR-5’s virtual technology… You
probably know that an accordion’s 8’ Treble register
may consist of 2 or even 3 reeds that are usually
tuned apart to provide a richer sound (accordionists
call it the “musette effect”). One reed is tuned slightly
above, the other slightly below the correct pitch (and
the third, if available, is tuned “properly”).
Tuning those reeds is a specialist job and usually not
performed by accordion players themselves.
On the FR-7/FR-5, however, “tuning” the “reeds” (that
do not really exist) is a matter of turning the
[DATA÷ENTER] knob.
V-Accordion r
Pitch-related functions
(1) While the Main page is displayed, press the [UP]
button twice.
(2) Use the [DATA÷ENTER] knob to select the a different tuning for the Treble reeds.
The possibilities are: Off (no detune), Dry, Classic, FFolk, American L, American_H, North Eur, German L,
D-Folk L, Italian L, German H, Alpine, Italian H, D-Folk
H, French, Scottish.
(3) Press [EXIT÷JUMP] to return to the Main page.
■Scale (Tuning)
Almost each music culture has its own accordion
variety. Arabic, Indonesian and other musical cultures
do not use the equal temperament that is favored in
Europe, the Americas, etc.
The FR-7/FR-5 also features a “Scale” parameter that
allows you to select the tuning system that best fits
the music you want to play. If the tuning system you
need is not among the factory settings, you can program it yourself (see p. 38) and then select it here.
Note: See “1.1 Master Tune” on p. 38 for how to change the
FR-7/FR-5’s reference pitch (i.e. “really” tune it).
(1) While the Main page is displayed, press the [UP]
button three times.
Arabic 1 & 2: As the name implies, these two settings refer to Arabic tuning systems. Select “1” to
lower the E and B notes by a quarter tone (–50
cents). “2” represents a scale where the E and A are
tuned down a quarter tone.
Just Major: This is a classical (western) tuning that
resolved the ambiguity of fifths and thirds. Quite
beautiful sonorities are produced with chords, but
the scale is unbalanced, so it is not well-suited for
melodies.
Just Minor: This is a Just scale for pieces in minor
keys.
Pythagorean: This method of tuning was invented in
ancient Greece. It resolves the ambiguity of fourths
and fifths. Though thirds are somewhat imperfect,
melodies sound clearer.
Mean-Tone: A temperament that adds some compromises to the Just temperament and facilitates
transposition.
Werckmeister: A combination of the Mean Tone and
Pythagorean temperaments, this tuning allows for
playing in any key.
Kirnberger: As a result of improvements made to the
Mean Tone and Just temperaments, it is relatively
tolerant towards transposition and can be used to
play in all keys.
Except for “Equal”, you also need to specify the root/
fundamental (“C” for major and “A” for minor)
according to the key of the song to be played.
(3) Press the [DATA÷ENTER] knob to activate the “KEY”
field (so that it is displayed in reverse).
(4) Turn the [DATA÷ENTER] knob to select the desired
root note (C~B).
(5) Press [EXIT÷JUMP] to return to the Main page.
(2) Use the [DATA÷ENTER] knob to select the a different tuning system.
The possibilities are:
Equal (Off): This tuning divides the octave into 12
equal steps (intervals).
User 1~3: These settings refer to the tuning systems
programmed by yourself (or someone else). See “1.4
Scale Edit” on p. 38 for details.
29
FR-7/FR-5 V-Accordion
Setting up | Other practical functions
Volume-related functions
The three remaining “shortcuts” allow you to quickly
change the balance of various sonic aspects.
(1) Press the [DOWN] button three times.
■Orchestra Volume and Orc. Bass Volume
These two parameters allow you to set the volume of
the Treble and Bass Orchestra sections relative to the
associated accordion part. See pages 26 and 27 for
details.
r
■Noise Edit (Valve & Button)
Here are two more “virtual” parameters. You will
probably agree that electronic sounds must not only
reproduce the basic timbre of an existing sound, but
also the original instrument’s behavior and typical
“noises” in order to be perceived as authentic. In the
case of a guitar that would be the sliding noise of the
fingers. An accordion, on the other hand, produces
mechanical valve and button noises (clicks) that cannot be suppressed on an acoustic instrument.
On the FR-7/FR-5, the volume of those noises can be
changed if you think they are too prominent or too
soft. Note that the parameters on this Jump page
belong to two different MENU sections and are to be
found on separate pages: “Valve Level” is a Treble
parameter, “Button Level” is a Bass/Free Bass parameter.
30
(2) Press the [DATA÷ENTER] knob to select either “Valve
Level” or “Button Level”, depending on which
parameter you want to set.
(3) Turn the [DATA÷ENTER] knob (or use the [UP]/
[DOWN] buttons) to select the desired noise level
(Off, –30~“Std”~+30).
A negative (–) value decreases the level of the
selected noise parameter, a positive (+) value
increases it. Select “Std” to return to the factory
value and “Off” if you do not need the noise in question.
(4) Press [EXIT÷JUMP] to return to the Main page.
V-Accordion r
About the FBC-7
5. About the FBC-7
Your FR-7/FR-5 comes with an FBC-7 footswitch unit that doubles as power supply for your V-Accordion and also allows
you to recharge a battery. If you purchased an FR-5, you must connect it to the FBC-7 (or purchase an optional battery).
FR-7 users, on the other hand, can also play their instrument without connecting it to the FBC-7.
Using the FBC-7
When do you need the FBC-7?
• If you own an FR-5 and did not purchase an optional
battery, you always need the FBC-7.
• If you want to select registers and Sets using the SET
and REGISTER footswitches.
• If you want to use the SUSTAIN footswitch and possibly also an optional expression pedal.
• If you want to take advantage of the FR-7/FR-5’s
MIDI functionality. This may include starting and
stopping an external arranger module, selecting others Style divisions, etc.
• If you do not use an optional wireless system and do
not want to use excessively long audio cables that
run from the FR-7/FR-5 to your amplifier or mixing
console.
• If you need to recharge the (optional) battery.
Connecting the FBC-7
See page 15 for how to connect the FR-7/FR-5 to the
FBC-7 and the FBC-7 to a wall outlet that matches its
voltage.
The 19-pin cable can only be connected in one way, so
you can’t go wrong. Just be sure to align the protrusions on the jack with the corresponding holes on the
FBC-7’s and FR-7/FR-5’s socket:
Turn the ring to lock the jack
and secure the connection
Holes
Protrusions
Using the footswitches
The FBC-7 has five footswitches that grant you even
more flexibility:
Use the SET switches ([1] and [2]) to select Sets. The [1]
switch allows you to select the preceding Set (e.g. Set
18 if you are currently using Set 19), while the [2]
switch is used to select the next Set (e.g. 20 if you are
currently using Set 19).
If you press [2] again after selecting Set 40, the FR-7/
FR-5 jumps to Set 1. Likewise, if you press [1] after
selecting Set 1, the FR-7/FR-5 jumps to Set 40.
The REGISTER switches ([3] and [4]) allow you to select
Treble registers [1]~[14]. They work the same way as the
SET footswitches: [3] selects the preceding register,
while [4] selects the next one. These footswitches are
most effective when you combine them with the Link
function (see p. 42), because that allows you to reconfigure the Bass/Free Bass and Orchestra sections simply
by selecting another Treble register.
The SUSTAIN footswitch allows you to hold the notes
of Orchestra sounds if that section is on. It also transmits CC64 messages via MIDI. If you assign it to
another section (page 60), it only transmits MIDI messages on the channel of the selected section (Treble,
Bass, Orchestra Bass, and Chord). Its main use is to generate legato notes for piano and similar sounds like on
an acoustic or digital piano. Notes whose keys are
pressed when you press the footswitch will be held
until you release the SUSTAIN footswitch.
Connecting an optional expression pedal
You can also connect an optional EV-5 or EV-8 expression pedal to the EXPRESSION PEDAL jack. That pedal
applies to the Treble Orchestra part only (again for the
piano, mandolin and guitar sounds; these, by the way,
are the only sounds whose expression cannot be controlled via the bellows). It allows you to create swell
effects in much the same way as an organ or guitar
player does.
31
FR-7/FR-5 V-Accordion
About the FBC-7 | Charging the battery
The reason why the Treble and Bass sections do not
respond to this pedal is that you can control their volume via the strength with which you press and pull the
bellows (like on any accordion).
The expression pedal can be used to fade the Orchestra
part in and out, which is probably most effective in
DUAL mode (see p. 25). When the expression pedal is all
the way up (heel down), the Orchestra part does not
sound. Press the expression pedal down (toe down) to
increase the Orchestra section’s volume.
Note: The expression pedal can also transmit CC11 messages via
MIDI. See page 74.
d
Rolan
Charging the battery
The FR-7 comes with one rechargeable Ni-Mh battery that can recharged when it is depleted. Such a battery is optional
for the FR-5. If you decide to purchase one (to be able to play with a wireless system and no cables on stage), you should
also read the following.
General remarks about the battery
• Be sure to dispose of used batteries in accordance
with local regulations.
• First, read the precautions on page 9 and following.
• The FR-7’s battery is fully charged (and installed in
the FR-7’s battery compartment). It can be used right
away.
• Be sure to fully deplete the battery (wait until the
FR-7/FR-5 turns off) before recharging it for the first
time. It would actually be a good idea to repeat this
the first three times to avoid the dreaded “memory
effect”.
• A fully charged battery should last about 8 hours
(continuous use).
• When the battery is fully drained, the following message appears and the FR-7/FR-5 goes off:
r
Note: The FR-7/FR-5 contains an energy saving function that
switches off the instrument when it is left unattended for
more than 10 minutes. You may therefore have to switch it on
again from time to time. You can specify how long the FR-7/
FR-5 should wait before powering off automatically. See “8.8
Auto Power OFF” on p. 63.
• Never try to insert other batteries into the FR-7/FR-5
than the ones it came with (or suitable replacement
batteries purchased from your Roland dealer). Only
use “BP-24-45” batteries, part no. K2568101.
32
Warning: The battery body may become hot during
and after charge. Handle it with care to avoid burns.
About the BATTERY CHARGER and EXTERNAL
BATTERY CHARGER indicators
The FBC-7 has two buttons ([BATTERY¥CHARGER] and
[EXTERNAL¥BATTERY¥CHARGER]) that light or flash in
various ways to indicate the current status. Here is how
to “decode” those indications:
• Lights red: The battery is being charged. Depending
on the button that lights, this refers to the battery in
the FR-7/FR-5 (BATTERY) or the battery attached to
the FBC-7 (EXTERNAL BATTERY).
• Lights green: The battery is fully charged and can be
used again.
• Flashes yellow right away: The charging operation
cannot be started because the ambient temperature
lies outside the 0°~40°C range. This is nothing to
worry about: just take the FBC-7 to a place where the
ambient temperature is acceptable, wait a little, and
repeat the charging operation.
• Flashes yellow after a while: If the indicator first
lights red and then starts flashing yellow after a
while, the battery is overheating. Disconnect the
FR-7/FR-5 (or the battery) from the FBC-7 and use
the battery until it is depleted. Then, recharge it.
• Flashes red: The battery cannot be fully recharged,
i.e. it takes more time than expected to reach full
charge. If this happens once, wait at least half an
hour and try charging it again.
If the button again flashes red, the battery may have
reached the end of its life cycle. Replace it with a new
one if the button keeps flashing red.
Recharging the battery without removing it from
the FR-7/FR-5
There is no need to remove the battery from the FR-7/
FR-5 in order to recharge it. Recharging the battery
takes ±3~5 hours and is therefore not something you
should do a few minutes before you intend to use the
FR-7/FR-5.
V-Accordion r
Recharging the battery on the FBC-7
(1) Connect the FR-7/FR-5 to the FBC-7 using the
supplied 19-pin cable.
(2) Connect the FBC-7 to a suitable wall outlet.
(3) Switch on the FBC-7 by pressing its [POWER¥ON]
button (its red POWER ON indicator lights).
(4) Press the [BATTERY¥CHARGER] button on the
FBC-7.
(4) Use the coin to loosen the two screws of the compartment cover.
(5) Remove the cover from the FR-7/FR-5’s battery
compartment.
Note: While the compartment cover is open, the FR-7/FR-5
cannot be switched on.
The [BATTERY¥CHARGER] button now lights red.
(5) Wait until the [BATTERY¥CHARGER] button lights
green, then switch off the FBC-7 and disconnect
the 19-pin cable from both the FBC-7 and the
FR-7/FR-5.
Disconnecting the FR-7/FR-5 is only necessary if you
do not want to use the FBC-7 during your next performance.
(6) Pull the battery strip so that the battery protrudes
a little from the battery case, and then remove the
connector and take the battery out of the battery
case.
Note: You can use the FR-7/FR-5 while its battery is being
recharged, provided you leave the V-Accordion connected to
the FBC-7.
Recharging the battery on the FBC-7
The battery installed in the FR-7/FR-5’s compartment
can also be removed and recharged on the FBC-7 itself.
That is more tedious, though and does not speed up the
recharging procedure.
The main use for the method described below is therefore to recharge a spare battery (which is optional)
while using the battery inside the FR-7/FR-5. If that is
what you want to use the connector on the FBC-7 for,
skip to step (7) below.
The battery is connected to the FR-7/FR-5 by means
of a cable. You need to disconnect the cable from the
battery by pressing the clip on the connector before
fully removing the battery.
Note: Please pull the battery strip installed on the battery and
take the battery out.
Warning: Before removing the battery, be sure to
power off the FR-7/FR-5 (the blue indicator must be
dark).
(1) Switch off the FR-7/FR-5.
(2) Prepare a coin.
(3) Remove the cushion located between the Treble
keyboard and the bellows.
(7) Slide the FBC-7’s EXTERNAL BATTERY CHARGER
cover to the right and remove it:
33
FR-7/FR-5 V-Accordion
About the FBC-7 | Charging the battery
That portion on the FBC-7 now looks as follows (note
the connector):
■Using the recharged battery
(15) Switch off the FR-7 (or FR-5).
(16) Prepare a coin.
(17) Remove the cushion located between the Treble
keyboard and the bellows.
(8) Connect the battery’s cable to the charger’s socket.
(9) Slide the battery into the holder on the FBC-7.
(18) Use the coin to loosen the two screws of the compartment cover.
Battery
(10) Connect the FBC-7 to a suitable wall outlet.
(11) Switch on the FBC-7 by pressing its [POWER¥ON]
button (its red POWER ON indicator lights).
(12) Press the [EXTERNAL¥BATTERY¥CHARGER] button
on the FBC-7.
Note: While the compartment cover is open, the FR-7/FR-5
cannot be switched on.
(19) Remove the depleted battery and disconnect its
cable.
(20) Connect the cable to the new battery and insert
the charged battery into the FR-7/FR-5’s compartment.
(21) Close the FR-7/FR-5’s battery compartment and
re-install the cushion.
Note: Be sure to tighten the two screws all the way to establish firm contact between the compartment cover and the
instrument. Otherwise, you won’t be able to use your FR-7/
FR-5.
If the battery fails to last 8 hours (or slightly
less)
r
The button now lights red.
(13) Wait until the [EXTERNAL¥BATTERY¥CHARGER] button lights green, then switch off the FBC-7 and
disconnect the cable from the socket on the FBC-7
and from the battery.
You can leave the battery where it is until you actually need it.
Note: You can use the FR-7/FR-5 while the battery is being
recharged externally.
(14) Reinstall the cover on the EXTERNAL BATTERY
RECHARGER compartment and slide it to the left
until it clicks into place.
34
The FR-7’s battery (and an optional battery for the
FR-5) can be recharged about 300 times before it needs
to be replaced with a new one. Note that it is normal
for the battery to last increasingly shorter as time goes
by. At the end of its life cycle, it may only last one hour,
for example. But that is a gradual process.
Note: If the red indicator goes off while the battery is being
recharged, this means that there has been a power failure and
that the battery has probably only been partially recharged. In
that case, you need to recharge it again.
V-Accordion r
Editing sounds
6. Editing sounds
Almost all sound aspects of your FR-7/FR-5 can be changed (“edited”) to your liking. On p. 28 we already showed you
how to quickly edit the most important parameters of a sound. Those changes are temporary and not followed by a
“WRITE” question. If you want to preserve the changes you made using the shortcut functions, you need to use the
WRITE function.
Selecting parameters
■Easy and Full modes
Be aware that the availability of a parameter may depend on the display mode that is currently selected (page 18). If
you can’t seem to find the parameter you need, switch to “Full” mode.
■Important note
Before changing your settings, be sure to select the Set the changes should apply to using the SET buttons (or the SET
footswitches on the FBC-7). That will help you avoid a lot of confusion at a later stage.
Selecting parameters using the Jump function
The FR-7/FR-5’s parameters can be selected like on a
mobile phone (by entering their numbers) or using the
Menu structure. Let us first look at using the mobile
phone approach:
(1) Switch on the FR-7/FR-5.
See “Switching the power on and off” on p. 15. The
display now looks more or less as follows:
(2) In the descriptions below, locate the parameter
you wish to edit and look at its number.
(3) Press and hold the [EXIT÷JUMP] button until the
display looks as follows:
The menu contains the following function groups:
Group
1
TUNING*
2
TREBLE EDIT Parameters for the Treble section
(including MIDI parameters).
3
BASS EDIT
Parameters for the Bass section
(including MIDI parameters).
4
FREE BASS
EDIT
Parameters for the Free Bass section
(including MIDI parameters).
5
ORC BASS
EDIT
Parameters for the Orchestra Bass section (including MIDI parameters).
6
ORCHESTRA Parameters for the Treble Orchestra
EDIT
section (including MIDI parameters).
7
SET
COMMON
General Set parameters (effects types,
name, Master bar function).
8
SYSTEM*
Parameters that apply to all sections
(and hence to the entire FR-7/FR-5).
9
UTILITY
Parameters for checking the battery,
copying and archiving settings. This
group also contains a function for
restoring some or all factory Sets.
10 MIDI*
(4) Press a register [1]~[10] to specify the parameter
group.
Explanation
Parameters related to the overall pitch
of your FR-7/FR-5. The Treble, Bass/
Free Bass and Orchestra groups contain additional pitch parameters that
only apply to those sections.
MIDI channels, MIDI remote control.
Parameter groups with an asterisk (*) are not saved
along with the Set parameters. They are global
parameters that can be saved to a special memory.
(5) Press a register [1]~[14] to specify a parameter
within the selected group.
See the table on page 37.
35
FR-7/FR-5 V-Accordion
Editing sounds | Selecting parameters
You can only select sections that are active (and thus
sound when you play on the Treble or Bass keyboard).
If you select a function of a section that is currently
off, the display tells you that its parameters cannot
be changed. In that case, switch the section on and
try again – or select another group.
Selecting parameters via the menu
A second way of selecting parameters goes like this:
(1) Press the [MENU] button.
(The message above means that the Orchestra section
is not active and therefore cannot be edited.)
(6) Proceed with “Setting parameter values” on p. 37.
(7) Press [EXIT÷JUMP] several times to return to the
main page.
(2) Use the [DATA÷ENTER] knob or the [UP]/[DOWN]
buttons to select one of the function groups.
See the previous page for a list with short explanations.
(3) Press the [DATA÷ENTER] knob to enter that group.
The display now responds with (this depends on the
function group you selected):
r
You can only select sections that are active (and thus
sound when you play on the Treble or Bass keyboard).
If you select a function of a section that is currently
off, the display tells you that its parameters cannot
be changed. In that case, switch the section on and
try again – or select another group.
36
(The message above means that the Orchestra section
is not active and therefore cannot be edited.)
(4) Use the [DATA÷ENTER] knob or the [UP]/[DOWN]
buttons to select the parameter you wish to edit.
(5) Proceed with “Setting parameter values”.
V-Accordion r
Setting parameter values
(6) Press the [EXIT÷JUMP] button once to return to the
function group (“TUNING” in our example) and
again to return to the Main page.
The various groups contain the following parameters (entries in italics are not available in “Easy”
mode).
1. TUNING
1.1 Master Tune . . . . . . . . . p. 38
1.2 Transpose. . . . . . . . . . . . p. 38
1.3 Scale . . . . . . . . . . . . . . . . p. 38
1.4 Scale Edit . . . . . . . . . . . . p. 38
1.5 Scale Assign . . . . . . . . . p. 39
2. TREBLE EDIT
2.1 Reed Type . . . . . . . . . . . p. 41
2.2 Register . . . . . . . . . . . . . p. 41
2.3 Reed Volume. . . . . . . . . p. 42
2.4 Treble Octave . . . . . . . . p. 42
2.5 Valve Noise . . . . . . . . . . p. 42
2.6 Musette Detune . . . . . . p. 42
2.7 Bellows Detune . . . . . . p. 42
2.8 Reverb Send . . . . . . . . . p. 42
2.9 Chorus Send . . . . . . . . . p. 42
2.10 Delay Send . . . . . . . . . p. 42
2.11 Aftertouch Pitch . . . . p. 42
2.12 Bass Link . . . . . . . . . . . p. 42
2.13 Orchestra Link . . . . . . p. 43
2.14 Treble MIDI TX . . . . . . p. 44
3. BASS EDIT
3.1 Reed Type . . . . . . . . . . . p. 45
3.2 Register . . . . . . . . . . . . . p. 46
3.3 Reed Volume. . . . . . . . . p. 46
3.4 Button Noise . . . . . . . . . p. 46
3.5 Reed Growl . . . . . . . . . . p. 46
3.6 Bellows Detune . . . . . . p. 47
3.7 Reverb Send . . . . . . . . . p. 47
3.8 Chorus Send . . . . . . . . . p. 47
3.9 Delay Send . . . . . . . . . . p. 47
3.10 Bass MIDI TX . . . . . . . . p. 47
3.11 Chord MIDI TX . . . . . . p. 47
4. FREE BASS EDIT
4.1 Reed Type . . . . . . . . . . . p. 48
4.2 Register . . . . . . . . . . . . . p. 49
4.3 Reed Volume. . . . . . . . . p. 49
4.4 Button Noise . . . . . . . . . p. 49
4.5 Reed Growl . . . . . . . . . . p. 49
4.6 Bellows Detune . . . . . . p. 49
4.7 Reverb Send . . . . . . . . . p. 49
4.8 Chorus Send . . . . . . . . . p. 49
4.9 Delay Send . . . . . . . . . . p. 49
4.10 Free Bass MIDI TX . . . p. 50
5. ORC BASS EDIT
5.1 Lowest Note . . . . . . . . . p. 51
5.2 Orc Bass Release Time p. 51
5.3 Orc Bass Volume . . . . . p. 52
5.4 Reverb Send . . . . . . . . . p. 52
5.5 Chorus Send . . . . . . . . . p. 52
5.6 Delay Send . . . . . . . . . . p. 52
5.7 Orc Bass MIDI TX . . . . . p. 52
6. ORCHESTRA EDIT
6.1 Orchestra Octave . . . . p. 53
6.2 Orchestra Volume . . . . p. 53
6.3 Bellows Detune . . . . . . p. 53
6.4 Reverb Send . . . . . . . . . p. 54
6.5 Chorus Send . . . . . . . . . p. 54
6.6 Delay Send . . . . . . . . . . p. 54
6.7 Aftertouch Pitch . . . . . p. 54
6.8 Orchestra MIDI TX. . . . p. 54
7. SET COMMON
7.1 Reverb Macro Type . . . p. 55
7.2 Reverb Parameters . . . p. 56
7.3 Chorus Macro Type . . . p. 56
7.4 Chorus Parameters . . . p. 57
7.5 Delay Macro Type . . . . p. 58
7.6 Delay Parameters . . . . p. 58
7.7 Name . . . . . . . . . . . . . . . p. 59
7.8 Master Bar Recall . . . . p. 59
7.9 Icon . . . . . . . . . . . . . . . . . p. 59
8. SYSTEM
8.1 LCD Contrast . . . . . . . . p. 60
8.2 Parameter Access . . . . p. 60
8.3 Bellows Curve . . . . . . . p. 60
8.4 Pedal Controller. . . . . . p. 60
8.5 Bass & Chord Mode . . p. 61
8.6 Free Bass Mode . . . . . . p. 62
8.7 Stereo Width . . . . . . . . p. 62
8.8 Auto Power OFF . . . . . p. 63
8.9 Startup . . . . . . . . . . . . . . p. 63
8.10 Startup Name. . . . . . . p. 63
8.11 Orch. Bass Touch . . . . p. 63
Setting parameter values
(1) Select the parameter you wish to edit (see above).
(2) Press the [DATA÷ENTER] knob to activate that
parameter for editing.
Notice how the display changes: the arrows are
replaced by an EDIT message and the parameter
value is displayed on a dark background.
If a display page contains two (or three) adjustable
parameters, you may have to press [DATA÷ENTER]
again to activate the desired parameter for editing.
Here is an example:
(3) Use the [DATA÷ENTER] knob or the [UP]/[DOWN]
buttons to change the value.
(4) Press the [EXIT÷JUMP] button once to return to the
function group.
9. UTILITY
9.1 Battery Status . . . . . . . p. 63
9.2 Copy ALL Effects . . . . . p. 64
9.3 Copy Reverb . . . . . . . . . p. 64
9.4 Copy Chorus . . . . . . . . . p. 64
9.5 Copy Delay . . . . . . . . . . p. 64
9.6 Copy SET . . . . . . . . . . . . p. 64
9.7 Bulk Dump ALL . . . . . . p. 65
9.8 Bulk Dump SET . . . . . . p. 65
9.9 Restore SET . . . . . . . . . . p. 65
10. MIDI
10.1 RealTime RX-TX . . . . . p. 69
10.2 Ext. Seq. Playback. . . p. 70
10.3 Bellows TX
Resolution. . . . . . . . . . p. 71
37
FR-7/FR-5 V-Accordion
Editing sounds | TUNING parameters
TUNING parameters
The parameters of the TUNING group apply to the entire FR-7/FR-5 and are not saved to a Set. The
FR-7/FR-5 remembers them, however, so that you may have to change them again to return to the factory default. See pages 35 and 37 for how to select and adjust the parameters.
Press [UP] and [DOWN] simultaneously to select the value that is indicated as “Default setting”.
Saving your changes
Any changes you make can be saved even without
using the WRITE function (see p. 78). To avoid losing
your changes, it would be a good idea to take advantage of the following automatic routine.
Whenever you press [EXIT÷JUMP] after editing a Menu
parameter, the FR-7/FR-5 asks you whether you want
to save your changes:
1.1 Master Tune
(415.3~466.2, Default setting:
440.0) This parameter allows
you to change the FR-7/FR-5’s
overall tuning, which may be
necessary when you play with
acoustic instruments that cannot be tuned easily or if
you use a CD or cassette tape as accompaniment. The
factory default, “440.0Hz”, represents the reference
pitch used by all electronic musical instruments.
1.2 Transpose
“YES” is selected by default. To save your changes, proceed as described below. (If you don’t want to save
them, turn the [DATA÷ENTER] knob to select “NO”, then
press the [DATA÷ENTER] knob.)
To save your changes:
(1) Press the [DATA÷ENTER] knob. The display now
responds with:
Note: The GLOBAL page shows all parameters that are saved to
the Global memory (there is only one such memory): the Master Tune and Scale Tune parameters of the TUNING group (the
Transpose setting is never saved) as well as the SYSTEM and
MIDI groups.
(2) Press the [MENU÷WRITE] button to save your
changes. The display briefly shows a confirmation:
Note: If you selected “NO”, the edited Global settings will be
used until you switch off the FR-7/FR-5 (or change them
again).
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Note: The SCALE and TUNE settings are saved using a separate
WRITE routine (see below).
38
(F# –6, G –5, Ab –4, A –3, Bb –2,
B –1, C 0, C# 1, D2, Eb 3, E 4,
F 5) This parameter allows you
to transpose all sections of the
FR-7/FR-5. See page 28 for
details.
1.3 Scale
This page contains two parameters. The first one allows you to
select the tuning system and the
second one to specify the fundamental/root of the key you want
to play in. This was already discussed on page 29.
Type: Equal (Off), User 1, User 2, User 3, Arabic1,
Arabic2, Just Major, Just Minor, Pythagorean, MeanTone, Werckmeister, Kirnberger
Key: C, C#, D, Eb, E, F, F#, G, Ab, A, Bb, B
1.4 Scale Edit
Here comes a display page with
three selectable and adjustable
parameters. You may have
noticed that there are three
“User” scales. They refer to tuning systems you can program yourself. Obviously, you
only need to do this if none of the factory scales corresponds to the system you would like to use (a gamelan
tuning, for example).
As this is a rather complex matter, the procedure for
programming your tuning is a little different from the
adjustment of other parameters:
• After selecting this page, pressing [DATA÷ENTER] will
do nothing.
• Instead, you need to press the [MENU÷WRITE] button
to jump to the following page:
V-Accordion r
1.5 Scale Assign
• Use the [DATA÷ENTER] knob or the [UP]/[DOWN] buttons to select the User memory that should contain
your customized tuning system.
• Press [MENU÷WRITE] again to jump to the following
page.
1.5 Scale Assign
(Treble, Orchestra, Treble&Orchestra, Bass&Chord,
ALL, Default setting: Treble&Orchestra) This parameter
allows you to specify which
section should be affected by the tuning system you
select on the “1.3 Scale” page. It is perfectly possible
to select a single section (e.g. only the Treble accordion).
(–64~63, Default setting: 0 for all notes) These
parameters allow you to stray away from the usual
semitone-interval scale (used in western music) by
changing the pitch of the notes so as to accommodate other musical cultures.
You will notice that every note can be selected only
once. That is because the value you specify applies to
all notes of the same name. If you change the tuning
of the “C”, that value will be added to or subtracted
from all Cs (C1, C2, C3, etc.). Most of the time, you
will probably select the value “50” or “–50” as they
correspond exactly to half a semitone up or down
(quarter tone). Other settings may also be interesting,
though.
• Press the [DATA÷ENTER] knob to select either the note
(left field) or the tuning value (right field) and change
the entry using the [DATA÷ENTER] knob or the [UP]/
[DOWN] buttons.
• Press the [MENU÷WRITE] button to memorize your
new tuning (or [EXIT÷JUMP] to return to the previous
settings, in which case your changes are lost). If you
press [MENU÷WRITE], the display briefly shows a confirmation:
39
FR-7/FR-5 V-Accordion
Editing sounds | TREBLE EDIT parameters
TREBLE EDIT parameters
The parameters of the TREBLE EDIT group apply to the Treble section and are saved to the selected Set.
They allow you to build your own (virtual) accordion. After setting these parameters, you probably also
need to adjust the BASS EDIT or FREE BS EDIT parameters (which are also saved to the Set). See pages
35 and 37 for how to select and adjust the parameters.
Press [UP] and [DOWN] simultaneously to select the value that is indicated as “Default setting”.
Introduction
While familiarizing yourself with and using the following parameters, try to think of yourself as an accordion
manufacturer. The first parameters in this group indeed
rely on the power of Roland’s “virtual” technology
(called “PBM” or “Physical Behavior Modeling”) and are
in fact a warehouse with all kinds of accordion components from which you can choose to build your personal accordion or to customize an existing “model”.
Though experimenting with the available options may
teach you a lot about usable sound combinations,
always start out by asking yourself questions like: “Does
it sound OK?”, “Does it make sense for a Cajun accordion to use a Bandoneon valve noise?”, etc.
Another piece of advice is the following: after spending
two hours programming a new register, save it, take a
break, then listen to it again (or even wait until the next
day). Also try it in combination with the other registers/
sections and even instruments (if you play in a band).
Important note
All changes you make here apply to the last Treble register you selected. So be sure to press the register ([1]~
[14]) whose settings you wish to change before selecting and editing any of the TREBLE EDIT parameters. You
can, however, decide to save your settings to a different
register (see below) if you realize that you’ve been editing the wrong one.
Saving your changes
r
Any changes you make can be saved even without
using the WRITE function (see p. 78). To avoid losing
your changes, it would be a good idea to take advantage of the following automatic routine.
Whenever you press [EXIT÷JUMP] after editing a Menu
parameter, the FR-7/FR-5 asks you whether you want
to save your changes:
“YES” is selected by default. If you want to save your
changes, proceed as described below. (If you don’t, turn
the [DATA÷ENTER] knob to select “NO”, then press the
[DATA÷ENTER] knob.)
Note: You can save your changes later using the WRITE function
(see p. 77). But be sure to do so before selecting another Treble
register or Set – and before switching the FR-7/FR-5 off.
40
To save your changes:
(1) Press the [DATA÷ENTER] knob. The display now
responds with:
(2) If necessary, change the name of the Treble register you have just edited (you may want to enter
the name of the “Reed Type” you selected).
Entering names
• Select the character position (indicated by a dark
square) by pressing [UP] (previous character), [DOWN]
(next character) or the [DATA÷ENTER] knob (next
character).
• Turn the [DATA÷ENTER] knob to select the desired
character.
• Press [UP] and [DOWN] simultaneously to erase the
currently selected character (it will become a space).
Example: To replace the “s” in “Celeste” with a space
(“Cele te”), position the cursor on the “s” and simultaneously press [UP]/[DOWN].
• To insert a space before the currently selected character and push all subsequent characters one position to the right, select the character that should follow the space, then press and hold [UP]. Example: To
insert a space before the “s” in “Celeste” (creating the
name “Cele ste”), position the cursor on the “s” and
hold down [UP] for a while.
Note: If the name already contains 8 characters (“Bandoneo”),
the last character is erased (example: “Band one”).
• To delete the character indicated by the cursor and
move subsequent characters one position to the left,
select it (example: “Celeste”) and press and hold
[DOWN] (“Celete”).
(3) Press the [MENU÷WRITE] button to jump to the following page:
(4) If necessary, select another Set and another register than the ones you are currently using.
Press the [DATA÷ENTER] knob to select “SET” or
“REGISTER”, then turn it to select the number (1~40
for SET, 1~14 for REGISTER).
V-Accordion r
2.1 Reed Type
Triktixa
TexMex
Steierische
F-Folk
Cajun
Classic
Bandoneon
Triktixa
TexMex
A register, as you may know, may contain several reeds
tuned to different pitches (“feet”), so that you hear the
16’, 8’ and 4’ reeds when you select it, for example. The
“Register” parameter below allows you to select the
desired footage(s). Here, you specify how each reed
(that can be assigned to a register) should sound. This
allows for complex combinations like the following:
The parameters on this page are
used in combination with the
settings above. Here, you decide
which feet should be audible
and how they should be played.
It is therefore on this page that you specify whether the
sounds you selected above will indeed be used.
Here comes another illustration:
Steierische
Note: You can only assign one TYPE to each footage (combinations like “16= Bandoneon, 16= TexMex, 16= Organetto” are
impossible).
2.2 Register
F-Folk
This parameter allows you to do
two things that are impossible
with an acoustic accordion: you
can (a) transform the selected
register into a different instrument and (b) assign different sounds to each footage
the register plays.
Cajun
2.1 Reed Type
Note: Whenever you select “ALL” and set a different reed type,
the “2.5 Valve Noise” setting is automatically adapted to the
reed type you select here. You may have to change it afterwards if you wish to use a different noise type.
Classic
Note: Be aware that you can only edit one Treble register at a
time. If you select another register before saving the changes
for the previously selected register (by selecting “NO”), those
changes are erased.
Similarly, do not switch off the FR-7/FR-5 or select another Set
before saving settings you want to keep: save them first.
The TYPE options are: Bandoneon, I-Folk, I-Folk2,
Classic, Cajun, Jazz, F-Folk, D-Folk, Organetto, F-Folk2,
Classic2, Studio, Tradition, Steierische, OldItaly,
TexMex, Trikitixa.
To save time while changing the TYPE for one or several reeds, you could proceed as follows: suppose all
reeds are currently set to the “wrong” TYPE and you
want to use 16’, 8’ and 4’ as “Bandoneon”. In that
case, set FOOT to “ALL” and TYPE to “Bandoneon”.
Next, use STATUS on the “2.2 Register” page to switch
off the reeds you do not need.
Bandoneon
(5) Press the [MENU÷WRITE] button to save your
changes. The display now briefly confirms that
your settings have been stored:
<16> <8> <8–> <8+> <4> <5-1/3> <2-2/3>
On
Off
OnOff Cassotto Off
On
Off
<16> <8> <8–> <8+> <4> <5-1/3> <2-2/3>
We’ll let you decide whether such a combination really
makes sense, but it is possible… For each of the 14 Treble registers, that is.
• If necessary, press the [DATA÷ENTER] knob to select
the “FOOT” parameter, then rotate the [DATA÷ENTER]
knob to select the reed you wish to assign another
sound to.
The options are: ALL, 16, 8, 8–, 8+, 4, 5-1/3, 2-2/3
• Press the [DATA÷ENTER] knob to select the “TYPE”
parameter, then rotate the [DATA÷ENTER] knob to
select a type (“instrument”).
In our example, only 16’, 8’+ and 5-1/3’ are used. 8’+ is
slightly softer than then other two reeds, because the
Cassotto function is on. “Cassotto” is similar to the
“Sordina” function discussed on page 21, but it only
muffles the reed/footage in question (making the
sound darker). The Sordina switch, on the other hand,
applies to all accordion sounds of the Treble section.
• If necessary, press the [DATA÷ENTER] knob to select
the “FOOT” parameter, then rotate the [DATA÷ENTER]
knob to select the reed you wish to assign another
sound to.
The options are: 16, 8, 8–, 8+, 4, 5-1/3, 2-2/3
• Press the [DATA÷ENTER] knob to select the “STATUS”
parameter, then rotate the [DATA÷ENTER] knob to
specify whether the selected reed should sound and
whether it should be muffled.
The STATUS options are: Off (no sound), On (sounds),
On-Cassotto (muffled sound).
41
FR-7/FR-5 V-Accordion
Editing sounds | TREBLE EDIT parameters
2.3 Reed Volume
2.7 Bellows Detune
(Off, –30~“Std”~30, Default setting: Std) Here comes the last
parameter that can be set for
each reed/footage individually.
It allows you to create the
desired “mix” (volume balance) for the active reeds (see
the “2.2 Register” page).
This is a relative parameter, which means that its value
is added to or subtracted from the standard value
(“Std”). As a rule, it would be wise to decide which reed
is most important and set its Volume parameter to
“Std”. Then reduce or increase the volume of the “ancillary” reeds to create the desired balance.
(Off, Low, Standard, High,
Default setting: Standard) This
parameter further adds to the
realism of the sounds emulated
by your FR-7/FR-5. Here, you
can specify how strongly the pitch of the simulated
Treble reed(s) changes when you open or close the bellows faster than usual.
If the “Standard” setting seems too mild, try “High”. If it
is too strong, use “Low”. If you don’t want any detuning
effect, select “Off”. The most convincing setting usually
depends on the selected instrument(s) (see “2.1 Reed
Type”).
Note: The overall volume of the Treble section (all registers) can
be changed using the [BALANCE] knob.
2.4 Treble Octave
(–1, 0, 1, Default setting: 0) This
parameter allows you to transpose the selected register one
octave up (“1”) or down (“–1”).
This can be used for two purposes: to quickly correct the pitch that results from the
active reeds (see above) or to avoid overlaps of the
selected register when using a Treble Orchestra sound.
(The Orchestra section also provides an Octave parameter.)
2.5 Valve Noise
Here comes a more elaborate
version of the Noise parameter
discussed on page 30, because it
allows you not only to set the
level of the “typical” valve
noises, but also to specify what kind of instrument
should generate the noise. Though you are free to
experiment with any noise type you like, using the noise
related to the selected instrument (see “2.1 Reed Type”)
is usually more realistic.
There is only one TYPE for the entire register (i.e. all 7
reeds). The options are: Bandoneon, I-Folk, I-Folk2, Classic, Cajun, Jazz, F-Folk, D-Folk, Organetto, F-Folk2,
Classic2, Studio, Tradition, Steierische, OldItaly, TexMex,
Trikitixa.
Use the LEVEL parameter to specify how prominent the
noise should be (–30~“Std”~30, Default setting: Std).
r
Note: Whenever you select “ALL” for “2.1 Reed Type” and set a
different reed type, this noise setting is automatically adapted to
the reed type. It would therefore be a good idea to first select the
reed type and only then change the noise type.
2.6 Musette Detune
This parameter allows you to
choose the system used for
detuning the 8’ reeds. See
page 28 for details. The options
are: Off, Dry, Classic, F-Folk,
American_L, American_H, North_Eur, German_L,
D-Folk_L, Italian_L, German_H, Alpine, Italian_H,
D-Folk_H, French, Scottish.
42
2.8 Reverb Send, 2.9 Chorus Send,
2.10 Delay Send
(0~127 for all three) Use these
parameters to set the Reverb, Chorus
or Delay send level (how much effect
should be applied to the Treble section). The higher the value you set,
the more the Treble section is processed by the effect in question.
It works much the same way as a
cathedral: the louder you sing, the
more reverb (chorus or delay) you
hear. In the case of the cathedral, singing louder means
that you increase the effect send level, i.e. the level of
the signal (your voice) that will be processed by the
acoustic environment.
The other sections (Bass, Free Bass, etc.) have the same
parameters, so that you can create a sound image with
various “levels” (foreground, background).
The effects themselves can be edited on separate pages
(see p. 56).
2.11 Aftertouch Pitch
(Off, 1/4 Down, 1/2 Down, 1/4
Up, 1/2 Up, Default setting: Off)
As stated earlier, the FR-7/
FR-5’s Treble keyboard also generates aftertouch messages.
“Aftertouch” refers to the fact that you press a key even
further down after playing a note. This effect allows
you to bend the pitch down (temporarily lower the
note) by a quarter (“1/4 Down”) or a semi-tone (“1/2
Down”). Select “1/4 Up” or “1/2 Up” to bend the notes
up a quarter or a semi-tone. Select “Off” to switch off
the Treble section’s aftertouch recognition.
Note: This aftertouch effect applies to all notes that are sounding simultaneously. If you play a chord and then only press down
one key of the chord’s constituent notes, all notes are bent by the
same amount. (MIDI buffs call this “channel aftertouch”.)
2.12 Bass Link
Here are two parameters that
allow you specify which Bass
and/or Orchestra Bass register/
sound are selected whenever
you press the Treble register you
V-Accordion r
2.13 Orchestra Link
are currently editing. That way, you only need to press
one register instead of at least two (one Treble, one
Bass). There is yet another parameter that allows you to
associate a Treble Orchestra sound with the currently
selected accordion register (see below).
The options for these parameters are:
• BASS: No Link, Bass 1~7, Free 1~7
• ORC.BASS: No Link, Acoustic, Bowed, Fingered, Fretless, Picked, Tuba, Tuba Mix
If you define a “Free” register, the Bass section automatically switches to Free Bass mode when you press
the Treble register while the Bass Link function is
active. (If you define a “Bass” register, the Bass section switches from Free Bass to Bass mode, if necessary.)
If you also define an ORC.BASS sound (other than
“No Link”), the Bass section automatically activates
the Orchestra Bass part when you press the Treble
register while the Bass Link function is active.
Select “No Link” if there should be no connection
between the currently selected Treble register and
the Bass or Orchestra Bass section.
Note that this automatic link is not activated when
you define it on this page – it is merely enabled and
“pre-set”. To activate the Bass Link function, press
and hold down the [ORCHESTRA] register and press
[9]:
Note: Be aware that the Link function can be dangerous if you
edited the currently selected Bass, Free Bass or Orchestra Bass
register without saving it. Selecting another register automatically (via the Link function) indeed means that the changes for
the previously selected register are lost. Consider using the
WRITE function (page 77) before activating the link – even if
it’s only to check whether the settings have indeed been saved.
Note: Simply activating the link does nothing at all (i.e. the
Bass/Free Bass/Orchestra Bass register does not change right
away). You need to select another Treble register whose Bass
Link function is on for the link to work.
Repeat this procedure to defeat the Bass Link function if you no longer need it.
On the Main page, links are indicated as follows:
Note: You can specify that this function should be activated
automatically each time you switch the FR-7/FR-5 on. See “8.9
Startup” on p. 63.
2.13 Orchestra Link
This function allows you to
associate an orchestral sound
with the Treble register you are
currently editing and to specify
which mode should be used. See
also “Selecting the Orchestra mode” on p. 25 for an
explanation of the available modes.
The options for these parameters are:
• REGISTER: No Link, 1A Trombone, 1B Trumpet,
2A TenorSax, 2B AltoSax, 3A Clarinet, 3B Oboe,
4A Harmonica, 4B MuteHarm, 5A Violin, 5B Pizzicato,
6A Flute, 6B PanFlute, 7A HighLand, 7B Zampogna,
8A PercOrgan, 8B JazzOrgan, 9A RotOrgan,
9B TremOrg, 10 ScatVoice, 11 Mandolin, 12 AcGuitar,
13 AcPiano
• MODE: ----, Solo, Dual, High, Low
Select “No Link” if there should be no connection
between the currently selected Treble register and
the Orchestra Treble section.
“––” means that the currently selected mode does
not change. So if LOW mode is selected when you
press this register, the Orchestra sound you select
here can be played in LOW mode.
Note that this automatic link is not activated when
you define it on this page – it is merely enabled and
“pre-set”. To activate the Orchestra Link function, you
need to press and hold down the [ORCHESTRA] register and press [10]:
Note: Be aware that the Link function can be dangerous if you
edited the currently selected Orchestra sound without saving
it. Selecting another Orchestra sound automatically (via the
Link function) indeed means that the changes for the previously selected sound are lost. Consider using the WRITE function (page 77) before activating the link – even if it’s only to
check whether the settings have indeed been saved.
Note: Simply activating the link does nothing at all (i.e. the
Orchestra sound does not change right away). You need to
select another Treble register whose Orchestra Link function is
on for the link to work.
Repeat this procedure to defeat the Orchestra Link
function if you no longer need it (or assign “CANCEL”
to another Treble register and press it).
43
FR-7/FR-5 V-Accordion
Editing sounds | TREBLE EDIT parameters
On the main page, links are indicated as follows:
Note: You can specify that this function should be activated
automatically each time you switch the FR-7/FR-5 on. See “8.9
Startup” on p. 63.
2.14 Treble MIDI TX
r
This page contains a series of
MIDI parameters for the
selected register you need to set
one by one. See page 72 for
details about the MIDI parameters. These parameters are saved along with all other
Set parameters, which allows you to use different MIDI
settings for each Set – and even each register within a
Set.
44
V-Accordion r
BASS EDIT parameters
BASS EDIT parameters
The parameters of the BASS EDIT group apply to the Bass section (bass and chord notes) and are saved
to the selected Set. They allow you to build your own (virtual) accordion. After setting these parameters, you probably also need to adjust the TREBLE EDIT or FREE BS EDIT parameters (which are also
saved to the Set). See pages 35 and 37 for how to select and adjust the parameters.
Press [UP] and [DOWN] simultaneously to select the value that is indicated as “Default setting”. See also “Introduction”
on p. 40 for some general hints.
Important note
All changes you make here apply to the last Bass register you selected. So be sure to press the register whose
settings you wish to change before selecting and editing any of the BASS EDIT parameters. You can, however,
decide to save your settings to a different register (see
below) if you realize that you’ve been editing the wrong
one.
(4) If necessary, select another Set and another register than the ones you are currently using.
Press the [DATA÷ENTER] knob to select “SET” or “REGISTER”, then turn it to select the number (1~40 for
SET, 1~7 for REGISTER).
(5) Press the [MENU÷WRITE] button to save your
changes. The display now briefly confirms that
your settings have been stored:
Saving your changes
Any changes you make can be saved even without
using the WRITE function (see p. 78). To avoid losing
your changes, it would be a good idea to take advantage of the following automatic routine.
Whenever you press [EXIT÷JUMP] after editing a Menu
parameter, the FR-7/FR-5 asks you whether you want
to save your changes:
Note: You can only edit one Bass register at a time. If you
select another register before saving the changes for the previously selected register (by selecting “NO”), those changes are
erased. Do not switch to Free Bass or Orchestra Bass mode
before deciding whether or not you want to save your
changes.
Similarly, do not switch off the FR-7/FR-5 or select another Set
before saving settings you want to keep: save them first.
3.1 Reed Type
“YES” is selected by default. If you want to save your
changes, proceed as described below. (If you don’t, turn
the [DATA÷ENTER] knob to select “NO”, then press the
[DATA÷ENTER] knob.)
Note: You can save your changes later using the WRITE function
(see p. 77). But be sure to do so before selecting another Bass
register or Set – and before switching the FR-7/FR-5 off.
To save your changes:
(1) Press the [DATA÷ENTER] knob. The display now
responds with:
(2) If necessary, change the name of the Bass register
you have just edited (you may want to enter the
name of the “Reed Type” you selected).
See “Entering names” on p. 40.
(3) Press the [MENU÷WRITE] button to jump to the following page:
This parameter allows you to
transform the selected register
into a different instrument and
assign different sounds to each
reed the register plays. See “2.1
Reed Type” on p. 41 for a discussion of the possibilities
and the aspects you need to pay attention to. Bear in
mind, however, that the parameter on this page applies
to the selected Bass register.
• If necessary, press the [DATA÷ENTER] knob to select
the “FOOT” parameter, then rotate the [DATA÷ENTER]
knob to select the reed you wish to assign another
sound to.
The options are: ALL, 16, 8, 8-4, 4, 2
• Press the [DATA÷ENTER] knob to select the “TYPE”
parameter, then rotate the [DATA÷ENTER] knob to
select a type (“instrument”).
The TYPE options are: Bandoneon, I-Folk, I-Folk2,
Classic, Cajun, Jazz, F-Folk, D-Folk, Organetto, F-Folk2,
Classic2, Studio, Tradition, Steierische, Trikitixa
To save time while changing the TYPE of one or several reeds, you could proceed as follows: suppose all
reeds are currently set to the wrong TYPE and you
want to use 16’, 8’ and 4’ as “Bandoneon”. In that
case, set FOOT to “ALL” and TYPE to “Bandoneon”.
Next, use STATUS on the “3.2 Register” page to switch
off the reeds you do not need.
45
FR-7/FR-5 V-Accordion
Editing sounds | BASS EDIT parameters
3.2 Register
3.4 Button Noise
The parameters on this page are
used in combination with the
parameters above. Here, you
decide which reeds should be
audible and how they should be
played. It is therefore on this page that you specify
whether the sounds you selected above will be used.
• If necessary, press the [DATA÷ENTER] knob to select
the “FOOT” parameter, then rotate the [DATA÷ENTER]
knob to select the desired reed.
The options are: 16, 8, 8-4, 4, 2
• Press the [DATA÷ENTER] knob to select the “STATUS”
parameter, then rotate the [DATA÷ENTER] knob to
specify whether the selected reed should sound and
whether you can or cannot use it to play chords.
The STATUS options are: Off, Bass, Chord,
Bass&Chord. The available options depend on the
selected footage, however:
The bass section of almost all
accordion instruments can be
played via buttons. Such buttons produce a typical noise
when pressed. On this page, you
can specify the instrument whose button noises should
be used when you select this register while playing.
(Note that other Bass registers can be assigned different noises.)
There is only one TYPE for the entire register (i.e. all 5
reeds). The options are: Bandoneon, I-Folk, I-Folk2, Classic, Cajun, Jazz, F-Folk, D-Folk, Organetto, F-Folk2,
Classic2, Studio, Tradition, Steierische, Trikitixa.
Use the LEVEL parameter to specify how prominent the
noise should be (–30~“Std”~30, Default setting: Std).
16
8
8-4
4
2
Off
yes
yes
yes
yes
yes
Chord
no
no
yes
yes
yes
Bass
yes
yes
no
no
no
Bass&Chord
no
no
yes
yes
yes
Note: This setting partially applies to all reeds. You cannot
assign “Bass&Chord” to “8-4”, for instance, and “Chord” to “2”.
All reeds (16 & 8 for the bass, 8-4, 4 & 2 for the chords) must
use the same assignment. If you select “Bass&Chord” for “4”
and then set “2” to “Chord”, “4” automatically switches to
“Chord” (the last selection you make is adopted by all reeds of
the same “yes” group). You can, however, select “Off” for each
reed individually.
Note: Whenever you select “ALL” and set a different reed type,
the “3.4 Button Noise” and “3.5 Reed Growl” settings are automatically adapted to the reed type you select here. You may
have to change those settings afterwards if you wish to use
different noise type.
r
3.3 Reed Volume
(Off, –30~“Std”~30, Default setting: Std) This is the last parameter that can be set for each
reed individually. It allows you
to create the desired “mix” (volume balance) for the active reeds (see the “3.2 Register”
page).
This is a relative parameter, which means that its value
is added to or subtracted from the standard value
(“Std”). As a rule, it would be wise to decide which reed
is most important and set its Volume parameter to
“Std”. Then reduce or increase the volume of the “ancillary” reeds to create the desired balance.
Note: The overall volume of the Bass section (all registers) can be
changed using the [BALANCE] knob.
46
Note: Whenever you select “ALL” for “3.1 Reed Type” and set a
different reed type, this noise setting is automatically adapted to
the reed type. It would therefore be a good idea to first select the
reed type and only then change the noise type.
3.5 Reed Growl
This parameter allows you to
simulate the typical noise a bass
reed makes just before it stops
vibrating altogether (a kind of
“musical flatulence” if you will).
Each instrument of the accordion family produces its
own typical growl. The growl that matches the sound
selected with “3.1 Reed Type” probably yields the most
realistic effect – but feel free to select another one if
you like it better.
• If necessary, press the [DATA÷ENTER] knob to select
the “TYPE” parameter, then rotate the [DATA÷ENTER]
knob to select one of the available instrument types:
Bandoneon, I-Folk, I-Folk2, Classic, Cajun, Jazz, F-Folk,
D-Folk, Organetto, F-Folk2, Classic2, Studio, Tradition,
Steierische, Trikitixa
• Press the [DATA÷ENTER] knob to select the “LEVEL”
parameter, then rotate the [DATA÷ENTER] knob to set
the volume of the Reed Growl sound (–30~“Std”~30).
Note: Whenever you select “ALL” for “3.1 Reed Type” and set a
different reed type, this growl setting is automatically adapted
to the reed type. It would therefore be a good idea to first
select the reed type and only then change the growl type.
V-Accordion r
3.6 Bellows Detune
3.6 Bellows Detune
3.10 Bass MIDI TX, 3.11 Chord MIDI TX
(Off, Low, Standard, High,
Default setting: Standard) This
parameter further adds to the
realism of the sounds emulated
by your FR-7/FR-5. Here, you
can specify how strongly the pitch of the simulated
Bass reed(s) changes when you open or close the bellows faster than usual.
If the “Standard” setting seems too mild, try “High”. If it
is too strong, use “Low”. If you do not want any detuning effect, select “Off”. The most convincing setting
usually depends on the selected instrument(s) (see
“3.1 Reed Type”).
These pages contain a series of
MIDI parameters for the
selected register you need to set
one by one. One page allows
you to specify which MIDI messages the bass notes (i.e. the two
or three button rows closest to
the bellows) should transmit,
the other does the same for the
chords (the remaining buttons in the Bass section).
See page 72 for details about the MIDI parameters.
These parameters are saved along with all other Set
parameters, which allows you to use different MIDI settings for each Set – and even each register within a Set.
3.7 Reverb Send, 3.8 Chorus Send, 3.9 Delay Send
(0~127 for all three) Use these
parameters to set the Reverb, Chorus
or Delay send level (how much effect
should be applied to the Bass section).
The higher the value you set, the
more the Bass section will be processed by the effect in question.
The other sections (Treble, Free Bass,
etc.) have the same parameters, so
that you can create a sound image
with various “levels” (foreground, background).
The effects themselves can be edited on separate pages
(see p. 56).
47
FR-7/FR-5 V-Accordion
Editing sounds | FREE BASS EDIT parameters
FREE BASS EDIT parameters
The parameters of the FREE BS EDIT group apply to the Bass section when it is used in Free Bass mode
(see p. 23) and are saved to the selected Set. They allow you to build your own (virtual) accordion. After
settings these parameters, you probably also need to adjust the TREBLE EDIT parameters (which are
also saved to a Set). See pages 35 and 37 for how to select and adjust the parameters.
Press [UP] and [DOWN] simultaneously to select the value that is indicated as “Default setting”. See also “Introduction”
on p. 40 for some general hints.
Important notes
• All changes you make here apply to the last Free Bass
register you selected. So be sure to press the register
whose settings you wish to change before selecting
and editing any of the FREE BS EDIT parameters. You
can, however, decide to save your settings to a different register (see below) if you realize that you’ve
been editing the wrong one.
• See page 62 for how to select the note system for
Free Bass mode. That setting is shared by all Sets.
Saving your changes
Any changes you make can be saved even without
using the WRITE function (see p. 77). To avoid losing
your changes, it would be a good idea to take advantage of the following automatic routine.
Whenever you press [EXIT÷JUMP] after editing a Menu
parameter, the FR-7/FR-5 asks you whether you want
to save your changes:
“YES” is selected by default. If you want to save your
changes, proceed as described below. (If you don’t, turn
the [DATA÷ENTER] knob to select “NO”, then press the
[DATA÷ENTER] knob.)
Note: You can save your changes later using the WRITE function
(see p. 77). But be sure to do so before selecting another Free Bass
register or Set – and before switching the FR-7/FR-5 off.
r
To save your changes:
(1) Press the [DATA÷ENTER] knob. The display now
responds with:
(2) If necessary, change the name of the Free Bass register you have just edited (you may want to enter
the name of the “Reed Type” you selected).
See “Entering names” on p. 40.
48
(3) Press the [MENU÷WRITE] button to jump to the following page:
(4) If necessary, select another Set and another register than the ones you are currently using.
Press the [DATA÷ENTER] knob to select “SET” or “REGISTER”, then turn it to select the number (1~40 for
SET, 1~7 for REGISTER).
(5) Press the [MENU÷WRITE] button to save your
changes. The display now briefly confirms that
your settings have been stored:
Note: You can only edit one Free Bass register at a time. If you
select another register before saving the changes for the previously selected register (by selecting “NO”), those changes are
erased. Do not switch to Bass or Orchestra Bass mode before
deciding whether or not you want to save your changes.
Similarly, do not switch off the FR-7/FR-5 or select another Set
before saving settings you want to keep: save them first.
4.1 Reed Type
This parameter allows you to
transform the selected register
into a different instrument and
assign different sounds to each
footage the register plays.
Note: You will notice that there are fewer options here than for
the Bass section. That’s because you cannot play chords in Free
Bass mode.
• If necessary, press the [DATA÷ENTER] knob to select
the “FOOT” parameter, then rotate the [DATA÷ENTER]
knob to select the reed you wish to assign another
sound to. The options are: ALL, 16, 8
• Press the [DATA÷ENTER] knob to select the “TYPE”
parameter, then rotate the [DATA÷ENTER] knob to
select a type (“instrument”).
The TYPE options are: Bandoneon, I-Folk, I-Folk2,
Classic, Cajun, Jazz, F-Folk, D-Folk, Organetto, F-Folk2,
Classic2, Studio, Tradition, Steierische, Trikitixa
Note: Whenever you select “ALL” and set a different reed type,
the “4.4 Button Noise” and “4.5 Reed Growl” settings are automatically adapted to the reed type you select here. You may
have to change those settings afterwards if you wish to use
different noise type.
V-Accordion
4.2 Register
The parameters on this page are
used in combination with the
parameters above. Here, you
decide which reeds should be
audible and how they should be
played. It is therefore on this page that you specify
whether the sounds you selected above will be used.
• If necessary, press the [DATA÷ENTER] knob to select
the “FOOT” parameter, then rotate the [DATA÷ENTER]
knob to select the reed you wish to assign another
sound to. The options are: ALL, 16, 8
• Press the [DATA÷ENTER] knob to select the “STATUS”
parameter, then rotate the [DATA÷ENTER] knob to
specify whether the selected reed should sound and
which buttons can be used to play it.
The STATUS options are: Off (no sound), Low (the
lower half), High (upper half), Whole (all buttons).
These options allow you to program what keyboard
players would call a “split”. You can create several
nifty combinations, like “High” for 8’ and “Low” for
16’ (or vice versa) or “Whole” for 16’ (all buttons) and
“High” for 8’ (only the upper three rows).
Note: Assigning the same partial STATUS (“High” or “Low”) to
both reeds is a bit odd, because it leaves you with only half the
number of active bass buttons. But it is possible…
4.3 Reed Volume
(Off, –30~“Std”~30, Default setting: Std) This is the last parameter that can be set for each
reed individually. It allows you
to create the desired “mix” (volume balance) for the active reeds.
This is a relative parameter, which means that its value
is added to or subtracted from the standard value
(“Std”). As a rule, it would be wise to decide which reed
is most important and set its Volume parameter to
“Std”. Then reduce or increase the volume of the “ancillary” reed to create the desired balance.
Note: The overall volume of the Free Bass section (all registers)
can be changed using the [BALANCE] knob.
4.4 Button Noise
The bass section of almost all
accordion instruments can be
played via buttons. Such buttons produce a typical noise
when pressed. On this page, you
can select the instrument whose button noises should
be used when you select this register. (Note that other
Free Bass registers can be assigned different noises.)
Notice that there is only one TYPE for the entire register. The options are: Bandoneon, I-Folk, I-Folk2, Classic,
Cajun, Jazz, F-Folk, D-Folk, Organetto, F-Folk2, Classic2,
Studio, Tradition, Steierische, Trikitixa
Use the LEVEL parameter to specify how prominent the
noise should be (–30~“Std”~30, Default setting: Std).
r
4.2 Register
Note: Whenever you select “ALL” for “4.1 Reed Type” and set a
different reed type, this noise setting is automatically adapted to
the reed type. It would therefore be a good idea to first select the
reed type and only then change the noise type.
4.5 Reed Growl
This parameter allows you to
simulate the typical noise a bass
reed makes just before it stops
vibrating altogether. Each
instrument of the accordion
family produces its own typical growl. The growl that
matches the sound selected with “4.1 Reed Type” probably yields the most realistic effect – but feel free to
select another one if you like it better.
• If necessary, press the [DATA÷ENTER] knob to select
the “TYPE” parameter, then rotate the [DATA÷ENTER]
knob to select one of the available instrument types:
Bandoneon, I-Folk, I-Folk2, Classic, Cajun, Jazz, F-Folk,
D-Folk, Organetto, F-Folk2, Classic2, Studio, Tradition,
Steierische, Trikitixa
• Press the [DATA÷ENTER] knob to select the “LEVEL”
parameter, then rotate the [DATA÷ENTER] knob to set
the volume of the Reed Growl parameter (–30~
“Std”~30).
Note: Whenever you select “ALL” for “4.1 Reed Type” and set a
different reed type, this growl setting is automatically adapted
to the reed type. It would therefore be a good idea to first
select the reed type and only then change the growl type.
4.6 Bellows Detune
(Off, Low, Standard, High,
Default setting: Standard) This
parameter further adds to the
realism of the sounds emulated
by your FR-7/FR-5. Here, you
can specify how strongly the pitch of the simulated
Free Bass reed(s) changes when you open or close the
bellows faster than usual.
If the “Standard” setting seems too mild, try “High”. If it
is too strong, use “Low”. If you do not want any detuning effect, select “Off”. The most convincing setting
usually depends on the selected instrument(s) (see “4.1
Reed Type”).
4.7 Reverb Send, 4.8 Chorus Send, 4.9 Delay Send
(0~127 for all three) Use these
parameters to set the Reverb, Chorus
or Delay send level (how much effect
should be applied to the Free Bass
section). The higher the value you set,
the more the Free Bass section will be
processed by the effect in question.
The other sections (Treble, Bass, etc.)
have the same parameters, so that
you can create a sound image with
various “levels” (foreground, background).
The effects themselves can be edited on separate pages
(see p. 56).
49
FR-7/FR-5 V-Accordion
Editing sounds | FREE BASS EDIT parameters
4.10 Free Bass MIDI TX
r
This page contains a series of
MIDI parameters for the
selected register you need to set
one by one.
See page 72 for details about
the MIDI parameters. These parameters are saved along
with all other Set parameters, which allows you to use
different MIDI settings for each Set – and even each
register within a Set.
50
V-Accordion r
ORC.BASS EDIT parameters
ORC.BASS EDIT parameters
The parameters of the ORC.BASS EDIT group allow you to edit the Orchestra Bass section. See page 27
for details about the Orchestra Bass section. See pages 35 and 37 for how to select and adjust the
parameters.
Press [UP] and [DOWN] simultaneously to select the value that is indicated as “Default setting”.
Important note
The selection of Orchestra Bass sounds can be automated on the “2.12 Bass Link” page (page 42) – for each
Treble register.
Saving your changes
Any changes you make can be saved even without
using the WRITE function (see p. 77). To avoid losing
your changes, it would be a good idea to take advantage of the following automatic routine.
Whenever you press [EXIT÷JUMP] after editing a Menu
parameter, the FR-7/FR-5 asks you whether you want
to save your changes:
“YES” is selected by default. If you want to save your
changes, proceed as described below. (If you don’t, turn
the [DATA÷ENTER] knob to select “NO”, then press the
[DATA÷ENTER] knob.)
Note: You can save your changes later using the WRITE function
(see p. 77). But be sure to do so before selecting another Set –
and before switching the FR-7/FR-5 off.
To save your changes:
(1) Press the [DATA÷ENTER] knob. The display now
responds with:
5.1 Lowest Note
This parameter allows you to
specify the lowest note the
selected sound can play. If you
have ever worked with a Roland
arranger module, you may be
familiar with the term “Wrap”. That is precisely what
this parameter does.
The Orchestra Bass sounds (like the Orchestra sounds of
the Treble section) are PCM waveforms (samples) of
acoustic instruments. Each acoustic instrument has a
set range: it cannot sound notes below or above that
range. A normally tuned 4-string bass guitar allows you
to play a low E, but not the D below it, for instance:
Samples (PCM waveforms), on the other hand, can
lower the pitch of a recorded sound almost indefinitely.
But that doesn’t sound very natural. The “Lowest Note”
parameter allows you to specify the lowest pitch the
sample can use. If you nevertheless play a lower note
on the button keyboard, it will be sounded one octave
above the corresponding pitch – and sound natural.
Here is an example:
If this is what you play on the button keyboard…
…after choosing… Lowest Note= E (28)
…these notes are transposed 1 octave up.
(2) If necessary, select another Set than the one you
are currently using.
(3) Press the [WRITE] button to save your changes. The
display now briefly confirms that your settings
have been stored:
The Orchestra Bass sound therefore sometimes changes
octaves. For some songs, the default setting (E 28) may
yield odd results, especially if you need to play walking
bass lines, etc. In that case, you can change the “Lowest
Note” setting to achieve a satisfactory result.
The options are: E 28, F 29, F# 30, G 31, Ab 32, A 33,
Bb 34, B 35, C 36; Default setting: E 28. (The figures
refer to the MIDI note numbers – each MIDI note has its
own “address”.)
Note: Do not switch off the FR-7/FR-5 or select another Set
before saving settings you want to keep: save them first.
51
FR-7/FR-5 V-Accordion
Editing sounds | ORC.BASS EDIT parameters
5.2 Orc Bass Release Time
5.7 Orc Bass MIDI TX
(0~63, Default setting: 0) This
parameter allows you change
the way in which a note stops
when you release the corresponding button. Though all
Orchestra Bass sounds have been prepared in such a
way as to decay naturally when a button is released,
there may be situations where the end of the notes is
too sudden for comfort.
In that case, you can increase this value. “0” means that
you agree with the preprogrammed Release value. All
other values cause the notes to linger increasingly
longer.
This page contains a series of
MIDI parameters for the Orchestra Bass part you need to set
one by one.
See page 72 for details about
the MIDI parameters. These parameters are saved along
with all other Set parameters, which allows you to use
different MIDI settings for each Set.
5.3 Orc Bass Volume
(Off, –30~“Std”~30, Default setting: Std) This parameter allows
you to set the level of the
Orchestra Bass part. See also
page 27.
5.4 Reverb Send, 5.5 Chorus Send, 5.6 Delay Send
r
(0~127 for all three) Use these
parameters to set the Reverb, Chorus
or Delay send level (how much effect
should be applied to the Orchestra
Bass section). The higher the value
you set, the more the Orchestra Bass
section will be processed by the effect
in question.
The other sections (Treble, Bass, etc.)
have the same parameters, so that
you can create a sound image with various “levels”
(foreground, background). Do note, however, that
reverb or delay effects are hardly ever used for bass
sounds.
The effects themselves can be edited on separate pages
(see p. 56).
52
V-Accordion r
ORCH. EDIT parameters
ORCH. EDIT parameters
The parameters of the ORCH. EDIT group apply to the Treble Orchestra section. See page 24 for details
about the Orchestra section. You may remember that it contains 22 sounds (because some registers
provide access to an “A” and a “B” sound). See pages 35 and 37 for how to select and adjust the
parameters.
Press [UP] and [DOWN] simultaneously to select the value that is indicated as “Default setting”.
Important note
The selection of Orchestra sounds and modes can be
automated using the “2.13 Orchestra Link” parameter
(page 43) – for each Treble register.
Saving your changes
Any changes you make can be saved even without
using the WRITE function (see p. 77). To avoid losing
your changes, it would be a good idea to take advantage of the following automatic routine.
Whenever you press [EXIT÷JUMP] after editing a Menu
parameter, the FR-7/FR-5 asks you whether you want
to save your changes:
“YES” is selected by default. If you want to save your
changes, proceed as described below. (If you don’t, turn
the [DATA÷ENTER] knob to select “NO”, then press the
[DATA÷ENTER] knob.)
Note: You can save your changes later using the WRITE function
(see p. 77). But be sure to do so before selecting another Set –
and before switching the FR-7/FR-5 off.
To save your changes:
(1) Press the [DATA÷ENTER] knob. The display now
responds with:
6.1 Orchestra Octave
(–1~0~1, Default setting: 0) This
parameter allows you to transpose the Orchestra section (i.e.
the currently selected orchestral
sound) up or down.
This can be interesting when you are using the Orchestra part in Dual mode (page 25) and want it to sound
above or below the selected Treble accordion register.
6.2 Orchestra Volume
(Off, –30~“Std”~30, Default setting: Std) This parameter allows
you to create the desired “mix”
(volume balance) between the
Treble accordion and the
Orchestra section.
This is a relative parameter, which means that its value
is added to or subtracted from the standard value
(“Std”).
6.3 Bellows Detune
(Off, Low, Standard, High,
Default setting: Standard) This
parameter allows you to specify
how strongly the Orchestra
sound’s pitch should be influenced by opening and closing the bellows faster than
usual. This may further add to the realism of sounds like
1A~4B, 6A, 6B and 10~12.
If the “Standard” setting seems too mild, try “High”. If it
is too strong, use “Low”. If you do not want any detuning effect, select “Off”. The most convincing setting
usually depends on the selected sound.
(2) If necessary, select another Set than the one you
are currently using.
(3) Press the [MENU÷WRITE] button to save your
changes. The display now briefly confirms that
your settings have been stored:
Note: Do not switch off the FR-7/FR-5 or select another Set
before saving settings you want to keep: save them first.
53
FR-7/FR-5 V-Accordion
Editing sounds | ORCH. EDIT parameters
6.4 Reverb Send, 6.5 Chorus Send, 6.6 Delay Send
6.8 Orchestra MIDI TX
(0~127 for all three) Use these
parameters to set the Reverb, Chorus
or Delay send level (how much effect
should be applied to the Orchestra
section). The higher the value you set,
the more the Orchestra section will be
processed by the effect in question.
It works much the same way as a
cathedral: the louder you sing, the
more reverb (chorus or delay) you
hear. In the case of the cathedral, singing louder means
that you increase the effect send level, i.e. the level of
the signal (your voice) that will be processed by the
acoustic environment.
The other sections (Bass, Free Bass, etc.) have the same
parameters, so that you can create a sound image with
various “levels” (foreground, background).
The effects themselves can be edited on separate pages
(see p. 56).
This page contains a series of
MIDI parameters for the Orchestra section you need to set one
by one. See page 72 for details
about the MIDI parameters.
These parameters are saved along with all other Set
parameters, which allows you to use different MIDI settings for each Set.
6.7 Aftertouch Pitch
(Off, 1/4 Down, 1/2 Down, 1/4
Up, 1/2 Up, Default setting: Off)
The FR-7/FR-5’s Treble keyboard
generates aftertouch messages.
“Aftertouch” refers to the fact
that you press a key even further down after playing a
note. This effect allows you to bend the pitch down
(temporarily lower the note) by a quarter (“1/4 Down”)
or a semi-tone (“1/2 Down”). Select “1/4 Up” or “1/2 Up”
to bend the notes up a quarter or a semi-tone. Select
“Off” to switch off the Orchestra section’s aftertouch
recognition.
The Treble section also contains this parameter. You are
thus free to decide whether both the accordion and the
orchestral sounds should be affected by aftertouch
messages or only one of them.
r
Note: This aftertouch effect applies to all Orchestra notes that
are sounding simultaneously. If you play a chord and then only
press down one key of the chord’s constituent notes, all notes are
bent by the same amount. (MIDI buffs call this “channel aftertouch”.)
Note: For organ sounds (8A PercOrgan, 8B JazzOrgan,
9A RotOrgan and 9B Trem Org), aftertouch allows you to alternate between the fast and slow speeds of the Rotary effect. (That
effect is automatically assigned to an organ sound when you
select it.) The speed switching function cannot be deactivated.
You can, however, also add pitch control to this switching function, and so control two functions via the aftertouch.
54
V-Accordion r
SET COMMON parameters
SET COMMON parameters
The SET COMMON group contains parameters that apply to all sections, but only within the framework
of the currently selected Set, most notably the parameters that specify the sound/character of the
Reverb, Chorus and Delay effects.
Important note
Never switch off the FR-7/FR-5 or select another Set
before saving the settings you wish to keep, because
doing so will erase your changes.
Be aware that the save function explained below only
saves the SET COMMON parameters. It does not save
the settings of the various sections and/or registers.
Saving your changes
Any changes you make can be saved even without
using the WRITE function (see p. 77). To avoid losing
your changes, it would be a good idea to take advantage of the following automatic routine.
Whenever you press [EXIT÷JUMP] after editing a Menu
parameter, the FR-7/FR-5 asks you whether you want
to save your changes:
About the effects parameters
The settings you perform here apply to all sections that
use the effect in question. Especially for the Reverb and
Chorus effects, it is therefore wise to work with universally usable settings. Try to consider these two as “general” effects that will be used by several parts at once.
The Delay effect, on the other hand, is probably only
useful when applied to one part (because too many
repeated sounds clutter up the sound image).
The connection of the sections with the effects processors is as follows:
Level
Chorus
Chorus
Send
Level
Reverb
Reverb
Send
Level
Delay
Send
Section
Delay
Volume
(e.g. Treble)
L
STEREO OUTPUT
sockets
“YES” is selected by default. If you want to save your
changes, proceed as described below. (If you don’t, turn
the [DATA÷ENTER] knob to select “NO”, then press the
[DATA÷ENTER] knob.)
Note: You can save your changes later using the WRITE function
(see p. 77). But be sure to do so before selecting another Set –
and before switching the FR-7/FR-5 off.
To save your changes:
(1) Press the [DATA÷ENTER] knob. The display now
responds with:
(2) If necessary, select another Set by turning the
[DATA÷ENTER] knob.
For your reference (and to avoid overwriting the
wrong SET COMMON settings), the display also shows
the name of the target Set memory (below the
arrow).
(3) Press the [MENU÷WRITE] button to save your
changes. The display now briefly confirms that
your settings have been stored:
R
7.1 Reverb Macro Type
This is where you can specify
what kind of effect the Reverb
processor should generate and
how loud it should be.
Note: You can also copy the Reverb
(or even all effects) settings from another Set. See page 64.
(1) If necessary, press the [DATA÷ENTER] knob to select
the “TYPE” parameter, then rotate the
[DATA÷ENTER] knob to select an effect type.
The TYPE parameter on this page is a “Macro” function, i.e. it recalls suitable preset values for all Reverb
parameters (Pre-LPF~RevPre DlyTm) on the “7.2
Reverb Parameters” page. The Macro therefore also
selects a “Character”. In many instances, editing only
the parameters on this page is enough.
The available options are:
Room1,
Room2,
Room3
These Reverbs simulate the reverberation
of a room. They provide a well-defined
spacious reverberation.
Hall1, Hall2
These Reverbs simulate the reverberation
of a concert hall with a deeper reverberation than the Room Reverbs.
Plate
This effect type simulates a plate Reverb
(a studio device using a metal plate to
simulate natural Reverb).
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FR-7/FR-5 V-Accordion
Editing sounds | SET COMMON parameters
Delay
This is a conventional Delay that produces echo effects.
Panning Dly
This is a special Delay in which the
delayed sounds move left and right. It is
effective when you are listening in stereo.
Note: Seeing that a delay effect usually only works for one
part, we recommend using the dedicated Delay processor for
echo effects. That way, the reverb effect can be used to
“deepen” the sound field.
(2) Press the [DATA÷ENTER] knob to select the “LEVEL”
parameter, then rotate the [DATA÷ENTER] knob to
set the Reverb processor’s output volume (0~127).
The important thing to remember here is that the
overall reverb volume depends on three things: the
Send level of the various sections, the output level of
the Reverb processor and the setting of the [REVERB]
knob.
If one of them is set to “0”, there will be no reverb. If
the Send level of a section (Orchestra, for example) is
set to “0”, only the selected sound will have no
reverb. Other sections (whose Send value is different
from “0”), however, can still be processed by the
Reverb effect. If the LEVEL parameter on this page is
set to “0”, the Reverb processor is effectively off for
all sections.
7.2 Reverb Parameters
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This page contains several
parameters that need to be
selected using the TYPE entry.
Be sure to first select the
parameter you want to change
and then set its value.
(1) If necessary, press the [DATA÷ENTER] knob to select
the “TYPE” parameter, then rotate the
[DATA÷ENTER] knob to select a parameter.
■ Character (0~7)—Character only specifies the Reverb
type you need (see the table above). It does not load preset
values for the Pre-LPF~RevPreDlyTm parameters. Selecting
another Character thus does not reset the other parameter
values to their factory settings. A Macro, on the other
hand, calls up a Reverb type and suitable settings for that
effect.
■ Pre-LPF (0~7)—A low-pass filter can be applied to the
high-frequency range before the signals coming from the
various sections are processed by the reverb. Higher values
make the Send signals darker, which results in a mellower
reverberation. Note that this parameter only applies to the
signals that are sent to the Reverb processor. It does not
alter the sound of the active sections.
■ Time (0~127)—This parameter sets the duration of the
reverb effect. Higher values result in longer reverberation.
■ Level (0~127)—This parameter sets the output volume
of the Reverb processor. It is linked to its namesake on the
“7.1 Reverb Macro Type” page. Higher values result in
louder reverberation.
■ Dly Fback (0~127)—This parameter is only available
when you set Character to “6” or “7”. It specifies the number of echoes: higher values result in more repetitions.
56
■ Pre-Dly T. (0~127)—This parameter sets the time interval between the original (“dry”) signal and the onset of the
selected reverb effect. Higher values result in a longer predelay time, simulating a larger reverberant space.
(2) Press the [DATA÷ENTER] knob to select the “VALUE”
parameter, then rotate the [DATA÷ENTER] knob to
set the parameter value (see the indications
between brackets).
If you change one of the above parameter values, an
“(E)” appears next to the “TYPE” name to signal that
you are no longer using the presets of the macro in
question.
If you then select another TYPE, however, your
changes are lost and replaced by the settings of the
newly selected macro.
Note: Simultaneously press the [UP] and [DOWN] buttons to
recall the factory setting for the currently active parameter.
7.3 Chorus Macro Type
Chorus broadens the spatial
image of the sound, adding
richness. You can choose from 8
types of chorus. The “Macro”
label still does what its name
implies. Be aware, however, that there is no “Character”
parameter on page “7.4”.
Note: You can also copy the Chorus (or even all effects) settings
from another Set. See page 64.
(1) If necessary, press the [DATA÷ENTER] knob to select
the “TYPE” parameter, then rotate the
[DATA÷ENTER] knob to select an effect type.
The TYPE parameter on this page is a “Macro” function, i.e. it recalls suitable preset values for all Chorus
parameters on the “7.4 Chorus Parameters” page. In
many instances, editing only the parameters on this
page is enough.
The available options are:
Chorus 1~4
These are conventional Chorus effects
that add spaciousness and depth to the
sound.
FBack Chr
This is a Chorus with a Flanger-like effect
and a soft sound.
Flanger
This is an effect that sounds somewhat
like a jet airplane taking off or landing.
Short Delay
This is a delay with a short Delay time.
ShortDly FB
This is a short delay with many repeats.
Note: Seeing that a delay effect usually only works for one
part, we recommend using the dedicated Delay processor for
echo effects. That way, the chorus effect can be used to widen
the stereo image.
(2) Press the [DATA÷ENTER] knob to select the “LEVEL”
parameter, then rotate the [DATA÷ENTER] knob to
set the Chorus processor’s output volume (0~127).
V-Accordion r
7.4 Chorus Parameters
The important thing to remember here is that the
overall chorus volume depends on three things: the
Send level of the various sections, the output level of
the Chorus processor and the setting of the
[CHORUS] knob.
If one of them is set to “0”, there will be no chorus. If
the Send level of a section (the BASS section, for
example) is set to “0”, only that section will have no
chorus. Other sections (whose Send value is different
from “0”), however, can still be processed by the Chorus effect. If the LEVEL parameter on this page is set
to “0”, the Chorus processor is effectively off for all
sections.
7.4 Chorus Parameters
This page contains several
parameters that need to be
selected using the TYPE entry.
Be sure to first select the
parameter you want to change
and then set its value.
(1) If necessary, press the [DATA÷ENTER] knob to select
the “TYPE” parameter, then rotate the
[DATA÷ENTER] knob to select a parameter.
■ Pre-LPF (0~7)—A low-pass filter can be applied to the
high-frequency range before the signals coming from the
various sections are processed by the chorus. Higher values
make the Send signals darker, resulting in a mellower chorus sound. Note that this parameter only applies to the signals that are sent to the Chorus processor. It does not alter
the sound of the active sections.
■ Level (0~127)—This parameter sets the output volume
of the Chorus processor. It is linked to its namesake on the
“7.3 Chorus Macro Type” page. Higher values result in a
more prominent Chorus effect.
■ Feedback (0~127)—This parameter sets the level at
which the Chorus sound is re-input (fed back) into the
Chorus. By using Feedback, a denser Chorus sound can be
created. Higher values result in a greater feedback level.
■ Delay (0~127)—This parameter sets the delay of the
Chorus effect. Higher values will cause greater deviation in
pitch of the chorus sound.
■ Rate (0~127)—This parameter sets the speed (frequency) at which the chorus sound is modulated. Higher
values result in faster modulation.
■ Depth (0~127)—This parameter sets the depth at which
the chorus sound is modulated. Higher values result in a
more pronounced modulation.
■ Chr® Rev (0~127)—This parameter sets the amount of
chorus sound that is sent to the Reverb processor. The
value “127” effectively allows you to connect the Chorus
and Reverb effects in series (Chorus before Reverb). If you
do not want the chorus signal to be processed by the
Reverb effect, set this value to “0”.
Level
Chorus
Chorus
Send
Level
Reverb
Reverb
Send
Level
Delay
Send
Section
Delay
Volume
(e.g. Treble)
STEREO OUTPUT
sockets
L
R
■ Chr®Dly (0~127)—This parameter sets the amount of
chorus sound that is sent to the Delay processor. Higher
values result in more sound being sent. The value “127”
effectively allows you to connect the Chorus and Delay
effects in series (Chorus before Delay). If you do not want
the chorus signal to be processed by the Delay effect, set
this value to “0”.
Level
Chorus
Chorus
Send
Level
Reverb
Reverb
Send
Level
Delay
Send
Section
Delay
Volume
(e.g. Treble)
STEREO OUTPUT
sockets
L
R
(2) Press the [DATA÷ENTER] knob to select the “VALUE”
parameter, then rotate the [DATA÷ENTER] knob to
set the value (see the indications between brackets
above).
If you change one of the above parameter values, an
“(E)” appears next to the “TYPE” name to signal that
you are no longer using the presets of the macro in
question.
If you then select another TYPE, however, your
changes are lost and replaced by the settings of the
newly selected macro.
Note: Simultaneously press the [UP] and [DOWN] buttons to
recall the factory setting for the currently active parameter.
57
FR-7/FR-5 V-Accordion
Editing sounds | SET COMMON parameters
7.5 Delay Macro Type
A delay effect creates echoes. It
can also broaden a sound by
adding a slightly delayed copy
to the original sound (a technique often used for rock-’n’roll songs and in Karaoke bars). The “Macro” label still
does what its name implies. Be aware, however, that
there is no “Character” parameter on page “7.6”.
Note: You can also copy the Delay (or even all effects) settings
from another Set. See page 64.
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(1) If necessary, press the [DATA÷ENTER] knob to select
the “TYPE” parameter, then rotate the
[DATA÷ENTER] knob to select an effect type.
The TYPE parameter on this page is a “Macro” function, i.e. it recalls suitable preset values for all Delay
parameters on the “7.6 Delay Parameters” page. In
many instances, editing only the parameters on this
page is enough.
The available options are:
Delay 1~3
These are conventional Delays. 1, 2 and 3
have progressively longer delay times.
Delay 4
This is an effect with a rather short delay
time (a kind of “slap back” effect).
Pan Delay
1~3
The repetitions move between left and
right. This is effective when listening in stereo. 1, 2 and 3 have progressively longer
delay times.
Pan
Delay 4
This is a rather short delay with the echoes
moving between left and right. It is effective when listening in stereo (a kind of stereo “slap back” effect).
Delay®
Rev
Reverb is added to the Delay sound which
moves between left and right. It is effective
when listening in stereo.
Pan
Repeat
The delay signal moves between the left
and right channels, yet the stereo position
is different from the effects listed above. It
is effective when listening in stereo.
(2) Press the [DATA÷ENTER] knob to select the “LEVEL”
parameter, then rotate the [DATA÷ENTER] knob to
set the Delay processor’s output volume (0~127).
The overall delay volume depends on three things:
the Send level of the various sections, the output
level of the Delay processor and the setting of the
[DELAY] knob.
If one of them is set to “0”, there will be no delay
effect. If the Send level of a section (the Treble section, for example) is set to “0”, the sound of that section is not repeated. Other sections (whose Send
value is different from “0”), however, can still be processed by the Delay effect. If the LEVEL parameter on
this page is set to “0”, the Delay processor is effectively off for all sections. This parameter is connected
to the [DELAY] knob.
58
7.6 Delay Parameters
This page contains several
parameters that need to be
selected using the TYPE entry.
Be sure to first select the
parameter you want to change
and then set its value.
(1) If necessary, press the [DATA÷ENTER] knob to select
the “TYPE” parameter, then rotate the
[DATA÷ENTER] knob to select a parameter.
■ Pre-LPF (0~7)—A low-pass filter can be applied to the
high-frequency range before the signals coming from the
various sections are processed by the Delay processor.
Higher values make the Send signals darker, resulting in a
mellower delay sound. Note that this parameter only
applies to the signals that are sent to the Delay processor.
It does not alter the sound of the active sections.
■ Level (0~127)—This parameter sets the overall volume
of the three delay lines (center, left and right). Higher values result in a louder delay effect.
■ Time C (0.1~1000)—The Delay effect of the FR-7/FR-5
allows you to set three delay times: center (C), left (L) and
right (R). “Time C” sets the delay time of the Delay located
at the center.
■ Time L/R (4%~500%)—These parameters sets the delay
time of the left- or right-channel delay line as a percentage
of the central Delay. The value “100%” means that the left
or right delay repeats at the same speed as the center delay
(see above).
■ Level C/L/R (0~127)—These parameters set the volume
of the central, left and right delays individually, allowing
you to create the desired “mix”.
■ Feedback (–64~0~+63)—This parameter specifies the
number of times the delay will repeat. If you select “0”, the
delay will not repeat. Higher values result in more repetitions. With negative (–) values, the center delay will be fed
back with inverted phase. This is especially effective for
small “Time C” values.
■ Dly®Rev (0~127)—This parameter sets the amount of
delay sound that is sent to the Reverb. Higher values mean
that the echoes will be more prominent in the reverb signal. Be careful not to overdo this effect because it tends to
blur the sound image.
Level
Chorus
Chorus
Send
Level
Reverb
Reverb
Send
Level
Delay
Send
Section
Delay
Volume
(e.g. Treble)
STEREO OUTPUT
sockets
L
R
If you change one of the above parameter values, an
“(E)” appears next to the “TYPE” name to signal that
you are no longer using the presets of the macro in
question.
If you then select another TYPE, however, your
changes are lost and replaced by the settings of the
newly selected macro.
V-Accordion
7.7 Name
This function allows you to
name the selected Set (8 characters). It would be a good idea
to use the name of the instrument you “built” using the TREBLE, BASS, FREE BASS, etc., group parameters – or the
name of the Song you wish to use this Set for.
(1) Select the character position (indicated by a dark
square) by pressing [UP] (previous character),
[DOWN] (next character) or the [DATA÷ENTER] knob
(next character).
(2) Turn the [DATA÷ENTER] knob to select the desired
character.
• Press [UP] and [DOWN] simultaneously to erase the
currently selected character (it will become a space).
Example: To replace the period (“.”) in “Fr.Folk” with a
space (“Fr Folk”), position the cursor on the “.” and
simultaneously press [UP]/[DOWN].
• To insert insert a space before the currently selected
character and push all subsequent characters one
position to the right, select the character that should
follow the space, then press and hold [UP]. Example:
To insert a space after the “.” in “Fr.Folk” (creating the
name “Fr. Folk”), position the cursor on the second “F”
and hold down [UP] for a while.
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7.7 Name
• To delete the character indicated by the cursor and
move subsequent characters one position to the left,
select it (example: “Fr.Folk”) and press and hold
[DOWN] (“FrFolk”).
7.8 Master Bar Recall
This parameter allows you to
choose the Treble register (1~
14) that can be activated by
pressing the Master bar. Note
that this is only possible while
the Treble section is in Solo mode (page 25) or while the
Orchestra part is set to “CANCEL”.
In all other cases (Dual, High, Low modes), the Master
bar is indeed used to mute the Orchestra part. And in
Solo mode, the first press allows you to return from the
Orchestra (if it’s on) to the Treble section.
7.9 Icon
This parameter allows you to
assign an icon to your Set,
which is displayed above its
name on the Main page. In most
cases, you will probably choose
a picture that somehow illustrates the contents of your
settings, but that is entirely up to you. The FR-7/FR-5
contains 40 preset icons (stored in its internal memory).
Note: If the name already contains 8 characters (“Bandoneo”),
the last character is erased (example: “Band one”).
SYSTEM parameters
The SYSTEM group contains parameters that are related to all Sets and all sections: they apply to the
FR-7/FR-5 as a whole. See pages 35 and 37 for how to select and adjust the parameters.
Press [UP] and [DOWN] simultaneously to select the value that is indicated as “Default setting”.
Saving your changes
Any changes you make can be saved even without
using the WRITE function (see p. 77). To avoid losing
your changes, it would be a good idea to take advantage of the following automatic routine.
Whenever you press [EXIT÷JUMP] after editing a Menu
parameter, the FR-7/FR-5 asks you whether you want
to save your changes:
(1) Press the [DATA÷ENTER] knob. The display now
responds with:
Note: The GLOBAL page shows all parameters that can be
saved to the Global memory (there is only one such memory):
the Master Tune and Scale Tune parameters of the TUNING
group (the Transpose setting is never saved) as well as the SYSTEM and MIDI groups.
(2) Press the [WRITE] button to save your changes. The
display briefly shows a confirmation:
“YES” is selected by default. If you want to save your
changes, proceed as described below. (If you don’t, turn
the [DATA÷ENTER] knob to select “NO”, then press the
[DATA÷ENTER] knob.)
To save your changes:
Note: If you selected “NO”, the edited Global settings will be
used until you switch off the FR-7/FR-5 (or change them
again).
59
FR-7/FR-5 V-Accordion
Editing sounds | SYSTEM parameters
8.1 LCD Contrast
8.4 Pedal Controller
(1~7, Default setting: 4) The
information in the LCD display
may be difficult to view after
turning on your FR-7/FR-5 or
after extended use. Your viewing angle and the current lighting conditions can also
affect the appearance of the display.
In such cases, use this parameter to adjust the contrast.
The smaller the value, the darker the “background”
becomes.
This page allows you to assign
functions to the FBC-7’s footswitches. As you will notice
below, there are also functions
for remotely controlling external instruments, like a DisCover 5M, an arranger module or any other sequencer that understands the messages transmitted by the FBC-7.
8.2 Parameter Access
This function was already discussed on page 18: it allows you
to specify how many MENU
parameters should be accessible.
“Full” mode is ideal for in-depth
programming of your FR-7/FR-5. “Easy” mode appears a
sensible choice for quick adjustments during a concert,
performance, etc.
Note that the FR-7/FR-5 also provides functions you
can set without even entering its MENU structure (see
p. 28). They have the advantage that you do not need
to specify whether or not to save them (so that you
won’t have to keep your audience waiting). If you do
want to save those settings, press the [WRITE] button.
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8.3 Bellows Curve
(Fixed Low, Fixed Med, Fixed
High, X-Light, Light, Standard,
Heavy, X-Heavy) This parameter
allows you to specify how the
FR-7/FR-5 should react to the
bellows’ movements. You may remember that there are
several functions that can be controlled via the
strength/speed with which you push or pull the bellows
(2.7 Bellows Detune, 3.6 Bellows Detune, 3.5 Reed
Growl, 4.6 Bellows Detune, 6.3 Bellows Detune).
If you think those parameters do not respond the way
you would like them to, try another curve that better
“translates” your movements.
There are three “Fixed” curves that always use the same
value, no matter how hard or lightly you push/pull the
bellows (no dynamic control). “Low” means that a low
value is used, “Med” represents a medium value and
“High” a high value.
The remaining settings do depend on the strength with
which you push/pull the bellows, but in different ways:
“Light” means that you do not need to push/pull hard
to achieve a meaningful effect. “X-Light” requires even
less strength (the “X” stands for “extra”). “Standard”
refers to a normal response (or so we believe). “Heavy”
provides a greater variety of nuances and “X-Heavy” is
even more detailed. It would be a good idea to select
each curve without the “Fixed” addition, play a few
notes, select the next curve, etc. until you find the
response that feels just right.
60
Note: The assignments you program here are only meaningful if
you connect the FR-7/FR-5 to the supplied FBC-7.
(1) If necessary, press the [DATA÷ENTER] knob to select
the “SWITCH” parameter, then rotate the
[DATA÷ENTER] knob to select the footswitch on the
FBC-7 whose function you wish you define.
(2) Press the [DATA÷ENTER] knob to select the
“ASSIGN” parameter, then rotate the [DATA÷ENTER]
knob to select one of the following functions:
■ Set Up/Set Down—The footswitch allows you to select
the next (Down) or previous (Up) Set memory. After selecting Set 01 (or 40), pressing the footswitch again takes you
to Set 40 (or 01). These are the default functions of footswitches [1] and [2].
Note: There is also a function that allows you to assign a specific Set number to a footswitch (see “Set 1~40” below).
■ Regist Up/Regist Dwn—The selected footswitch allows
you to select the next (Down) or previous (Up) Treble register. If you combine this with the “2.12 Bass Link” and “2.13
Orchestra Link” parameters, this allows you to reconfigure
almost all sections simply by pressing this footswitch.
Note: There is also a function that allows you to assign a specific register number to a footswitch (see “Register 1~14”
below).
■ Treble Sust—The footswitch can be used to hold the Treble notes (accordion) transmitted via MIDI whose keys you
are holding down when you press the footswitch. You can
then release the keys – the notes go on sounding until you
release the footswitch. This is for MIDI control only.
■ Bass Sust—The footswitch can be used to hold the bass
notes of the Bass section transmitted via MIDI (but not the
chords). This is for MIDI control only.
■ Chord Sust—The footswitch can be used to hold the
chord notes of the Bass section transmitted via MIDI (but
not the bass notes). This is for MIDI control only.
■ Orch Sust—The footswitch can be used to hold the
Orchestra notes of the Treble section. This also applies to
the note messages transmitted via MIDI. At the same time,
the internal Orchestra notes are held (if that section is on).
■ Orch Bs Sust—The footswitch can be used to hold the
Orchestra notes of the Bass section transmitted via MIDI.
This is for MIDI control only.
■ Orch On/Off—The footswitch can be used to switch the
Orchestra Treble section on and off. This has no effect on
the Orchestra’s mode setting, nor can you specify which
Orchestral sound should be used. (You can, however, use
“2.13 Orchestra Link” for that.)
V-Accordion r
8.5 Bass & Chord Mode
■ Start/Stop—This setting only makes sense if you connect
the FBC-7’s MIDI OUT socket to the MIDI IN socket of an
external sequencer, arranger module, drum machine or
DisCover 5M. Pressing the footswitch once will cause the
external device to start playback. Obviously, you need to
load the desired song, select a Music Style, etc., beforehand. Press the footswitch again to stop playback.
■ Intro—This setting only makes sense if you connect the
FBC-7’s MIDI OUT socket to the MIDI IN socket of an
arranger module. In this case, the footswitch can be used
to select the “Intro” pattern of the active Music Style.
Note: Arranger instruments of other manufacturers may not
understand this message. If in doubt, see their MIDI implementation section for details. The MIDI message transmitted by this
footswitch is PC83 (program change) on MIDI channel 10.
■ Fill Up—This setting only makes sense if you connect the
FBC-7’s MIDI OUT socket to the MIDI IN socket of an
arranger module. In this case, the footswitch can be used
to select a fill-in pattern of the active Music Style that
selects a more richly orchestrated accompaniment pattern
upon completion.
Depending on the arranger instrument you’re controlling,
you could use this footswitch up to three times to jump to
the most complex level. If you then press the footswitch
again, however, nothing happens. You thus cannot cycle
back to the lowest level (which is called “Original” on older
Roland arranger instruments).
Note: Some arranger instruments provide only two accompaniment levels.
Note: Arranger instruments of other manufacturers may not
understand this message. The MIDI message transmitted by
this footswitch is PC81 (program change) on MIDI channel 10.
■ Fill Down—This setting only makes sense if you connect
the FBC-7’s MIDI OUT socket to the MIDI IN socket of an
arranger module. In this case, the footswitch can be used
to select a fill-in pattern of the active Music Style that
selects a more scarcely orchestrated accompaniment pattern upon completion.
Certain arranger instruments provide four accompaniment
levels, so that you could use this footswitch up to three
times to return to the most fundamental level (please see
the manual of the arranger instrument you’re controlling
to find out how many levels it provides). If you then press
the footswitch again, however, nothing happens. You thus
cannot cycle back to the highest level (which is called
“Variation” on older Roland arranger instruments).
Note: Some arranger instruments provide only two accompaniment levels.
Note: Arranger instruments of other manufacturers may not
understand this message. The MIDI message transmitted by
this footswitch is PC82 (program change) on MIDI channel 10.
■ Ending—This setting only makes sense if you connect
the FBC-7’s MIDI OUT socket to the MIDI IN socket of an
arranger module. The footswitch can be used to select the
“Ending” pattern of the active Music Style.
Note: Arranger instruments of other manufacturers may not
understand this message. If in doubt, see their MIDI implementation section for details. The MIDI message transmitted by this
footswitch is PC84 (program change) on MIDI channel 10.
■ Set 1~40—The selected footswitch can be used to recall
the specified Set (i.e. the Set whose number you choose).
Consider using “Set Up/Set Down” if you prefer to cycle
through all available Sets.
■ Register 1~14—The footswitch can be used to recall the
selected Treble register. That is why you must specify a
number here. Consider using “Regist Up/Regist Dwn” if you
prefer to cycle through all available registers.
8.5 Bass & Chord Mode
(Default setting: 2 Bass Rows)
This parameter allows you to
specify the number of button
rows for playing bass notes. The
default is 2 bass rows and 4
chord rows. By selecting “3 Bass Rows”, you thus gain
20 bass buttons (an entire row) and lose the “dim”
chord buttons – but that may just be more convenient
for you. See also the illustration below.
Note: The FR-7/FR-5 is supplied with several reference caps
designed to help you locate the bass and chord buttons without
looking at them. See also page 22.
8.5 Bass & Chord Mode
61
FR-7/FR-5 V-Accordion
Editing sounds | SYSTEM parameters
8.6 Free Bass Mode
(C3= note number 48)
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Note: The note names on the bass buttons correspond to the MIDI note numbers. The note range of the Bass part is 1 octave.
Note: The actual sound range depends on the type of reed and footage.
8.6 Free Bass Mode
8.7 Stereo Width
(Default setting: Minor 3rd) This
parameter allows you to choose
the note system used in Free
Bass mode. We already mentioned that there are a vast
number of accordion varieties. The same is true of Free
Bass systems.
Your FR-7/FR-5 contains the most popular ones. Be
aware that the system you select here is only used
when you activate the FR-7/FR-5’s Free Bass mode. It is
of no consequence for the “regular” Bass mode. See the
illustration on the next page for the note assignments.
(Full, –1~–63, Default setting:
–15) As stated on p. 14, much
care has been taken to provide a
natural stereo image for the
accordion sounds. If you think
the stereo image is too wide for comfort (or if you prefer to set the Pan controls on your mixing console differently), you can use this parameter to reduce the stereo image.
“Full” means that the original stereo image is used,
while “–63” corresponds to an extremely narrow stereo
image. All other values represent slight (or increasingly
drastic) reductions of the stereo width.
Note: The FR-7/FR-5 is supplied with several reference caps
designed to help you locate the bass buttons without looking at
them. See also page 22.
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V-Accordion r
8.8 Auto Power OFF
8.8 Auto Power OFF
(Disabled, 10 min, 15 min, 20
min, Default setting: 10 min)
This parameter allows you to
specify how long the FR-7/FR-5
should wait before deciding that
you won’t be using it for a while. If you have ever
worked with a computer, you may remember that a
similar function is called “sleep”, “energy saver” or the
like.
Obviously, this is meant to preserve battery power and
so this function only applies when the FR-7/FR-5 is not
connected to the FBC-7. To “wake” the FR-7/FR-5 after
it has fallen asleep, press its [POWER] button. Select
“Disabled” to switch this function off.
Note: See p. 32 for how to recharge the battery.
8.9 Startup
This page contains several
parameters that allow you to
specify what the FR-7/FR-5
should do when you switch it
on.
Be sure to first select the parameter you want to
change and then set its value.
• If necessary, press the [DATA÷ENTER] knob to select
“TYPE”, then rotate the [DATA÷ENTER] knob to choose
the parameter you want to set. The possibilities are:
Parameter
Settings Meaning
Set
1~40
Orchestral Link On, Off
Bass Link
On, Off
Allows you to specify which Set
should be loaded at power-on.
Allow you to specify which Link
function (see p. 42) should be activated at power-on: Orchestral Link,
Bass Link, both (both “On”) or neither (both “Off”).
• Press the [DATA÷ENTER] knob to select the “ASSIGN”
parameter, then rotate the [DATA÷ENTER] knob to
select the desired setting.
8.10 Startup Name
Here comes a parameter that
may prove invaluable if you regularly play with other V-Accordion users. It allows you to enter
a short message (your name, for
example) that is displayed each time you switch the
FR-7/FR-5 on. If you also own a cell phone, this parameter probably sounds familiar.
See “Entering names” on p. 40 for details. You can enter
up to 8 characters.
Here is what your message
could look like (it is displayed
during ±2 seconds each time
the FR-7/FR-5 is switched on):
8.11 Orch. Bass Touch
(Off, Low, Medium, High, Bellows, Default setting: Medium)
This parameter allows you to
specify the velocity sensitivity of
the bass buttons. As the name
implies, this setting is only used by the following
Orchestra Bass sounds: “1 Acoustic”, “3 Fingered”,
“4 Fretless”, “5 Picked”, “7 Tuba Mix”.
Select “Off” if you do not wish to play the selected
sound dynamically. “Low” means that even relatively
light button presses already allow you to play loud
notes. “High” represents the most responsive velocity
curve that requires a considerable amount of strength
for fortissimo notes, but it also provides more expressive options.
“Bellows” means that the selected Orchestra Bass sound
is controlled by the bellows movements – i.e. not the
velocity values generated by the bass buttons.
UTILITY parameters
The UTILITY group contains three kinds of parameters: those that keep you informed (to check the battery status), several parameters that allow you to copy settings and three parameters for archiving
your settings via MIDI. See pages 35 and 37 for how to select and adjust the parameters.
9.1 Battery Status
The FR-7 comes with a Ni-Mh
battery that allows you to use it
without connecting it to the
supplied FBC-7. The FR-5 provides the same battery compartment as the FR-7, but the battery is an option. (As long
as you do not purchase such a battery, you need to
connect the FR-5 to the supplied FBC-7.)
Note: There is no “EDIT” page here, because there is no parameter
you can set.
Depending on how the FR-7/FR-5 is powered, the display shows one of the following messages:
This message means that the FR-7/
FR-5 is powered by the battery in
its compartment. The battery icon
shows how much power is left.
It would be a good idea, however, to stop by this
page before you go on stage or start playing, because
what you see then might just convince you to use the
FBC-7.
This message means that the battery is being recharged by the
FBC-7. This is not something that is
performed automatically. You need
to connect the FR-7/FR-5’s “TO FBC-7” socket to the
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FR-7/FR-5 V-Accordion
Editing sounds | UTILITY parameters
“TO FR-7/FR-5 V-ACCORDION” socket on the FBC-7
and press the BATTERY CHARGER button (so that it
lights). The battery icon indicates the amount of
energy already available.
When the battery is fully charged, the display briefly
shows a “Recharge Complete” message.
While the FR-7/FR-5 is connected to the FBC-7, the
latter supplies the power to your V-Accordion (the
battery in the FR-7/FR-5’s compartment is therefore
bypassed). However, while the BATTERY CHARGER
button lights, the FR-7/FR-5 cannot be used, because
the FBC-7 “concentrates” on recharging the FR-7/
FR-5’s battery.
This message means that the FR-7/
FR-5 contains a battery, which is
not used, because the FR-7/FR-5 is
connected to the FBC-7. The FBC-7
therefore supplies the power to your V-Accordion.
The battery icon nevertheless informs you about the
battery’s current charge.
This message means that the FR-7/
FR-5 contains no battery. It is connected to the FBC-7, however (otherwise you would not be able to
switch it on). In the case of an FR-5 without an
optional battery, this is the only message you’ll ever
see.
9.2 Copy ALL Effects
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This parameter allows you to
copy the settings of all three
effects processors from one Set
to another. This may help you
save time, because the effects
processors contain an impressive number of parameters. Careful: there are also parameters that allow you
to copy just the Reverb, Chorus or Delay settings. Do
not use this parameter if you only wish to reuse the
Reverb settings of another Set, for example.
(1) After selecting this page, press the [DATA÷ENTER]
knob until the following page appears:
(2) Use the [DATA÷ENTER] knob to select the Set whose
effects settings you wish to copy to the current
Set.
You can also select another memory for “TO” if you
want to copy the settings to another Set than the
one that is currently selected.
(3) Press [MENU÷WRITE] to copy the settings.
The display confirms this operation:
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9.3 Copy Reverb, 9.4 Copy Chorus, 9.5 Copy Delay
These three parameters allow you to
copy the Reverb, Chorus or Delay settings of another Set to the currently
selected Set. Unlike the “9.2 Copy ALL
Effects” parameter, which copies all
effects settings, these three parameters only import the selected processor’s settings. That way, you can use
the Reverb settings of Set 1, the Chorus settings of Set 10 and the Delay
settings of Set 28 in Set 5.
(1) After selecting the page that corresponds to the
effects processor whose settings you wish to copy,
press the [DATA÷ENTER] knob until the relevant
page appears:
(2) Use the [DATA÷ENTER] knob to select the Set whose
effects settings you wish to copy to the current
Set.
You can also select another memory for “TO” if you
want to copy the settings to another Set than the
one that is currently selected.
(3) Press [MENU÷WRITE] to copy the settings.
The display confirms this operation:
9.6 Copy SET
This parameter allows you to
copy the settings of one Set to
another Set memory. It copies
everything related to a Set: the
Common parameters (including
the effects) as well as the parameters of the various
sections (Treble, Orchestra, Bass, etc.).
Warning: All settings of the target memory are overwritten. It might be a good idea to archive the target
Set using “9.8 Bulk Dump SET” before proceeding.
(1) On the page shown above, press the [DATA÷ENTER]
button.
The display now changes to:
V-Accordion r
9.7 Bulk Dump ALL, 9.8 Bulk Dump SET
(2) Press the [DATA÷ENTER] knob to select the “FROM”
parameter, then turn it to select the Set whose settings you wish to copy.
By default, the FR-7/FR-5 selects the number of the
Set you are currently using.
(3) Press the [DATA÷ENTER] knob to select the “TO”
parameter, then turn it to select the Set memory
to which the settings should be copied.
Carefully check whether you have selected the correct Set memories, then…
(4) Press [MENU÷WRITE] to copy the settings.
The display confirms this operation:
9.9 Restore SET
This function allows you to load
the settings of one of the preprogrammed Sets into the currently selected Set memory.
Warning: This command overwrites all settings of the current Set, i.e. the parameters
of the following sections: 2. Treble Edit, 3. Bass Edit, 4.
Free Bass Edit, 5. ORC Bass Edit, 6. Orchestra Edit and 7.
Set Common.
It can come in handy, though, if you want to return to
one of the factory Sets and use it as is or as a starting
point for new edits.
(1) On the page shown above, press the [DATA÷ENTER]
button.
The display now changes to:
9.7 Bulk Dump ALL, 9.8 Bulk Dump SET
These two functions allows you to transmit all of the
FR-7/FR-5’s settings or just the settings of the currently
selected Set to an external MIDI device (which could be
a second FR-7/FR-5). See page 75 for details.
(2) Rotate the [DATA÷ENTER] knob to select the factory
Set you want to load.
(3) Press [MENU÷WRITE] to load the settings.
The display confirms this operation:
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FR-7/FR-5 V-Accordion
MIDI functions | About MIDI
7. MIDI functions
Your FR-7/FR-5 also transmits and receives MIDI data. In this chapter we’ll look at what MIDI is and does and which MIDI
functions are available on the FR-7/FR-5.
IMPORTANT REMARK: To take advantage of the FR-7/FR-5’s MIDI functions, you must connect it to the supplied FBC-7,
because the FR-7/FR-5 itself has no MIDI sockets.
MIDI OUT
MIDI IN
External MIDI device
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About MIDI
Even though your FR-7/FR-5 is already a remarkably
flexible instrument (quite unlike any other accordion
available today), you may also want to use it with other
MIDI-compatible instruments, sequencers and computers to record your performances in the same way as
keyboard players, drummers, guitarists, etc. have been
doing for a while.
Another important application for the FR-7/FR-5’s MIDI
functions is controlling an arranger or DisCover 5M
module that supplies the accompaniment. “Arranger
modules” (like the Roland RA-800) use short accompaniment patterns that can be selected in realtime and
whose key depends on the note information they
receive. You can select those patterns by assigning the
corresponding MIDI messages to the FBC-7’s footswitches (see p. 60), so that you do not have to stand or
sit next to your arranger module.
The DisCover 5M, on the other hand, works with Standard MIDI Files. By programming Song Chains on the
DisCover 5M, you can prepare your entire set list.
Both module types (and all MIDI-compatible sound
sources) also allow you to use the FR-7/FR-5’s Treble
and Bass keyboards for playing sounds the FR-7/FR-5
does not provide.
This is possible thanks to a common language for musical applications, which is called “Musical Instrument
Digital Interface” or “MIDI” for short. MIDI has a lot in
common with the internet: you can link one or several
instruments to one another via a cable (but you don’t
need a telephone line).
66
You can also use the FR-7/FR-5 as “master keyboard”,
i.e. an instrument that transmits MIDI messages to a
device (or software program) that can record MIDI messages. Such a device or program is called a “sequencer”.
To take advantage of the FR-7/FR-5’s MIDI functions,
you must connect the FBC-7 as follows:
MIDI OUT: This socket transmits messages describing actions (such as playing on a keyboard) to the
MIDI IN jack on the external device. The receiving
MIDI device executes the incoming MIDI messages
and plays notes, selects other sounds, etc.
MIDI IN: This socket receives the MIDI messages
transmitted by an external MIDI device.
MIDI THRU: This socket retransmits the MIDI messages received via the FBC-7’s MIDI IN port. You can
connect it to the MIDI IN port of an another MIDI
device.
Note: The MIDI THRU port does not transmit the MIDI messages generated by the FR-7/FR-5. Those messages are only
sent to the FBC-7’s MIDI OUT port.
MIDI can simultaneously transmit and receive messages
on 16 channels, so that up to 16 instruments (or parts
of a module or synthesizer) can be controlled. Nowadays, most instruments –like your FR-7/FR-5– are multitimbral, which means that they can play several musical parts with different sounds. This requires the use of
several MIDI channels. The FR-7/FR-5, for instance, has
a Treble, a Bass, an Orchestra Treble and an Orchestra
Bass section that can be played simultaneously. They
can transmit and receive on different channels.
V-Accordion r
Working with a sequencer and other tone generators
The FR-7/FR-5’s sections use the following MIDI channels:
Part
Channel
Treble
1
Bass/Free Bass
2
Chord
3
Orchestra (Treble)
4
Orchestra Bass
5
Basic channel (for selecting Sets)
13
As you see, there are separate channels for the chord
and bass buttons, even though they both belong to the
Bass section. That separation may look distracting at
first, but it actually makes sense. It allows you to use
the bass buttons for controlling an external bass sound,
while the chord buttons could control a piano sound,
for example. If they used the same MIDI channel, the
bass line would have to be played by a piano or the
chords would be played by a bass sound (unless you
own a MIDI instrument that allows you to program
note ranges for incoming MIDI messages).
Working with a sequencer and other tone
generators
The FR-7/FR-5 can be used as “input device” for recording your music. In the case of a keyboard instrument,
such a device is usually called a “master keyboard”. For
other kinds of MIDI input sources, the term “controller”
is used. There are actually two kinds of master keyboards: those that only transmit MIDI data and contain
no tone generator, and those that can also be used for
playing back music (synthesizers, digital pianos, organs,
etc.).
Sequencers do not record the audio of the notes you
play. They only register “events” whose position and
distance specify when the notes are to be played. The
sequencer as such usually cannot sound what you
record – you need an instrument with a tone generator
for that. A sequencer must therefore be connected to
an electronic sound source, like your FR-7/FR-5, for
example.
The FR-7/FR-5 can be used for two things: to “input”
new parts (i.e. MIDI events) and to play them back.
When you play on the FR-7/FR-5’s keyboards, it sends
MIDI data to the FBC-7’s MIDI OUT socket. That socket
must be connected to the sequencer’s MIDI IN port.
MIDI data always go from OUT to IN:
External sequencer
MIDI IN
MIDI OUT
(FBC-7)
FR-7/FR-5’s tone
generator
MIDI OUT
If the FR-7/FR-5 is used as tone generator for an external sequencer, you must connect the sequencer’s MIDI
OUT socket to the FBC-7’s MIDI IN port (because MIDI
data always go from OUT to IN).
Though you can also play the FR-7/FR-5 from another
MIDI instrument, we do not really recommend doing so,
because your V-Accordion has far more versatile performance functions than any other MIDI controller
available today: the FR-7/FR-5 translates all known
accordion techniques and physical effects into MIDI
messages to precisely reproduce the natural behavior of
an acoustic accordion. Conversely, it might be interesting to try out the FR-7/FR-5 with a Roland Fantom-XR
module (or a DisCover 5M), because the FR-7/FR-5’s
countless expressive “gizmos” are bound to further
enhance the stunning realism of the module’s sounds.
If you use the FR-7/FR-5 as a MIDI controller while
recording a sequence, all actions you perform on the
FR-7/FR-5 (including the bellows pressure strength) are
included in the recorded part. They can therefore be
sent back to the FR-7/FR-5 (by the sequencer) – and
then, all expression details are preserved. Be aware,
however, that you also need a versatile sound source
(like the FR-7/FR-5’s) to use the recorded MIDI events
to their full potential.
A “sequencer” can also be a software program running
on a computer. Most computers do not have MIDI sockets to which you can connect the FBC-7’s MIDI IN and
OUT sockets. You therefore also need one of the following:
• A sound card with a joystick port to which you can
connect MIDI cables;
• A card called a “MIDI interface” that is installed in
your computer;
• An external device to which you connect the MIDI
cables coming from the FBC-7 at one end and whose
other end is connected to the computer’s USB port
(companies like Edirol, www.edirol.com, offer several
models with a varying number of inputs and outputs).
You also need a software program that allows you to
record and play back your music. Such programs are
available from companies like Cakewalk. Please ask your
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FR-7/FR-5 V-Accordion
MIDI functions | About MIDI
Roland dealer for details. And finally, you may need to
install applications called “drivers” on your computer to
ensure that it can talk and listen to the MIDI interface.
Final note regarding sequencers
If you use the FR-7/FR-5 as MIDI controller for recording new songs, there is one more thing you need to be
aware of. Always ask yourself which MIDI sound source
should play back the part you are recording.
• If the FR-7/FR-5’s tone generator is not used for the
part you are recording, you need to connect the
external module’s MIDI IN socket to the sequencer’s
MIDI OUT port and activate the sequencer’s “MIDI
Soft Thru” function:
External module
MIDI IN
External sequencer
MIDI IN
MIDI OUT
(FBC-7)
FR-7/FR-5’s tone
generator
MIDI OUT
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Note that this is only necessary for recording new
material. You do not have to worry about them during playback.
The FR-7/FR-5, for its part can only either transmit
MIDI messages or receive them (but not both simultaneously). There is thus nothing special you need to
do and that needs to be changed back later. It only
receives messages if the “Ext” function is on (see
page 70).
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V-Accordion r
Global MIDI parameters
Global MIDI parameters
The parameters discussed here are part of a separate mode (called “MIDI”). Their settings, however, are saved to the FR-7/
FR-5’s Global memory (there is no separate MIDI memory). Let us first look at the parameters that apply to all Sets. See
page 72 for the parameters that can be set for each section individually and saved to a Set.
MIDI channel numbers (10.1 RealTime RX-TX)
The table on page 67 specifies the default MIDI channel
assignments the FR-7/FR-5 uses. Those choices are
based on how most accordion players prefer (or are
allowed) to use their instrument. You can, however,
change the MIDI channel assignments. An obvious candidate for such a change would be the Treble section if
you want it to conform to a generally accepted (i.e.
standardized) usage, whereby the melody part transmits on MIDI channel 4.
There is indeed a format called “General MIDI” that
requires you to use MIDI channel 4 for the melody.
General MIDI-compatible musical instruments use that
channel for the most important part of a song, so it
may be a good idea to assign it to the Treble section.
The table on page 67 states that channel 4 is already
used by the (Treble) ORCHESTRA section. That is not
really a problem as long as you don’t use that section. If
you use it alongside the Treble section, changing the
Treble’s MIDI channel to 4 would mean that both sections transmit on the same MIDI channel. And that
would be a problem – or rather one of two problems:
• In Dual mode (page 25), each note you played would
be transmitted twice and recorded like that (or
played back by the external tone generator).
• In High or Low mode, the “accompaniment” and “solo
line” would control the same sound on an external
module, which may not correspond to what you had
in mind.
In such cases, either assign a different MIDI channel to
the ORCHESTRA section – or select “Off” (no transmission).
Note that such changes are only necessary when you
want to add the sound of an external tone generator to
the Treble section’s accordion sound. If you are working
with an arranger module or DisCover 5M whose sole
function is to provide an accompaniment, you may
have to select “Off” for all of the FR-7/FR-5’s sections.
And even that is only necessary if you use the FBC-7’s
switches to remotely control the external instrument
(page 60) and therefore connected the FBC-7’s MIDI
OUT socket to the module’s MIDI IN port.
Also bear in mind that the channel assignments set
here apply both to the transmission (“TX”) and
reception (“RX”) of MIDI data.
And finally: in DUAL, HIGH and LOW modes (page 25),
the Treble keyboard transmits on two channels simultaneously – the Treble and Orchestra channels. If you add
the Orchestra Bass part to the Bass or Free Bass section,
the same applies to the bass notes. As stated earlier, the
chord buttons of the Bass keyboard use a separate MIDI
channel.
(1) Press and hold the [EXIT÷JUMP] button until the
display looks as follows:
(2) Press register [10] to specify the function group.
The MIDI channels can be set via a parameter of the
“10. MIDI” group, which is why you need to select
that group.
(3) Press register [1] to select the following page:
(4) Press the [DATA÷ENTER] knob to select “PART” (left
entry), then turn it to select the part whose MIDI
channel you want to set.
The entries you can select are: “Treble”, “Orchestra”,
“Bass/Free”, “Chord”, “OrcBass” and “Basic Ch”.
The “Basic Ch” (default setting “13”) can be used for
selecting Sets from an external MIDI device (using
program change numbers 1~40). If your external
source sends Bank Select messages along with the
program change number, CC00 and CC32 must both
be set to “0”.
(5) Press the [DATA÷ENTER] knob to select “CHANNEL”
(right entry), then turn it to select a MIDI channel.
The options are: “Off” and 1~16. Select “Off” if the
part in question should neither receive nor transmit
MIDI data.
Though it is perfectly possible to assign the same
MIDI channel to several sections, the result is usually
disappointing and may lead to a lot of confusion.
(6) If necessary, repeat steps (4) and (5) to assign different MIDI channels to the remaining parts.
(7) Press [EXIT÷JUMP] to return to the Main page.
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FR-7/FR-5 V-Accordion
MIDI functions | Global MIDI parameters
The FR-7/FR-5 now asks you whether you want to
save your changes:
(1) Press and hold the [EXIT÷JUMP] button until the
display looks as follows:
“YES” is selected by default. If you want to save your
changes, proceed as described below. (If you don’t,
turn the [DATA÷ENTER] knob to select “NO”, then
press the [DATA÷ENTER] knob.)
Note: By performing the following steps, you also save other
settings you may have changed without saving them. This
MIDI parameter indeed belongs to the “Global” group.
(8) Press the [DATA÷ENTER] knob. The display now
responds with:
(2) Press register [10] to specify the function group.
The “Ext. Seq. Playback” parameters can be set via a
parameter of the “10. MIDI” group, which is why you
need to select that group.
(3) Press register [2] to select the following page:
(9) Press the [WRITE] button to save your changes. The
display briefly shows a confirmation:
Note: If you selected “NO”, the edited Global settings will be
used until you switch off the FR-7/FR-5 (or change them
again).
Preventing sections from sending MIDI data
(10.2 Ext. Seq. Playback)
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There may be situations where you use a MIDI sequence
as accompaniment for your accordion solo. If such a
sequence already contains the bass part (for example),
you may not want to play it again, yet not doing anything with your left hand may feel a little strange. By
selecting “On” for a section, you switch off its connection with the internal tone generator and to the
FBC-7’s MIDI OUT port. The section therefore no longer
transmits data (which would allow you to pretend you
are playing while you’re not). But it now receives MIDI
data from a sequencer or other instrument you connect
to the FBC-7’s MIDI IN port.
70
(4) Press the [DATA÷ENTER] knob to select “PART” (left
entry), then turn it to select the part whose setting
you want to change.
The parts you can select here are: “Treble”, “Orchestra” (Treble keyboard) and “Bass-Chord”.
(5) Press the [DATA÷ENTER] knob to select “VALUE”
(right entry), then turn it to select “On” (disconnect
the part from the internal tone generator and MIDI
OUT socket) or “Off” (normal operation).
A part you disconnect from its keyboard and the MIDI
OUT socket is flagged as “EXT. MIDI” on the Main
page:
(In this example, all sections are disconnected from
the FR-7/FR-5’s tone generator, which is probably a
highly unlikely configuration.)
(6) Press [EXIT÷JUMP] to return to the Main page.
The FR-7/FR-5 now asks you whether you want to
save your changes:
“YES” is selected by default. If you want to save your
changes, proceed as described below. (If you don’t,
turn the [DATA÷ENTER] knob to select “NO”, then
press the [DATA÷ENTER] knob.)
V-Accordion r
Solving MIDI buffer problems
Note: By performing the following steps, you also save other
settings you may have changed without saving them. This
MIDI parameter indeed belongs to the “Global” group.
(3) Press register [3] to select the following page:
(7) Press the [DATA÷ENTER] knob. The display now
responds with:
(8) Press the [WRITE] button to save your changes. The
display briefly shows a confirmation:
Note: If you selected “NO”, the edited Global settings will be
used until you switch off the FR-7/FR-5 (or change them
again).
Solving MIDI buffer problems
(10.3 Bellows TX Resolution)
This parameter allows you to specify how many data
the FR-7/FR-5’s bellows may transmit for expression
purposes (see also “Expression” on p. 74). As long as the
external sequencer you work with does not display a
“MIDI buffer overflow” message, you can leave its setting at “High”. If, however, the bellows’ data amount is
too much for the receiving sequencer (because such
data are transmitted on five channels simultaneously),
select a different setting. In that case, the amount of
data will be reduced. This leads to a coarser resolution,
and maybe even audible steps, but at least, your
sequencer will be able to record the data. If “Medium”
still generates too many data, select “Low”.
“TX” means that this parameter only applies to data
sent by the FR-7/FR-5. It’s own MIDI buffer is big
enough to receive high-resolution data.
(1) Press and hold the [EXIT÷JUMP] button until the
display looks as follows:
(4) Rotate the [DATA÷ENTER] knob to select “High”
(high resolution), “Medium”, or “Low” (low resolution).
(5) Press [EXIT÷JUMP] to return to the Main page.
The FR-7/FR-5 now asks you whether you want to
save your changes:
“YES” is selected by default. If you want to save your
changes, proceed as described below. (If you don’t,
turn the [DATA÷ENTER] knob to select “NO”, then
press the [DATA÷ENTER] knob.)
Note: By performing the following steps, you also save other
settings you may have changed without saving them. This
MIDI parameter indeed belongs to the “Global” group.
(6) Press the [DATA÷ENTER] knob. The display now
responds with:
(7) Press the [WRITE] button to save your changes. The
display briefly shows a confirmation:
Note: If you selected “NO”, the edited Global settings will be
used until you switch off the FR-7/FR-5 (or change them
again).
(2) Press register [10] to specify the function group.
The “Ext. Seq. Playback” parameters can be set via a
parameter of the “10. MIDI” group, which is why you
need to select that group.
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MIDI functions | MIDI parameters for the various sections/parts
MIDI parameters for the various sections/parts
The MIDI parameters discussed below belong to separate groups and are saved for the corresponding sections. This
means that each Set can use different MIDI settings and thus control external MIDI devices in various ways. If you are
serious about using the FR-7/FR-5’s MIDI potential, carefully read the following before editing the available parameters.
Important remarks
The parameters discussed below apply to the transmission of MIDI data (“TX”) and therefore only to MIDI
messages that are generated when you yourself play on
the FR-7/FR-5.
Furthermore, these messages are only transmitted by
sections whose “10.2 Ext. Seq. Playback” parameter is
set to “Off” (see above).
Bear in mind that the MIDI messages discussed below
are only executed by an external tone generator if its
MIDI receive (“RX”) channel is set to the number you
assigned to the section in question (page 69).
(3) Press the [DATA÷ENTER] knob to select “MESSAGE”
(left entry), then turn it to select the parameter
you want to set.
The parameters are explained below.
(4) Press the [DATA÷ENTER] knob to select “VALUE”
(right entry), then turn it to set the desired value.
(Press [DATA÷ENTER] again, select another parameter and edit its value.)
(5) Press [EXIT÷JUMP] to return to the Main page.
The FR-7/FR-5 now asks you whether you want to
save your changes:
Sections
The parameters discussed here are available in the following sections: Treble, Bass (and Chord, which is considered a separate section on the MIDI level), Free Bass,
Orchestra and Orchestra Bass.
The reason why they are included in the section parameters rather than the MIDI group is that the MIDI group
applies to the entire FR-7/FR-5 (all sections, all Sets),
while the parameters below can vary from Set to Set. If
you combine this functionality with the “9.6 Copy SET”
function (page 64), you can change the way external
MIDI devices are controlled simply by selecting another
Set – and still use exactly the same internal sounds:
after setting the various section parameters (and saving
them), copy the Set to a different memory and only
change the MIDI parameters.
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Procedure for setting these parameters
To access the parameters discussed below, proceed as
follows:
(1) Select the parameter group of the section you wish
to edit.
Either press the [MENU÷WRITE] button and select the
parameter group with the [DATA÷ENTER] knob or use
the JUMP TO function (press and hold the
[EXIT÷JUMP] button, then enter the parameter
address using the Treble registers, see p. 35).
(2) Select the parameter.
(If you used the JUMP TO function above, the parameter is already selected.) Press the [MENU÷WRITE]
button and select the parameter with the
[DATA÷ENTER] knob.
The following are MIDI functions:
2.14 Treble MIDI TX
3.10 Bass MIDI TX
3.11 Chord MIDI TX
4.10 Free Bass MIDI TX
5.7 Orc Bass MIDI TX
6.8 Orchestra MIDI TX
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“YES” is selected by default. If you want to save your
changes, proceed as described below. (If you don’t,
turn the [DATA÷ENTER] knob to select “NO”, then
press the [DATA÷ENTER] knob.)
(6) Press the [DATA÷ENTER] knob.
(7) Press the [WRITE] button to save your changes. The
display briefly shows a confirmation:
Note: If you selected “NO”, your changes will be used until you
switch off the FR-7/FR-5, select another Register or change
them again.
Parameters
Here are the MIDI parameters that can be set for each
register of a section separately. Remember that they
only apply to MIDI messages the FR-7/FR-5 sends to
external devices. Do not forget to select the register
whose MIDI parameters you wish to edit before actually changing them.
■Note
(On, Off, Default setting: On) The MIDI standard
translates almost all actions performed on a musical
instrument into commands that can be sent to
another instrument. The result of such a transmission
is that your actions are either recorded by a
sequencer or faithfully replicated by the receiving
instrument.
The most fundamental information that travels
across a MIDI cable is related to the notes you are
playing. That information is conveyed using so-called
Note-on messages. (Each note has a unique MIDI
number.)
V-Accordion
Set this parameter to “Off” if the external instrument
should not double the notes you are playing on the
Treble or Bass keyboard.
■Octave
(–3~0~3) Here is a parameter that allows you to
transpose the Note-on messages transmitted by the
section in question (if “Note” is set to “On”) up to
three octaves up or down.
This can be used for songs where an accordion register of the Treble section (for example) should be doubled by a piccolo flute played by an external module
whose notes would be far too low if they were used
as is. As stated above, each MIDI note has a unique
number. This parameter allows you to add (or subtract) 12 (“1” octave), 24 (“2” octaves) or 36 (“3”
octaves) to (from) the note numbers generated by
your playing.
Another application for this parameter could be to
use the bass notes you play on the FR-7/FR-5 both as
(accordion) bass and counter-melody played by a
digital piano, for example. In this case, you probably
need to transpose the Bass register 3 octaves up.
■CC00, CC32, PC
(Off, 0~127 for CC00 & CC32; Off, 1~128 for PC)
Here are three messages that belong together. The
“oldest” message is called “program change” or “PC”
for short. It has been around since the inception of
the MIDI standard. It is used to select sounds or
memories on the receiving instrument simply by
recalling another sound (or memory) on the transmitting instrument.
What you set here is transmitted to the FBC-7’s MIDI
OUT port whenever you select the register you are
currently editing. (You can set separate addresses for
each register.) This allows you to cause an external
module to select the sounds that match the accordion, etc., sounds you defined.
Select “Off” if a register should not send CC00, CC32
and/or PC messages.
Why are there three messages? When the MIDI standard was developed, some 20 years ago, 128 memories seemed a lot, which is why it was decided to use
a dedicated message type (program change) for
selecting memories on an external device.
The entire MIDI standard evolves around the magic
number “128”. Given that there is no way of expanding that number, so-called Bank Select messages
were later added to accommodate the growing number of memories (modules with more than 2,000
sounds are quite common these days).
At the time, neither CC00, nor CC32 had dedicated
functions and so these two control change messages
were picked for bank selection.
Two bank addresses (“MSB” and “LSB”) with 128 possibilities each, plus 128 Program Change numbers
provide 128 x 128 x 128 values= 2,097,152 possible
memories.
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Parameters
Transmitting only Bank Select messages does nothing
at all, while working only with program change messages means that you are limited to the 128 memories of the currently active memory bank.
To switch banks and select a memory on the external
module you need to transmit:
• A value for control change CC00 (MSB)
• A value for control number CC32 (LSB)
• A program change number
See the manual of the receiving MIDI instrument for
the MSB and LSB values it supports.
Be aware that this system allows you to send program change numbers to an external instrument that
lie outside the range of the FR-7/FR-5’s registers (1~
14 for Treble, 1~7 for Bass/Free Bass/Orch. Bass, 1~22
for Orchestra). Such “excess” program numbers are
ignored by the FR-7/FR-5 when you transmit them
back (from a sequencer, for example). Example: if you
select PC= 49 and transmit that value to a sequencer
(to select a strings sound on an external module, for
instance), the external module behaves as you expect
when the sequencer track transmits that value. If you
then decide to use the FR-7/FR-5’s ORCHESTRA section for your string part, that section will not switch
sounds (because it only recognizes program numbers
1~22).
Note: If PC is set to “Off”, the CC00 and CC32 values are not
transmitted (CC00/CC32 must always be followed by a program change number).
■Volume
(Off, 0~127, Default: 100) This parameter allows you
to specify the volume value (CC07) to be transmitted
by the register whenever you select it while playing.
That way, the MIDI instrument you are controlling is
automatically set to the desired level. Remember that
selecting “0” silences the receiving MIDI instrument.
Select “Off” if the register should not transmit this
message. Note that the FR-7/FR-5 does not execute
this message if it is returned to the FR-7/FR-5 via the
external device’s “Soft Thru” function.
■Panpot
(Off, 0~127, Default: 64) This parameter allows you
to specify the Pan value (CC10) to be transmitted by
the register whenever you select it while playing.
That way, the MIDI instrument you are controlling
automatically selects the desired stereo position. “0”
correspond to hard left, “64” to dead center, and
“127” to hard right. Note that the FR-7/FR-5 does not
execute this message if it is returned to the FR-7/
FR-5 via the external device’s “Soft Thru” function.
Select “Off” if the register should not transmit this
message.
■Reverb
(Off, 0~127, Default: 40) This parameter allows you
to specify the Reverb Send Level value (CC91) to be
transmitted by the register part whenever you select
it. Selecting “0” will set the receiving MIDI instrument
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FR-7/FR-5 V-Accordion
MIDI functions | MIDI parameters for the various sections/parts
to “dry” (no Reverb), while “127” represents the maximum Reverb Send level. Select “Off” if the register
should not transmit this message.
Note: If there is no audible change, you may have to check the
Reverb effect settings on the receiving MIDI instrument.
Note: Not all MIDI instruments have a reverb effect and even
if they do, they may not support this control change number
(this is especially true of older instruments).
■Chorus
(Off, 0~127, Default: 0) This parameter allows you to
specify the Chorus Send Level value (CC93) to be
transmitted by the register whenever you select it.
“0” will set the receiving MIDI instrument to “dry” (no
Chorus), while “127” represents the maximum Chorus
Send level. Select “Off” if the register should not
transmit this message.
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Note: If there is no audible change, you may have to check the
Chorus effect settings on the receiving MIDI instrument.
Note: Not all MIDI instruments have a chorus effect and even
if they do, they may not support this control change number
(this is especially true of older instruments).
■Velocity
(On, 1~127) Your FR-7/FR-5 is velocity sensitive. That
is a very learned term for the fact that the volume
and brightness of the notes you play on the Treble or
button keyboard depend on how hard (or fast) you
press the keys/buttons. The accordion sounds do not
respond to these playing dynamics, but the Orchestra
(Treble and Bass) sounds do and so do most MIDIcompatible sound modules.
Even though the MIDI standard recognizes 128 different velocity values, only 127 can actually be used
for expression purposes. That explains why the setting range is 1~127. Value “0” is usually used to signal the end of a note (i.e. when you release a key or
button).
This parameter allows you to specify whether the
velocity values corresponding to the strength with
which you press a key/button should be transmitted
(“On”) or whether your playing dynamics should not
be translated as such. In the latter case, you need to
select a value (1~127) that will be applied to all notes
that are transmitted via MIDI. “64” is still relatively
soft, so even lower values are probably not what you
want in most cases. Fixed velocity values can be useful for playing organ sounds on an external module.
Note that the setting you select here has no effect
when the “Note” parameter is set to “Off”, because
note numbers are always transmitted along with a
velocity value (any value different from “0” also
means “start playing this note”). Sending only a
velocity value without specifying the note to which it
applies doesn’t make sense.
■Expression
(Off, Bellows, Pedal) You probably know that the
strength/speed with which the bellows is pressed or
pulled influences the sound – which corresponds to
an acoustic accordion’s response.
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This effect can be translated into a MIDI message
most external instruments understand. The MIDI
standard provides a message (“control change”) for
remotely controlling the volume of an external
instrument: CC11. It is chiefly used for expression
purposes (similar to the way in which a guitarist or
organ player uses a volume pedal).
If you want to use the bellows for expressive purposes, set this parameter to “Bellows”.
If you don’t (because the external instrument is too
sensitive and therefore changes its volume too
often), select “Off”.
If you purchased an optional EV-5 expression pedal,
which you connected to the FBC-7’s EXPRESSION
PEDAL socket, you can also control the relative volume by foot. In that case, set this parameter to
“Pedal”.
■AfterT (only for the Treble and Orchestra sections)
The Treble keyboard also generates aftertouch messages. Aftertouch is usually used for temporary
changes to a sound’s volume, timbre or pitch (this
needs to be set on the receiving instrument). Used
right, it can be a very powerful expressive tool.
The downside is, however, that aftertouch messages
usually represent a massive amount of data, which
makes it a lot harder to find the MIDI messages you
want to edit on an external sequencer, not to mention the fact that your song files become a lot
heavier than they need to be.
Besides, many sounds/parts on external MIDI instruments are set to ignore these messages by default, so
that you would end up sending a lot of information
for nothing. That is why we recommend setting this
parameter to “Off” and only select “On” if you really
mean to take advantage of the Treble keyboard’s
aftertouch capability.
V-Accordion r
Archiving your settings via MIDI (Bulk Dump)
Archiving your settings via MIDI (Bulk Dump)
MIDI can also be used for transmitting parameter and memory settings from the FR-7/FR-5 to an external MIDI device
and back.
Archiving your settings with a sequencer
The Bulk Dump parameters allow you to transmit the
contents of one or all Set memories to a second FR-7 or
FR-5, an external sequencer, computer or data filer.
Sending these data to other instruments (a digital
piano, synthesizer, etc.) does nothing at all. That’s
because the setting data are special MIDI messages only
one model (or model family) understands. They are
called “system exclusive messages” – or “SysEx” for
short. By transmitting them to a second FR-7/FR-5,
however, you can “copy” the settings of your V-Accordion to that of a friend, colleague or student.
Even a sequencer or data filer does not know what the
messages mean and so does not use them in any way. It
merely records them. Afterwards, you only need to start
playback on your sequencer or data filer to transmit the
settings back to the FR-7/FR-5.
(1) Connect the FBC-7’s MIDI OUT socket to the
sequencer’s/computer’s MIDI IN socket.
See page 66 for a connection diagram. Obviously, you
also need to connect the FR-7/FR-5 to the FBC-7.
Note: Your computer needs to be equipped with (or connected
to) an appropriate MIDI interface.
(2) If you are working with a computer, launch the
sequencer program.
(3) Create or select an empty song.
(4) Create (or select) an empty track.
The track’s MIDI channel is of no importance here.
You need to ensure, however, that the sequencer/
program accepts SysEx data. If necessary, switch off
the MIDI filter in question (see the manual of your
sequencer or software).
(5) Switch off the sequencer’s MIDI Echo (or Soft Thru)
function.
If that’s too tedious, disconnect the MIDI cable from
the sequencer’s/computer’s MIDI OUT socket. This is
to ensure that the sequencer doesn’t transmit the
SysEx data back to the FR-7/FR-5 right away, which
might cause problems.
(6) Activate the record-ready mode of the track you
selected/created.
Note: It would be wise not to change the tempo on your
sequencer/in the software. By default, most sequencers/programs use the tempo value = 120. Leave it that way (or else
do whatever is necessary to ensure that the new tempo value
is stored along with the data).
(8) On the FR-7/FR-5, press and hold the [EXIT÷JUMP]
button, then press register [9].
Depending on whether you want to archive all Sets
or just the settings of one Set, either press register [7]
(9.7 Bulk Dump ALL) or [8] (9.8 Bulk Dump SET). The
display now responds with:
–OR–
Before going on tour, etc., select “ALL” to make a
backup copy of your Sets. Select “SET” to transmit
only the settings that are actually needed for the
song in question. This transmits the settings of the
Set you are currently using.
(9) Start recording on your sequencer/computer.
Wait until the count-in (one or two measures) is finished, then…
(10) Press [MENU÷WRITE] on the FR-7/FR-5 to start the
transmission of the bulk data.
The display now responds with:
–OR–
Press [EXIT÷JUMP] if you do not want to transmit your
settings after all.
(11) Wait until the following message appears, then
stop recording on your sequencer.
(12) Name the “song” (it may only contain data so far)
and save it to hard or floppy disk.
To transmit the settings back to the FR-7/FR-5 at a
later stage, see below.
(7) If you want to archive the settings of just one Set
(9.8 Bulk Dump SET), select it on the FR-7/FR-5
using the SET [√][®] buttons.
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FR-7/FR-5 V-Accordion
MIDI functions | Archiving your settings via MIDI (Bulk Dump)
Sending Bulk data (back) to the FR-7/FR-5
The FR-7/FR-5 not only sends SysEx data to external
devices (see above), it also receives them. In fact, the
FR-7/FR-5 accepts several kinds of Bulk data:
• Entire Sets that overwrite the contents of all internal
Set memories. If you don’t want to lose the settings
that currently reside in the FR-7/FR-5’s internal
memories, archive them first using the procedure
described on page 75.
• One Set: in this case, you can choose where to save
the received Set data.
(1) Connect the FBC-7’s MIDI IN socket to the
sequencer’s/computer’s MIDI OUT socket.
See page 66 for a connection diagram. Obviously, you
also need to connect the FR-7/FR-5 to the FBC-7.
Note: Your computer needs to be equipped with (or connected
to) an appropriate MIDI interface.
(2) If you are working with a computer, launch the
sequencer program.
(3) Load the song that contains the data you want to
transmit.
(4) On your sequencer, perform all necessary actions
to ensure that it transmits SysEx data.
See its manual for details.
Note: If you are about to transmit a group of 40 Sets (“ALL”) to
the FR-7/FR-5, ask yourself whether you have archived the Set
data that currently reside in the internal memories or whether
it is OK to overwrite them. Be aware that by proceeding with
an “ALL DATA” file, you replace all internal settings.
(5) Start playback of the data file or song on your
sequencer, etc.
The display now responds with:
sound (and MIDI) settings received from the computer, but they will be “forgotten” when you switch
the FR-7/FR-5 off or select another Set.
“YES” is selected by default. If you want to save your
changes, proceed as described below. (If you don’t,
turn the [DATA÷ENTER] knob to select “NO”, then
press the [DATA÷ENTER] knob.)
To save the Set data:
(7) Press the [DATA÷ENTER] knob. The display now
responds with:
(8) Rotate the [DATA÷ENTER] knob to select the target
memory for the received Set (1~40).
Be aware that the data in the memory you select
here will be overwritten.
(9) Press the [WRITE] button to save your changes. The
display briefly shows a confirmation:
In some cases, the display may show the following
message. It means that the SysEx data were incomplete or that the checksum was missing or wrong.
–OR–
Note: When transmitting an “ALL DATA” file to the FR-7/FR-5,
wait until the “WRITE COMPLETE” message appears before
stopping playback on your sequencer. Failure to do so will render your FR-7/FR-5 inoperable. If that happens, you need to
initialize it (see “Restoring the factory defaults” on p. 78).
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(6) Stop playback of your sequencer.
If you transmitted one Set to the FR-7/FR-5, the display now responds with:
This message means that the corresponding data currently reside in the FR-7/FR-5’s temporary memory
but that you need to save them if the FR-7/FR-5
should remember them. A Set received in this way
can be used until you select another (internal) Set.
If you think you’ll need the Set at a later stage, be
sure to save it. If you only need it temporarily, you
can select “NO”. The FR-7/FR-5 will then use the
76
Press [EXIT÷JUMP] to return to the Main page, reduce
the speed at which the data are transmitted by your
sequencer, and try again. If that does not help, check
the data file you are transmitting.
V-Accordion r
Miscellaneous functions
8. Miscellaneous functions
Saving settings using the WRITE function
While editing the MENU functions, you are usually asked whether you want to save the changes you have just made. You
may remember that you also have the option (“NO”) to ignore that message, which may be useful if you are not sure yet
whether the new version is actually better than the previous one.
Important remarks
• The WRITE function on the display page shown below
only applies to the registers that you are currently using. If you decided not to save the settings
of the last Treble register you edited (for example), do
not select another Treble register until you have
made up your mind. Otherwise, your changes are lost
(in which case the “Treble” field on the “WRITE” page
shown below no longer has an “E” flag).
In other words: you cannot edit register [1], not save
it, then edit register [2], not save it, etc. In this example, the changes made to register [1] are lost as soon
as you select register [2] (i.e. even before actually start
editing it).
The same applies to the Bass, Free Bass, Orchestra and
Orchestra Bass sections.
• Bear in mind that Bass/Free Bass/Orchestra/Orchestra
Bass registers are selected automatically when the
Link function is on (page 42). Such a switch also
erases changes to the previously selected registers if
you decided not to save them when the FR-7/FR-5
suggested doing so.
• The Bass and Free Bass sections cannot be used
simultaneously. Switching to the other mode before
saving the changes you may have made for the register of the previous mode (Bass or Free Bass) also leads
to those changes being lost.
Using WRITE
(1) Press and hold the [MENU÷WRITE] button until the
following page appears:
Note: To save the Global settings, skip to step (7), for the
Orchestra, Orchestra Bass and Set Common parameters, skip to
step (6).
(2) Rotate the [DATA÷ENTER] knob to select the section
whose settings you want to save.
The possibilities are:
■ Global—The 1. Tuning, 8. System and 10. MIDI settings.
■ Treble—The settings of the selected Treble register, i.e.
the 2. Treble Edit group.
■ Bass—The 3. Bass Edit or 4. Free Bass Edit settings.
■ Set Com—The 7. Set Common settings.
■ Orchest—The 6. Orchestra Edit settings.
■ Orch Bs—The 5. ORC Bass Edit settings.
(3) Press the [DATA÷ENTER] knob to jump to a page
where you can name your settings.
This functionality is only available for the following
parameter groups: 2. Treble Edit, 3. Bass Edit and 4.
Free Bass Edit. (See “7.7 Name” on p. 59 for how to
name a Set.)
(*)
(*)
(*) Only one of these pages can be displayed. This depends
on whether you are currently in Bass or Free Bass mode.
(4) If necessary, change the name of the register you
have just edited. (This is only possible on the three
pages shown above.)
See “Entering names” on p. 40 for details.
On this page, sections whose settings you changed
without saving them are flagged with an “E” (for
“edited”). The “E” flag only applies to the currently
selected register (Treble, Bass/Free Bass, Orchestra or
Orchestra Bass).
The section whose MENU parameter you changed
last before selecting this page is already selected. In
the above example, all sections have changed, while
the last parameter you edited belongs to the TREBLE
group.
Note: If there are no “E” flags, there is nothing that needs to
be saved. Consequently, you can leave this page by pressing
[EXIT÷JUMP] again.
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Miscellaneous functions | Restoring the factory defaults
(5) Press the [MENU÷WRITE] button to jump to one of
the following pages (not available when you are
saving the Global settings):
Press the [DATA÷ENTER] knob to select “SET” or
“REGISTER”, then turn it to select the number (“1~40”
for SET, “1~14” for REGISTER).
(7) Press the [MENU÷WRITE] button to save your
changes.
(*)
(*)
Note: Never switch off the FR-7/FR-5 while the above message is displayed to avoid scrambling the internal memory. See
also “At power-on, the FR-7/FR-5 displays the following message” on p. 80 for what to do in such a case.
The display now briefly confirms that your settings
have been stored:
(6) If necessary, select another Set and/or another
register than the ones you are currently using.
(You can only select a different Set for the Orchestra, Orchestra Bass and Set Common settings.)
The display returns to the Main page.
(8) Proceed with step (1) above.
Restoring the factory defaults
You can reset the FR-7/FR-5 to its factory settings, which means that your own Sets and Global settings are replaced by
the settings the FR-7/FR-5 contained when you first got it. You may wish to archive your settings before initializing the
FR-7/FR-5 (see p. 75).
If you selected “YES” and pressed the [DATA÷ENTER]
(1) Switch on the FR-7/FR-5 while holding down the
knob, the display now briefly confirms that your
[MENU÷WRITE] button.
V-Accordion has been initialized:
The display changes to:
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(2) Press the [DATA÷ENTER] knob to initialize the FR-7/
FR-5 (“YES” is selected by default).
If you decide against initializing the FR-7/FR-5,
rotate the [DATA÷ENTER] knob to select “NO”, then
press it.
78
The FR-7/FR-5 now sounds and behaves like when
you first bought it.
V-Accordion r
Troubleshooting
Troubleshooting
This section provides an overview of points to check and actions to take when the FR-7/FR-5 does not function as you
expect. Feel free to contact your Roland dealer if your issue remains unsolved after reading through this section.
The screen is difficult or impossible to read
Certain parameters cannot be selected
No sound
■Is the FR-7/FR-5 currently in “Easy” mode?
In that mode, only a basic set of parameters is available. Switch to “Full” mode (page 18).
■Does the FR-7/FR-5 display a message to inform
you that a parameter or section is not available?
If so, the section is off, which is why its parameters
cannot be edited. Switch the section on and try
again.
■Did you turn the [BALANCE] knob all the way to
one side?
Change its setting and try again.
One section sounds off (flat)
If you have trouble reading the information in the
display, change the “8.1 LCD Contrast” setting
(page 60).
■Did you turn the [VOLUME] knob all the way to
the small dot?
Set it to a higher value.
■Are you moving the bellows while triggering
accordion sounds?
The Treble and Bass/Free Bass sections only produce
sound if you move the bellows while playing notes
(like on an acoustic accordion).
■Did you connect the FR-5 to an external amplifier?
The FR-5 doesn’t contain internal speakers and therefore needs to be connected to an external amplification system. Alternatively, you can use a pair of headphones.
■Did you connect the audio cables to the correct
sockets?
If so, check whether the external amplifier, mixing
console, etc., is switched on. Also check the cables for
possible damage.
No power
■Did you remove the supplied (FR-7) battery?
Be sure to install it again. Alternatively, connect the
FR-7 to the supplied FBC-7.
■Did you install the cover of the FR-7/FR-5’s battery compartment?
You need to install it before you can switch on the
FR-7/FR-5 (page 34). Be sure to tighten the screws all
the way.
■Did you connect the FR-5 to the FBC-7?
If you did not purchase an optional battery, the FR-5
needs to be powered by the FBC-7.
The FR-7/FR-5 does not respond to your playing
■You may have selected “Ext. Seq. Playback” mode
for one or all sections.
Those sections therefore only respond to MIDI messages received from other instruments. Switch off
the “Ext. Seq. Playback” function (page 70).
■Are you moving the bellows while triggering
accordion sounds?
The Treble and Bass/Free Bass sections only produce
sound if you move the bellows while playing notes
(like on an acoustic accordion).
Did you set “1.5 Scale Assign” to just one section? Set
it to “ALL” and try again (page 39).
Issues related to the bass buttons
■Why do the bass buttons only provide three
chord rows?
Because you set the “8.5 Bass & Chord Mode” parameter to “3 Bass Rows” (page 61). Set it to “2 Bass
Rows”.
■Why can’t I play diminished chords using the
bass buttons?
Because you set the “8.5 Bass & Chord Mode” parameter to “3 Bass Rows” (page 61). Set it to “2 Bass
Rows”.
■In Free Bass mode, the bass buttons play the
wrong notes.
You my have changed the “8.6 Free Bass Mode” setting. Be sure to select the system that best suits your
playing style (page 62).
■In Free Bass mode, only half the buttons play
notes.
That’s because the “STATUS” entry of the “4.2 Register” parameter uses the same (“High” or “Low”) setting for both reeds (or “Off” for one of them and
“High”/“Low” for the other). Choose complementary
settings (“High” for one, “Low” for the other) or set at
least one to “Whole” (page 49).
Why does the Orchestra mode change when I
press a given Treble register?
Because you established a Link with the Treble section and also specified a mode using the “MODE”
entry of the “2.13 Orchestra Link” parameter. Set it to
“---” (page 43).
My settings have changed
■Did you ignore the message that suggested writing your settings?
If so, you probably switched to a different mode (e.g.
Free Bass instead of Bass) or another register. The
changes you made before doing so have been erased.
You can only edit one register at a time. If you select
another register before saving the changes for the
previously selected register (by selecting “NO”), those
79
FR-7/FR-5 V-Accordion
Miscellaneous functions | Troubleshooting
changes are erased. Similarly, do not switch off the
FR-7/FR-5 or select another Set before saving settings you want to keep: save them first.
■Did you establish a “Link”?
If you change the Bass, Free Bass, and/or Orchestra
settings without saving them, and then select
another Treble register while the Link function is on,
the FR-7/FR-5 selects different settings for the linked
sections. Your changes are therefore lost.
■Did you save the “SET COMMON” parameters?
Doing so only saves the general Set parameters, not
the settings of the various registers.
■Did a “Noise” setting change?
Whenever you select “ALL” for “2.1 Reed Type”, and
set a different reed type, the “2.5 Valve Noise” setting
is automatically adapted to that reed type. You may
have to change it afterwards if you wish to use a different noise type.
Whenever you select “ALL” for “3.1 Reed Type” and
set a different reed type, the “3.5 Reed Growl” setting
is automatically adapted to that reed type. It would
therefore be a good idea to first select the reed type
and only then change the growl type. The same
applies to “4.4 Button Noise” and “4.1 Reed Type”.
■Did the effects parameters change unexpectedly?
Each effects processor (Reverb, Chorus, Delay) has a
“Macro” parameter (pages 56 and 58) that not only
recalls a different effect type, but also appropriate
settings for that type. If you select another Macro,
the settings for the previous effect type are lost.
■I cannot find the MIDI sockets on my FR-7/FR-5.
The FR-7/FR-5 does not have MIDI sockets. You need
to connect it to the FBC-7 using the supplied 19-pin
cable (page 66).
■The FR-7/FR-5 does not receive the MIDI messages I recorded for it.
That’s because the “Ext. Seq. Playback” parameter of
the sections in question is set to “Off”. You need to
activate it if you wish to use the FR-7/FR-5 as MIDI
tone generator (page 70).
■All the FR-7/FR-5’s settings have changed.
You probably transmitted a “Bulk” file containing 40
Sets (“ALL”) to the FR-7/FR-5. The settings of that file
have replaced your own settings. We regret that your
settings cannot be restored. Be sure to archive the
internal settings before transmitting bulk data to the
FR-7/FR-5 (page 75).
■The external sequencer keeps displaying a “MIDI
buffer overflow” message
The bellows sends too many data at once (its data are
transmitted on five channels simultaneously). Select
a different setting (“Medium” or “Low”). This leads to
a coarser resolution, and maybe to audible steps, but
at least, your sequencer will be able to record the
data. See “Solving MIDI buffer problems” on p. 71.
While saving data, the FR-7/FR-5 displays the
following message
MIDI-related issues
■I selected the “Ext. Seq. Playback” mode, yet the
section in question does not respond to MIDI
messages.
Does the section’s MIDI channel correspond to the
transmit channel of the external device (page 69)? Do
not select “Off” for a section that should receive MIDI
messages.
■What MIDI channels does the FR-7/FR-5 use by
default?
See the table on page 67.
It means that the data could not be saved in the
FR-7/FR-5’s internal memory. Press [EXIT÷JUMP] to
leave this page. WARNING: this will take you to the
Main page. Do not select other registers or Sets. First
try to save your settings using the WRITE function
(page 77). If the above message appears again, contact your Roland dealer to have your FR-7/FR-5’s
memory checked.
At power-on, the FR-7/FR-5 displays the following message
r
■The MIDI channel setting is correct, yet the section in question does not transmit notes.
You probably set its “Note” parameter to “Off”
(page 72).
■The FR-7/FR-5 does not change sounds when my
sequencer transmits program change numbers,
even though I used the FR-7/FR-5 to send those
numbers to the sequencer.
You can send program change numbers to an external instrument that lie outside the range of the FR-7/
FR-5’s registers (1~14 for Treble, 1~7 for Bass/Free
Bass/Orch. Bass, 1~22 for Orchestra). Such “excess”
program numbers are ignored by the FR-7/FR-5
when you transmit them back (from a sequencer, for
example).
80
The FR-7/FR-5 was switched off while it was saving
data (possibly because the battery was depleted, or
because of a power failure). When you switch it on
again, it attemps to recover everything it can. It may,
however, also load the data of the corresponding
factory set. In any case, you will have to program
some or all settings again.
V-Accordion r
Specifications
Specifications
■ Keyboards
Right hand: 41 keys, piano-type with velocity and aftertouch
Left hand: 120 velocity-sensitive bass buttons,
Modes: Standard, Free Bass, Orch.Bass
■ Bellows
Real pneumatic detection of bellows pressure (high-resolution pressure sensor)
■ Sound source
Max polyphony: 128 voices
Wave ROM: 32MB of waveforms
Tones: 40 user programmable accordion Sets, each one
including: 14 Treble registers, 7 Bass registers, 7 Free Bass
registers, 7 Orchestra Bass registers, 22 Orchestral sounds
Treble reed footages: 7
Bass reed footages: 5
Chord reed footages: 3
Free Bass footages: 2
■ PBM (Physical Behavior Modeling)
Noises: stopping-reed growl, closing valve noise, left button noise
Individual reed simulation: hysteresis threshold, Expression
curve, pressure-variant filter, pressure-variant pitch deviation
Reed sound wave switching: by bellows acceleration, by
note repetition speed
■ Musette tuning
Micro tuning presets: 16 (Off, Dry, Classic, F-Folk, American
L/H, North Europe, German L/H, D-Folk L/H, Alpine, Italian L/
H, French, Scottish)
■ Effects
Reverb: 8 types, Chorus: 8 types,
Delay: 10 types, Rotary for Orchestra organ sounds (slow/
fast)
“Cassotto” and “Sordina” simulation
■ Panel controls
Knobs: Volume, Treble/Bass balance, Reverb, Chorus, Delay,
Encoder: [DATA÷ENTER]
Panel Switches: 14 Treble registers + Master + Orchestra,
7 Bass registers
Navigation switches: UP/DOWN, MENU/WRITE, EXIT/JUMP
Other switches: SET UP/DOWN, SORDINA ON/OFF, POWER
■ Display
48 x 84 graphic, backlit LCD
■ Rated power output (FR-7)
2 x 25W RMS
■ Speakers (FR-7)
2 x 10cm speakers (neodymium transducer magnets), 2
tweeters
■ Others
Connectors on instrument: HEADPHONE socket (stereo),
OUTPUT sockets (stereo), multi-connector (towards external FBC-7 power supply/footswitch unit/battery charger)
Power Supply: rechargeable Ni-Mh battery pack (24V4500mAh) (optional for FR-5)
External FBC-7 power supply/battery charger: AC 117 V, AC
230 V, AC 240 V (50/60 Hz), AC 220 V (60 Hz)
Power consumption: 96W
Dimensions (mm): 423 (H) x 528 (W) x 275 (D) mm
Weight: FR-7: 11.7kg, FR-5: 9.5kg
■ Supplied accessories
External FBC-7 power supply/battery charger: 5 programmable foot switches (SET UP/DOWN, REGISTER UP/DOWN,
SUSTAIN), multi-core connector cable (towards accordion),
expression pedal socket, MIDI IN/OUT/THRU sockets, OUTPUT sockets (L/Mono, R), connector for charging a battery,
AC inlet
Owner’s Manual
Power cable
Reference caps for the bass buttons
19-pin multicore cable
Accordion cloth
Straps
Battery (FR-7)
■ Options
Accordion soft bag
Battery (for FR-5, spare part for FR-7)
Pedal Board Soft Bag
81
FR-7/FR-5 V-Accordion
Miscellaneous functions | Parameter list
Parameter list
VOLUME AND EFFECT
BALANCE
The default value corresponds to the current physical position of potentiometer. The central position is 0. The values
range from 0 to 64 regardless of whether the arrow symbol indicates BASS or TREBLE.
REVERB
The default value corresponds to the current physical position of potentiometer. Range: 0~127
CHORUS
The default value corresponds to the current physical position of potentiometer. Range: 0~127
DELAY
The default value corresponds to the current physical position of potentiometer. Range: 0~127
FULL MODE MENU (all parameters)
1. TUNING
1.1 Master Tune*
Value
415.3Hz~440.0Hz~466.2Hz
1.2 Transpose
Value
F# -6, G -5, Ab -4, A -3, Bb -2, B -1, C 0, C#1, D2, Eb3, E4, F5
1.3 Scale*
Type
Equal (Off), User 1, User 2, User 3, Arabic1, Arabic2, Just Major, Just Minor, Pythagorean, MeanTone, Werckmeister, Kirnberger
Key
C, C#, D, Eb, E, F, F#, G, Ab, A, Bb, B
Type
User 1, User 2, User 3
Tune Note
C, C#, D, Eb, E, F, F#, G, Ab, A, Bb, B
1.4 Scale Edit*
Tune Value
-64~0~63 for each note
Part
Treble, Orchestra, Treb&Orch, Bass&Chord, ALL
Foot
ALL, 16', 8', 8'-, 8'+, 4', 5-1/3', 2-2/3'
Type
Bandoneon, I-Folk, I-Folk2, Classic, Cajun, Jazz, F-Folk, D-Folk, Organetto, F-Folk2, Classic2, Studio,
Tradition, Steierische, OldItaly, TexMex, Trikitixa
Foot
16', 8', 8'-, 8'+, 4', 5-1/3', 2-2/3'
Status
Off, On, On-Cassotto
Value
16', 8', 8'-, 8'+, 4', 5-1/3', 2-2/3'
Level
Off, –30~Std~30
2.4 Treble Octave
Value
-1, 0, 1
2.5 Valve Noise
Type
Bandoneon, I-Folk, I-Folk2, Classic, Cajun, Jazz, F-Folk, D-Folk, Organetto, F-Folk2, Classic2, Studio,
Tradition, Steierische, OldItaly, TexMex, Trikitixa
Level
Off, -30~Std~30
2.6 Musette Detune
Type
Off, Dry, Classic, F-Folk, American_L, American_H, North_Eur, German_L, D-Folk_L, Italian_L,
German_H, Alpine, Italian_H, D-Folk_H, French, Scottish
2.7 Bellows Detune
Type
Off, Low, Standard, High
2.8 Reverb Send
Level
0~127
2.9 Chorus Send
Level
0~127
2.10 Delay Send
Level
0~127
2.11 Aftertouch Pitch
Mode
Off, 1/4 Down, 1/2 Down, 1/4 Up, 1/2 Up Pitch
2.12 Bass Link
Bass
No Link, Bass 1~Bass 7, Free 1~Free 7
Orc.Bass
No Link, Acoustic, Bowed, Fingered, Fretless, Picked, Tuba, TubaMix
2.13 Orchestra Link
Register
No Link, 1A Trombone, 1B Trumpet, 2A TenorSax, 2B AltoSax, 3A Clarinet, 3B Oboe, 4A Harmonica, 4B MuteHarm, 5A Violin, 5B Pizzicato, 6A Flute, 6B PanFlute, 7A HighLand, 7B Zampogna, 8A
PercOrgan, 8B JazzOrgan, 9A RotOrgan, 9B TremOrg, 10 ScatVoice, 11 Mandolin, 12AcGuitar, 13
AcPiano
Mode
----, Solo, Dual, Low, High
1.5 Scale Assign*
2. TREBLE EDIT
2.1 Reed Type
2.2 Register
r
2.3 Reed Volume
2.14 Treble MIDI TX
Message & value Note [On,Off], Octave [-3~0~3], CC 00 [Off, 0~127], CC 32 [Off, 0~127], PC [Off, 1~128], Volume
[Off, 0~127], Panpot [Off, 0~127], Reverb [Off, 0~127], Chorus [Off, 0~127], Velocity [On, 1~127],
Express [Off, Bellows, Pedal], AfterT. [On,Off]
3. BASS EDIT
3.1 Reed Type
82
Foot
ALL, 16', 8', 8'-4', 4', 2'
Type
Bandoneon, I-Folk, I-Folk2, Classic, Cajun, Jazz, F-Folk, D-Folk, Organetto, F-Folk2, Classic2, Studio,
Tradition, Steierische, Trikitixa
V-Accordion r
Parameter list
3.2 Register
Foot
16', 8', 8'-4', 4', 2'
Status
Off, Bass, Chord, Bass&Chord
Note: With the 16' and 8' feet selected the “Status” can only be either “Off” or “Bass”. With the
8'-4', 4' and 2' feet selected the “Status” can only be “Off”, “Chord” or “Bass&Chord”.
3.3 Reed Volume
Value
16', 8', 8'-4', 4', 2'
Level
Off, –30~Std~30
3.4 Button Noise
Type
Bandoneon, I-Folk, I-Folk2, Classic, Cajun, Jazz, F-Folk, D-Folk, Organetto, F-Folk2, Classic2, Studio,
Tradition, Steierische, Trikitxa
Level
Off, -30~Std~30
3.5 Reed Growl
Type
Bandoneon, I-Folk, I-Folk2, Classic, Cajun, Jazz, F-Folk, D-Folk, Organetto, F-Folk2, Classic2, Studio,
Tradition, Steierische, Trikitixa
Level
Off, -30~Std~30
3.6 Bellows Detune
Type
Off, Low, Standard, High
3.7 Reverb Send
Level
0~127
3.8 Chorus Send
Level
0~127
3.9 Delay Send
Level
0~127
3.10 Bass MIDI TX
Message & value Note [On,Off], Octave [-3~0~3], CC 00 [Off, 0~127], CC 32 [Off, 0~127], PC [Off, 1~128], Volume
[Off, 0~127], Panpot [Off, 0~127], Reverb [Off, 0~127], Chorus [Off, 0~127], Velocity [On, 1~127],
Express [Off, Bellows, Pedal]
3.11 Chord MIDI TX
Message & value Note [On,Off], Octave [-3~0~3], CC 00 [Off, 0~127], CC 32 [Off, 0~127], PC [Off, 1~128], Volume
[Off, 0~127], Panpot [Off, 0~127], Reverb [Off, 0~127], Chorus [Off, 0~127], Velocity [On, 1~127],
Express [Off, Bellows, Pedal]
4. FREE BASS EDIT
4.1 Reed Type
Foot
ALL, 16', 8'
Type
Bandoneon, I-Folk, I-Folk2, Classic, Cajun, Jazz, F-Folk, D-Folk, Organetto, F-Folk2, Classic2, Studio,
Tradition, Steierische, Trikitixa
4.2 Register
Foot
16', 8'
Status
Off, Low, High, Whole
4.3 Reed Volume
Foot
16', 8'
Level
Off, –30~“Std”~30
4.4 Button Noise
Type
Bandoneon, I-Folk, I-Folk2, Classic, Cajun, Jazz, F-Folk, D-Folk, Organetto, F-Folk2, Classic2, Studio,
Tradition, Steierische, Trikitixa
Level
Off, -30~Std~30
4.5 Reed Growl
Type
Bandoneon, I-Folk, I-Folk2, Classic, Cajun, Jazz, F-Folk, D-Folk, Organetto, F-Folk2, Classic2, Studio,
Tradition, Steierische, Trikitixa
Level
Off, –30~Std~30
4.6 Bellows Detune
Type
Off, Low, Standard, High
4.7 Reverb Send
Level
0~127
4.8 Chorus Send
Level
0~127
4.9 Delay Send
Level
0~127
4.10 Free Bass MIDI TX
Message & value Note [On,Off], Octave [-3~0~3], CC 00 [Off, 0~127], CC 32 [Off, 0~127], PC [Off, 1~128], Volume
[Off, 0~127], Panpot [Off, 0~127], Reverb [Off, 0~127], Chorus [Off, 0~127], Velocity [On, 1~127],
Express [Off, Bellows, Pedal]
5. ORC BASS EDIT
5.1 Lowest Note
Lowest Note
E=28, F=29, F#=30, G=31, Ab=32, A=33, Bb=34, B=35, C=36
5.2 Orc Bass Release Time
Release Time
0~63
5.3 Orc Bass Volume
Level
Off, –30~Std~30
5.4 Reverb Send
Level
0~127
5.5 Chorus Send
Level
0~127
5.6 Delay Send
Level
0~127
5.7 Orc Bass MIDI TX
Message & value Note [On,Off], Octave [-3~0~3], CC 00 [Off, 0~127],CC 32 [Off, 0~127], PC [Off, 1~128], Volume
[Off, 0~127], Panpot [Off, 0~127], Reverb [Off, 0~127], Chorus [Off, 0~127], Velocity [On, 1~127],
Express [Off, Bellows, Pedal]
6. ORCHESTRA EDIT
6.1 Orchestra Octave
Value
–1~0~1
6.2 Orchestra Volume
Level
Off, –30~Std~30
83
FR-7/FR-5 V-Accordion
Miscellaneous functions | Parameter list
6.3 Bellows Detune
Type
Off, Low, Standard, High
6.4 Reverb Send
Level
0~127
6.5 Chorus Send
Level
0~127
6.6 Delay Send
Level
0~127
6.7 Aftertouch Pitch
Mode
Off, 1/4 Down, 1/2 Down, 1/4 Up, 1/2 Up
6.8 Orchestra MIDI TX
Message & value Note [On,Off], Octave [-3~0~3], CC 00 [Off, 0~127], CC 32 [Off, 0~127], PC [Off, 1~128], Volume
[Off, 0~127], Panpot [Off, 0~127], Reverb [Off, 0~127], Chorus [Off, 0~127], Velocity [On, 1~127],
Express [Off, Bellows, Pedal], AfterT. [On,Off]
7. SET COMMON
7.1 Reverb Macro Type
Type
Room1, Room2, Room3, Hall1, Hall2, Plate, Delay, Panning Dly
Level
0~127
7.2 Reverb Parameters
Parameters
Character [0~7], Pre-LPF [0~7], Time [0~127], Level [0~127], DlyFback [0~127], Pre-DlyT. [0~127]
7.3 Chorus Macro Type
Macro Type
Chorus1, Chorus2, Chorus3, Chorus4, FBackChr, Flanger, ShortDelay, ShortDlyFB
7.4 Chorus Parameters
Parameters
Pre-LPF [0~7], Level [0~127], Feedback [0~127], Delay [0~127], Rate [0~127], Depth [0~127],
Chr>Rev [0~127], Chr>Dly [0~127]
7.5 Delay Macro Type
Type
Delay1, Delay2, Delay3, Delay4, PanDelay1, PanDelay2, PanDelay3, PanDelay4, Delay>Rev,
PanRepeat
7.6 Delay Parameters
Parameters
Pre-LPF [0~7], Level [0~127], Time L(%) [4%~500%], Time C(ms/s) [0.1~1000], Time R(%) [4%~
500%], Level L [0~127], Level C [0~127], Level R [0~127], Feedback [-64~0~63], Dly>Rev [0~127]
7.7 Name
Characters
See the character table below.
7.8 Master Bar Recall
Register
1~14
7.9 Icon
Bitmap
1~40 Preset
8. SYSTEM
8.1 LCD Contrast*
Value
1~7 (Default setting: 5)
8.2 Parameter Access
Mode
Easy, Full
8.3 Bellows Curve*
Type
Fixed Low, Fixed Med, Fixed High, X-Light, Light, Standard, Heavy, X-Heavy
8.4 Pedal Controller*
Switch
1~5
Assign
Set Up, Set Down, Regist Up, Regist Dwn, Treble Sust, Bass Sust, Chord Sust, Orch.Sust, OrchBs
Sust, Orch.On/Off, Start/Stop, Intro, Fill Up, Fill Down, Ending, Set 1~40, Register 1~14 independent for each switch
8.5 Bass & Chord Mode*
Type
2 Bass Rows, 3 Bass Rows
8.6 Free Bass Mode*
Type
minor 3rd, Bajan, Fifth, N.Europe
8.7 Stereo Width*
Type
-1~-63, Full
8.8 Auto Power OFF*
Type
Disabled, 10 min., 15 min., 20 min.
8.9 Startup*
Type
Set [1~40], Bass Link [On/Off], Orch Link [On/Off],
Assign
1~40 only for Set type, On/Off
8.10 Startup Name*
Name
8 characters [________ default]
8.11 Orch. Bass Touch
Value
Off, Low, Medium, High, Bellows
r
9. UTILITY
9.1 Battery Status
Adapter, Recharging, NO BATTERY
9.2 Copy ALL Effects
From
To
Set 1~40
9.3 Copy Reverb
From
Set 1~40
To
Set 1~40
9.4 Copy Chorus
From
Set 1~40
To
Set 1~40
9.5 Copy Delay
From
Set 1~40
To
Set 1~40
9.6 Copy SET
From
Set 1~40
To
Set 1~40
9.7 Bulk Dump ALL
Press WRITE to transmit
9.8 Bulk Dump SET
Press WRITE to transmit
9.9 Restore SET
Factory Set 1~40
84
Set 1~40
Character table
(Only for Bass and Free Bass)
V-Accordion
r
Factory Sets
10. MIDI
10.1 RealTime RX-TX
10.2 Ext. Seq. Playback*
10.3 Bellows TX Resolution*
Part
Treble (1), Bass/Free (2), Chord (3), Orchestra (4), OrcBass (5), Basic Ch (13)
RX-TX *
Off, 1~16 (can be set for each part)
Part
Treble, Bass-Chord, Orchestra
Value
On, Off (can be set for each part)
Value
High, Medium, Low
(*) are Global parameters
Factory Sets
01 CONCERTO
02 CLASSIC
03 JAZZ
04 “I” FOLK
(Italian Folk)
05 “D” FOLK (German Folk)
06 “F” FOLK (French Folk)
07 “SP” FOLK (Spanish Folk)
08 BallROOM
09 BANDNEON
10 ALPINE
11 CAJUN
12 TEX MEX
13 OldPARIS
14 CiaoROME
15 DiatFOLK
16 STUDIO
17 TRDITION
18 BAROQUE
19 ROMANTIC
20 CONCERTN
31 EMPTY
32 EMPTY
33 EMPTY
34 EMPTY
35 EMPTY
36 EMPTY
37 EMPTY
38 EMPTY
39 EMPTY
40 V-Set
21 SCOTTISH
22 IRISH
23 CELTIC
24 XLowReed
25 HalfVALV
26 FUTURE
27 MUSETTE
28 BASSOON
29 MASTER
30 EXAMPLES
Demo Songs
#
DISPLAYED NAME*
SONG TITLE
PERFORMED BY
01
OldPARIS
Walking in old Paris by S. Scappini
Sergio Scappini
02
“I” FOLK
Carnival in Venice - Traditional
Sergio Scappini
03
BANDNEON
Passionate Red Rose by S. Scappini
Sergio Scappini
04
“D” FOLK
Bezaubernder Sinaklia by S. Scappini
Sergio Scappini
05
NAPLES
O Sole Mio - Traditional
Sergio Scappini
06
CLASSIC
Sonata in C Maj by D. Scarlatti
Sergio Scappini
07
ALPINE
Edelweiss by S. Scappini
Sergio Scappini
08
TEX MEX
Mexican Hat Dance - Traditional
Luigi Bruti
09
BAROQUE
Smells from Toccata by J. S. Bach
Sergio Scappini
10
CAPRICCIO
Capriccio 13 by N. Paganini
Sergio Scappini
11
GarageTNGO
Salvador by L. Bruti
Luigi Bruti
12
JAZZ
Scattered Jazz by S. Scappini
Sergio Scappini
13
BellwSHAKE
Figaro by G. Rossini
Sergio Scappini
14
CELTIC
Trinity Knots by L. Bruti
Luigi Bruti
15
MUSETTE
Rêve d’amour by L. Bruti
Luigi Bruti
16
CAJUN
Sugar cane by L. Bruti
Luigi Bruti
17
DiatFOLK
To my beloved teacher by S. Scappini
Sergio Scappini
18
9th Bossa
9th Bossa by Yoshiaki Sato
Yoshiaki Sato
19
Sng FarEast
Song from Far East by Yoshiaki Sato
Yoshiaki Sato
20
ZakZak Funk
Zak-Zak Funk by Yoshiaki Sato
Yoshiaki Sato
21
O&B 4Beat
O&B 4Beat by Yoshiaki Sato
Yoshiaki Sato
[*] Note: #1~17 Copyright ©2004 Roland Europe Spa. All rights reserved.
#18~21: Copyright ©2004 fèbbre. All rights reserved.
Unauthorized use of the demo songs for purposes other than private enjoyment is a violation of applicable laws.
Note: The performance data of the demo songs are not transmitted to the MIDI OUT socket.
85
FR-7/FR-5 V-Accordion
MIDI implementation | Demo Songs
9. MIDI implementation
■ System Exclusive Messages
1. Received data
Status
F0H
Data byte
iiH, ddH, ......,eeH
3rd byte
vvH
F0H:
ii = ID number:
0H~FH (Ch.1~16)
00H~7FH (0~127)
00H~7FH (0~127)
dd,...,ee = data:
F7H:
System Exclusive Message status
An ID number (manufacturer ID) to indicate the manufacturer
whose Exclusive message this is. Roland’s manufacturer ID is
41H.
00H~7FH (0~127)
EOX (End Of Exclusive)
■ Channel Voice Messages
● Note off
Status
8nH
2nd byte
kkH
n = MIDI channel number:
kk = note number:
vv = note off velocity:
● Note on
Status
9nH
2nd byte
kkH
n = MIDI channel number:
kk = note number:
vv = note on velocity:
3rd byte
vvH
0H~FH (Ch.1~16)
00H~7FH (0~127)
01H~7FH (1~127)
● Control Change
• The value specified by a Control Change message is not reset by a Program
Change, etc.
❍ Bank Select (Controller number 0, 32)
Status
2nd byte
BnH
00H
BnH
20H
n = MIDI channel number:
mm = Bank number MSB:
ll = Bank number LSB:
3rd byte
mmH
llH
0H~FH (Ch.1~16)
00H~7FH
00H~7FH
• Only for Free Bass.
❍ Expression (Controller number 11)
Status
2nd byte
BnH
0BH
n = MIDI channel number:
vv = Expression:
3rd byte
vvH
0H~FH (Ch.1~16)
00H~7FH (0~127)
• This adjusts the volume of a Part. It can be used independently from Volume
(CC07) messages. Expression messages are used for musical expression within
a performance, e.g., expression pedal movements, crescendo and decrescendo.
❍ Hold 1 (Controller number 64)
Status
2nd byte
BnH
40H
n = MIDI channel number:
vv = Control value:
0H~FH (Ch.1~16)
00H~7FH (0~127)
00H~63H= Off/64H~7FH= On
0H~FH (Ch.1~16)
00H~0DH: Treble Register 1~14
00H~15H: Orchestra Register 1~22
00H~06H: Bass/FreeBass/Orch.Bass
Register 1~7
00H~27H: Set 1~40
r
Status
F0H
Data byte
Status
41H, dev, 42H, 12H, aaH, bbH, ccH, ddH, … eeH,
F7H
ffH, sum
Byte
Explanation
F0H
Exclusive status
41H
ID number (Roland)
10H
Device ID
00H
Model ID #1 (FR-7/FR-5 V-Accordion)
7CH
Model ID #2 (FR-7/FR-5 V-Accordion)
12H
Command ID (DT1)
aaH
Address MSB: upper byte of the starting address of
the data to be sent
bbH
Address: upper middle byte of the starting address of
the data to be sent
ccH
Address: lower middle byte of the starting address of
the data to be sent
ddH
Address LSB: lower byte of the starting address of
the data to be sent
eeH
Data: the actual data to be sent. Multiple bytes of data
are transmitted in order starting from the address.
::
::
ffH
Data
sum
Checksum
F7H
EOX (End of Exclusive)
• The amount of data that can be received at one time depends on the type of data,
and data will be transmitted from the specified starting address and size.
• Data larger than 256 bytes must be divided into packets of 256 bytes or less, and
each packet must be sent at an interval of about 20ms.
2. Transmitted data
■ Channel Voice Messages
● Note off
2nd byte
kkH
n = MIDI channel number:
kk = note number:
vv = note off velocity:
0H~FH (Ch.1~16)
00H~7FH (0~127)
❍ Active Sensing
Status
FEH
• When Active Sensing is received, the FR-7/FR-5 starts monitoring the intervals of
all further messages. While monitoring, if the interval between messages exceeds
420 ms, the same processing will be carried out as when All Sounds Off, All Notes
Off and Reset All Controllers are received, and message interval monitoring will
be halted.
❍ Start
Status
FAH
• When an FA message is received from an external MIDI device such as sequencer, the FR-7/FR-5 sends all necessary MIDI information for a song header setup:
Treble, Orchestra, Bass/Free, Orchestra Bass, sound setup.
3rd byte
vvH
0H~FH (Ch.1~16)
00H~7FH (0~127)
00H~7FH (0~127)
● Note on
Status
9nH
2nd byte
kkH
n = MIDI channel number:
kk = note number:
vv = note on velocity:
■ System Realtime Messages
86
● Data Set 1 DT1 (12H)
Status
8nH
❍ Channel Pressure
2nd byte
Status
DnH
vvH
n = MIDI channel number:
vv = Channel Pressure:
The System Exclusive Messages received by the FR-7/FR-5 are messages related
to Data Set (DT).
3rd byte
vvH
❍ Program Change
Status
2nd byte
CnH
ppH
n = MIDI channel number:
pp = Program number:
Status
F7H
3rd byte
vvH
0H~FH (Ch.1~16)
00H~7FH (0~127)
01H~7FH (1~127)
● Control Change
❍ Bank Select (Controller number 0, 32)
Status
2nd byte
BnH
00H
BnH
20H
n = MIDI channel number:
mm = Bank number MSB:
ll = Bank number LSB:
3rd byte
mmH
llH
0H~FH (Ch.1~16)
00H~7FH
00H~7FH
❍ Volume (Controller number 7)
Status
BnH
2nd byte
07H
n = MIDI channel number:
vv = Volume:
3rd byte
vvH
0H~FH (Ch.1~16)
00H~7FH (0~127), Initial value = 64H (100)
• Volume messages are used to adjust the volume balance of each Part.
V-Accordion r
MIDI implementation
❍ Pan (Controller number 10)
Status
BnH
2nd byte
0AH
n = MIDI channel number:
vv = pan:
0H~FH (Ch.1~16)
00H~40H~7FH (Left~Center~Right),
Initial value = 40H (Center)
❍ Expression (Controller number 11)
Status
2nd byte
BnH
0BH
n = MIDI channel number:
vv = Expression:
Status
bbH
3rd byte
vvH
3rd byte
vvH
0H~FH (Ch.1~16)
00H~7FH (0~127)
• This adjusts the volume of a Part. Expression messages are used for musical expression within a performance, e.g., expression pedal movements, crescendo and
decrescendo.
❍ Hold 1 (Controller number 64)
Status
2nd byte
BnH
40H
n = MIDI channel number:
vv = Control value:
3. Bulk Dump
3rd byte
vvH
Bulk Dump allows you to transmit a large amount of data at once, and is convenient for storing settings for the entire unit on a computer or sequencer.
The FR-7/FR-5 is able to transmit and receive a SET.
0H~FH (Ch.1~16)
00H~7FH (0~127)
00H~63H= Off/64H~7FH= On
❍ Effect 1 (Reverb Send Level) (Controller number 91)
Status
BnH
2nd byte
5BH
4. Program change messages
3rd byte
vvH
n = MIDI channel number:
0H~FH (Ch.1~16)
vv = Reverb Send Level:
00H~7FH (0~127), Initial value = 28H (40)
• This message adjusts the Reverb Send Level of each Part.
❍ Effect 3 (Chorus Send Level) (Controller number 93)
Status
BnH
2nd byte
5DH
n = MIDI channel number:
vv = Chorus Send Level:
3rd byte
vvH
0H~FH (Ch.1~16)
00H~7FH (0~127), Initial value = 00H (0)
❍ Program Change
Status
2nd byte
CnH
ppH
n = MIDI channel number:
pp = Program number:
0H~FH (Ch.1~16)
00H~7FH: program no. 1~128
❍ Channel Pressure
Status
2nd byte
DnH
vvH
n = MIDI channel number:
vv = Channel Pressure:
0H~FH (Ch.1~16)
00H~7FH (0~127)
■ System Realtime Messages
❍ Active Sensing
Status
FEH
❍ Start
Status
FAH
❍ Stop
Status
FCH
Transmitted about every 250ms.
This message is transmitted when a footswitch of FBC-7 Pedal,
programmed as Start/Stop, is pressed.
This message is transmitted when a footswitch of FBC-7 Pedal,
programmed as Start/Stop, is pressed.
■ System Exclusive Messages
Status
F0H
Data byte
iiH, ddH, ......,eeH
F0H:
ii = ID number:
System Exclusive Message status
An ID number (manufacturer ID) to indicate the manufacturer
whose Exclusive message this is. Roland’s manufacturer ID is
41H.
00H~7FH (0~127)
EOX (End Of Exclusive)
dd,...,ee= data:
F7H:
Status
F7H
The System Exclusive Messages transmitted by the FR-7/FR-5 are messages related to Data Set (DT).
● Data Set 1 DT1 (12H)
Status
F0H
Byte
F0H
41H
10H
00H
7CH
12H
aaH
Data byte
41H, dev, 42H, 12H, aaH, bbH, ccH, ddH, … eeH,
ffH, sum
Explanation
Exclusive status
ID number (Roland)
Device ID
Model ID #1 (FR-7/FR-5 V-Accordion)
Model ID #2 (FR-7/FR-5 V-Accordion)
Command ID (DT1)
Address MSB: upper byte of the starting address of
the data to be sent
Data byte
Status
Address: upper middle byte of the starting address of
the data to be sent
ccH
Address: lower middle byte of the starting address of
the data to be sent
ddH
Address LSB: lower byte of the starting address of
the data to be sent
eeH
Data: the actual data to be sent. Multiple bytes of data
are transmitted in order starting from the address.
::
::
ffH
Data
sum
Checksum
F7H
EOX (End of Exclusive)
• The amount of data that can be transmitted at one time depends on the type of
data, and data will be transmitted from the specified starting address and size.
• Data larger than 256 bytes will be divided into packets of 256 bytes or less, and
each packet will be sent at an interval of about 20ms.
Status
F7H
BANK SELECT
PROGRAM
CHANGE
REGISTER
MSB CC00 LSB CC32
TREBLE REGISTER RX
--1
Bassoon
--2
Bandon
--3
Cello
--4
Harmon
--5
Organ
--6
Accord
--7
Violin
--8
Master
--9
Musette
--10
Celeste
--11
Tremolo
--12
Clarinet
--13
Oboe
--14
Piccolo
ORCHESTRA REGISTER RX
--1
Trombone
--2
Trumpet
--3
Tenor Sax
--4
Alto Sax
--5
Clarinet
--6
Oboe
--7
Harmonica
--8
Mute Harm
--9
Violin
--10
Pizzicato
--11
Flute
--12
Pan Flute
--13
HighLand
--14
Zampogna
--15
PercOrgan
--16
JazzOrgan
--17
RotOrgan
--18
TremOrg
--19
ScatVoice
--20
Mandolin
--21
AcGuitar
--22
AcPiano
BASS REGISTER RX
–
0
1
2’
–
0
2
4’
–
0
3
8-4’
–
0
4
16’/8’/8-4’/4’/2’
–
0
5
8’/4’/2’
–
0
6
16’/8’/8-4’
–
0
7
16’/2’
FREE BASS REGISTER RX
–
1
1
low
–
1
2
high
–
1
3
low+high
–
1
4
lw+hglow
–
1
5
lwlow+hi
–
1
6
highlw+h
–
1
7
lowhigh
ORCH BASS REGISTER RX
--1
Acoustic
--2
Bowed
--3
Fingered
--4
Fretless
--5
Picked
--6
Tuba
--7
Tuba Mix
SET RX (PC)
1 CONCERTO
2 CLASSIC
3 JAZZ
4 “I” FOLK
5 “D” FOLK
6 “F” FOLK
7 “SP” FOLK
8 BallROOM
9 BANDNEON
10 ALPINE
11 CAJUN
12 TEX MEX
13 OldPARIS
14 CiaoROME
15 DiatFOLK
16 STUDIO
17 TRDITION
18 BAROQUE
19 ROMANTIC
20 CONCERTN
21 SCOTTISH
22 IRISH
23 CELTIC
24 XLowReed
25 HalfVALV
26 FUTURE
27 MUSETTE
28 BASSOON
29 MASTER
30 EXAMPLES
31 EMPTY
32 EMPTY
33 EMPTY
34 EMPTY
35 EMPTY
36 EMPTY
37 EMPTY
38 EMPTY
39 EMPTY
40 EMPTY
87
FR-7/FR-5 V-Accordion
MIDI implementation | MIDI Implementation Chart
MIDI Implementation Chart
[V-Accordion]
Model: FR-7/FR-5
Date: January 2004
Version: 1.00
Function...
Transmitted
Recognized
Remarks
Basic
Channel
Default
Changed
1~16
1~16, Off
1~16
1~16, Off
5 parts: 1= Treble, 2= Bass/
Free Bass, 3= Chord,
5= Ochestra Bass, 4= Orchestra
1 logical part: 13= Basic Ch for Set
change
Mode
Default
Message
Altered
Mode 3
*****
*****
Mode 3
*****
0~127
*****
*1
True Voice
0~127
0~127
Velocity
Note ON
Note OFF
O
O
*1
O
O
After
Touch
Key’s
Ch’s
X
O
Note
Number
Pitch Bend
X
0,32
7
10
11
64
91
93
Control
Change
Program
Change
True #
System Exclusive
r
*1
O
O
O
O
O
O
O
O
0~127
X
O
X
*1
*1
*1
*1
*1
*1
*1
*1
O
X
X
O
O
X
X
O
X
X
X
Song Position Pointer
Song Sel
Tune
X
X
X
System
Real Time
Clock
Commands
X
X
Aux
Messages
All Sounds Off
Reset All Controllers
Local On/Off
All Notes Off
Active Sense
Reset
X
X
X
X
O
X
*1
Program Number 1~128
transmitted
Recognized: 1~40:
O
0~39
O
System
Common
Bank Select
Volume
Panpot
Expression
Hold 1
Reverb Send
Chorus Send
X
O
1~14: Treble Registers
1~7 Bass
1~7 Free Bass
1~7 Orchestra Bass
1~22 Orchestra
1~40 Sets
*3
*4
X
X
X
X
O
X
Notes
*1 O X is selectable
*2 Recognized as M=1 even if M≠1
*3 SysEx used for Bulk Dump only
*4 Received Start (FA) sends current sound setup
Mode 1: OMNI ON, POLY
Mode 3: OMNI OFF, POLY
Mode 2: OMNI ON, MONO
Mode 4: OMNI OFF, MONO
88
O: Yes
X: No
V-Accordion
r
Information
10. Information
When you need repair service, call your nearest Roland Service Center or authorized
Roland distributor in your country as shown below.
AFRICA
EGYPT
Al Fanny Trading Office
9, EBN Hagar A1 Askalany
Street,
ARD E1 Golf, Heliopolis,
Cairo 11341, EGYPT
TEL: 20-2-417-1828
REUNION
Maison FO - YAM Marcel
25 Rue Jules Hermann,
Chaudron - BP79 97 491
Ste Clotilde Cedex,
REUNION ISLAND
TEL: (0262) 218-429
SOUTH AFRICA
That Other Music Shop(PTY)Ltd.
11 Melle St., Braamfontein,
Johannesbourg,
SOUTH AFRICA
TEL: (011) 403 4105
FAX: (011) 403 1234
Paul Bothner(PTY)Ltd.
17 Werdmuller Centre,
Main Road, Claremont 7708
SOUTH AFRICA
TEL: (021) 674 4030
PHILIPPINES
COSTA RICA
TRINIDAD
NORWAY
KUWAIT
G.A. Yupangco & Co. Inc.
339 Gil J. Puyat Avenue
Makati, Metro Manila 1200,
PHILIPPINES
TEL: (02) 899 9801
JUAN Bansbach Instrumentos
Musicales
Ave.1. Calle 11, Apartado 10237,
San Jose, COSTA RICA
TEL: 258-0211
AMR Ltd
Ground Floor
Maritime Plaza
Barataria Trinidad W.I.
TEL: (868)638 6385
EASA HUSAIN AL-YOUSIFI
& SONS CO.
Abdullah Salem Street,
Safat, KUWAIT
TEL: 243-6399
SINGAPORE
CURACAO
URUGUAY
Roland Scandinavia Avd.
Kontor Norge
Lilleakerveien 2 Postboks 95
Lilleaker N-0216 Oslo
NORWAY
TEL: 2273 0074
CRISTOFORI MUSIC PTE LTD
Blk 3014, Bedok Industrial Park E,
#02-2148, SINGAPORE 489980
TEL: 6243-9555
Zeelandia Music Center Inc.
Orionweg 30
Curacao, Netherland Antilles
TEL:(305)5926866
TAIWAN
DOMINICAN REPUBLIC
Todo Musica S.A.
Francisco Acuna de Figueroa
1771
C.P.: 11.800
Montevideo, URUGUAY
TEL: (02) 924-2335
ROLAND TAIWAN
ENTERPRISE CO., LTD.
Room 5, 9fl. No. 112 Chung
Shan N.Road Sec.2, Taipei,
TAIWAN, R.O.C.
TEL: (02) 2561 3339
Instrumentos Fernando Giraldez
Calle Proyecto Central No.3
Ens.La Esperilla
Santo Domingo,
Dominican Republic
TEL:(809) 683 0305
THAILAND
ECUADOR
Theera Music Co. , Ltd.
330 Verng NakornKasem, Soi 2,
Bangkok 10100, THAILAND
TEL: (02) 2248821
Mas Musika
Rumichaca 822 y Zaruma
Guayaquil - Ecuador
TEL:(593-4)2302364
VIETNAM
EL SALVADOR
Saigon Music
Suite DP-8
40 Ba Huyen Thanh Quan Street
Hochiminh City, VIETNAM
TEL: (08) 930-1969
OMNI MUSIC
75 Avenida Norte y Final
Alameda Juan Pablo II,
Edificio No.4010 San Salvador,
EL SALVADOR
TEL: 262-0788
ASIA
CHINA
Roland Shanghai Electronics
Co.,Ltd.
5F. No.1500 Pingliang Road
Shanghai 200090, CHINA
TEL: (021) 5580-0800
Roland Shanghai Electronics
Co.,Ltd.
(BEIJING OFFICE)
10F. No.18 3 Section Anhuaxili
Chaoyang District Beijing
100011 CHINA
TEL: (010) 6426-5050
Roland Shanghai Electronics
Co.,Ltd.
(GUANGZHOU OFFICE)
2/F., No.30 Si You Nan Er Jie
Yi Xiang, Wu Yang Xin Cheng,
Guangzhou 510600, CHINA
TEL: (020) 8736-0428
HONG KONG
Tom Lee Music Co., Ltd.
Service Division
22-32 Pun Shan Street, Tsuen
Wan, New Territories,
HONG KONG
TEL: 2415 0911
Parsons Music Ltd.
8th Floor, Railway Plaza, 39
Chatham Road South, T.S.T,
Kowloon, HONG KONG
TEL: 2333 1863
INDIA
Rivera Digitec (India) Pvt. Ltd.
409, Nirman Kendra
Mahalaxmi Flats Compound
Off. Dr. Edwin Moses Road,
Mumbai-400011, INDIA
TEL: (022) 2493 9051
INDONESIA
PT Citra IntiRama
J1. Cideng Timur No. 15J-150
Jakarta Pusat
INDONESIA
TEL: (021) 6324170
KOREA
Cosmos Corporation
1461-9, Seocho-Dong,
Seocho Ku, Seoul, KOREA
TEL: (02) 3486-8855
MALAYSIA
Roland Asia Pacific Sdn. Bhd.
45-1, Block C2, Jalan PJU 1/39,
Dataran Prima, 47301 Petaling
Jaya, Selangor, MALAYSIA
TEL: (03) 7805-3263
.
AUSTRALIA/
NEW ZEALAND
AUSTRALIA/
NEW ZEALAND
Roland Corporation
Australia Pty.,Ltd.
38 Campbell Avenue
Dee Why West. NSW 2099
AUSTRALIA
For Australia
Tel: (02) 9982 8266
For New Zealand
Tel: (09) 3098 715
CENTRAL/LATIN
AMERICA
ARGENTINA
Instrumentos Musicales S.A.
Av.Santa Fe 2055
(1123) Buenos Aires
ARGENTINA
TEL: (011) 4508-2700
BARBADOS
A&B Music Supplies LTD
12 Webster Industrial Park
Wildey, St.Michael, Barbados
TEL: (246)430-1100
BRAZIL
Roland Brasil Ltda.
Rua San Jose, 780 Sala B
Parque Industrial San Jose
Cotia - Sao Paulo - SP, BRAZIL
TEL: (011) 4615 5666
CHILE
Comercial Fancy II S.A.
Rut.: 96.919.420-1
Nataniel Cox #739, 4th Floor
Santiago - Centro, CHILE
TEL: (02) 688-9540
COLOMBIA
Centro Musical Ltda.
Cra 43 B No 25 A 41 Bododega 9
Medellin, Colombia
TEL: (574)3812529
GUATEMALA
Casa Instrumental
Calzada Roosevelt 34-01,zona 11
Ciudad de Guatemala
Guatemala
TEL:(502) 599-2888
HONDURAS
Almacen Pajaro Azul S.A. de C.V.
BO.Paz Barahona
3 Ave.11 Calle S.O
San Pedro Sula, Honduras
TEL: (504) 553-2029
MARTINIQUE
Musique & Son
Z.I.Les Mangle
97232 Le Lamantin
Martinique F.W.I.
TEL: 596 596 426860
Gigamusic SARL
10 Rte De La Folie
97200 Fort De France
Martinique F.W.I.
TEL: 596 596 715222
MEXICO
Casa Veerkamp, s.a. de c.v.
Av. Toluca No. 323, Col. Olivar
de los Padres 01780 Mexico
D.F. MEXICO
TEL: (55) 5668-6699
NICARAGUA
Bansbach Instrumentos
Musicales Nicaragua
Altamira D'Este Calle Principal
de la Farmacia 5ta.Avenida
1 Cuadra al Lago.#503
Managua, Nicaragua
TEL: (505)277-2557
PANAMA
SUPRO MUNDIAL, S.A.
Boulevard Andrews, Albrook,
Panama City, REP. DE
PANAMA
TEL: 315-0101
PARAGUAY
Distribuidora De
Instrumentos Musicales
J.E. Olear y ESQ. Manduvira
Asuncion PARAGUAY
TEL: (595) 21 492147
PERU
Audionet
Distribuciones Musicales SAC
Juan Fanning 530
Miraflores
Lima - Peru
TEL: (511) 4461388
VENEZUELA
Instrumentos Musicales
Allegro,C.A.
Av.las industrias edf.Guitar
import
#7 zona Industrial de Turumo
Caracas, Venezuela
TEL: (212) 244-1122
EUROPE
AUSTRIA
Roland Elektronische
Musikinstrumente HmbH.
Austrian Office
Eduard-Bodem-Gasse 8,
A-6020 Innsbruck, AUSTRIA
TEL: (0512) 26 44 260
BELGIUM/FRANCE/
HOLLAND/
LUXEMBOURG
Roland Central Europe N.V.
Houtstraat 3, B-2260, Oevel
(Westerlo) BELGIUM
TEL: (014) 575811
CZECH REP.
K-AUDIO
Kardasovska 626.
CZ-198 00 Praha 9,
CZECH REP.
TEL: (2) 666 10529
DENMARK
Roland Scandinavia A/S
Nordhavnsvej 7, Postbox 880,
DK-2100 Copenhagen
DENMARK
TEL: 3916 6200
FINLAND
Roland Scandinavia As, Filial
Finland
Elannontie 5
FIN-01510 Vantaa, FINLAND
TEL: (0)9 68 24 020
GERMANY
Roland Elektronische
Musikinstrumente HmbH.
Oststrasse 96, 22844
Norderstedt, GERMANY
TEL: (040) 52 60090
GREECE
STOLLAS S.A.
Music Sound Light
155, New National Road
Patras 26442, GREECE
TEL: 2610 435400
HUNGARY
Roland East Europe Ltd.
Warehouse Area ‘DEPO’ Pf.83
H-2046 Torokbalint,
HUNGARY
TEL: (23) 511011
IRELAND
Roland Ireland
G2 Calmount Park, Calmount
Avenue, Dublin 12
Republic of IRELAND
TEL: (01) 4294444
ITALY
Roland Italy S. p. A.
Viale delle Industrie 8,
20020 Arese, Milano, ITALY
TEL: (02) 937-78300
POLAND
MX MUSIC SP.Z.O.O.
UL. Gibraltarska 4.
PL-03664 Warszawa POLAND
TEL: (022) 679 44 19
PORTUGAL
LEBANON
Chahine S.A.L.
Gerge Zeidan St., Chahine
Bldg., Achrafieh, P.O.Box: 165857
Beirut, LEBANON
TEL: (01) 20-1441
Roland Iberia, S.L.
Portugal Office
Cais das Pedras, 8/9-1 Dto
4050-465, Porto, PORTUGAL
TEL: 22 608 00 60
OMAN
ROMANIA
QATAR
FBS LINES
Piata Libertatii 1,
535500 Gheorgheni,
ROMANIA
TEL: (266) 364 609
Al Emadi Co. (Badie Studio &
Stores)
P.O. Box 62, Doha, QATAR
TEL: 4423-554
TALENTZ CENTRE L.L.C.
P.O. BOX 37, MUSCAT,
POSTAL CODE 113
TEL: 931-3705
SAUDI ARABIA
RUSSIA
aDawliah Universal
Electronics APL
Corniche Road, Aldossary
Bldg., 1st Floor, Alkhobar,
SAUDI ARABIA
MuTek
3-Bogatyrskaya Str. 1.k.l
107 564 Moscow, RUSSIA
TEL: (095) 169 5043
SPAIN
P.O.Box 2154, Alkhobar 31952
SAUDI ARABIA
TEL: (03) 898 2081
Roland Iberia, S.L.
Paseo García Faria, 33-35
08005 Barcelona SPAIN
TEL: 93 493 91 00
SYRIA
SWEDEN
Roland Scandinavia A/S
SWEDISH SALES OFFICE
Danvik Center 28, 2 tr.
S-131 30 Nacka SWEDEN
TEL: (0)8 702 00 20
Technical Light & Sound
Center
Rawda, Abdul Qader Jazairi St.
Bldg. No. 21, P.O.BOX 13520,
Damascus, SYRIA
TEL: (011) 223-5384
TURKEY
SWITZERLAND
Roland (Switzerland) AG
Landstrasse 5, Postfach,
CH-4452 Itingen,
SWITZERLAND
TEL: (061) 927-8383
UKRAINE
Ant Muzik Aletleri Ithalat Ve
Ihracat Ltd Sti
Siraselviler Caddesi
Siraselviler Pasaji No:74/20
Taksim - Istanbul, TURKEY
TEL: (0212) 2449624
U.A.E.
TIC-TAC
Mira Str. 19/108
P.O. Box 180
295400 Munkachevo,
UKRAINE
TEL: (03131) 414-40
Zak Electronics & Musical
Instruments Co. L.L.C.
Zabeel Road, Al Sherooq Bldg.,
No. 14, Grand Floor, Dubai,
U.A.E.
TEL: (04) 3360715
UNITED KINGDOM
Roland (U.K.) Ltd.
Atlantic Close, Swansea
Enterprise Park, SWANSEA
SA7 9FJ,
UNITED KINGDOM
TEL: (01792) 702701
MIDDLE EAST
BAHRAIN
Moon Stores
No.16, Bab Al Bahrain Avenue,
P.O.Box 247, Manama 304,
State of BAHRAIN
TEL: 17 211 005
CYPRUS
Radex Sound Equipment Ltd.
17, Diagorou Street, Nicosia,
CYPRUS
TEL: (022) 66-9426
IRAN
MOCO INC.
No.41 Nike St., Dr.Shariyati Ave.,
Roberoye Cerahe Mirdamad
Tehran, IRAN
TEL: (021) 285-4169
NORTH AMERICA
CANADA
Roland Canada Music Ltd.
(Head Office)
5480 Parkwood Way
Richmond B. C., V6V 2M4
CANADA
TEL: (604) 270 6626
Roland Canada Music Ltd.
(Toronto Office)
170 Admiral Boulevard
Mississauga On L5T 2N6
CANADA
TEL: (905) 362 9707
U. S. A.
Roland Corporation U.S.
5100 S. Eastern Avenue
Los Angeles, CA 90040-2938,
U. S. A.
TEL: (323) 890 3700
ISRAEL
Halilit P. Greenspoon & Sons
Ltd.
8 Retzif Ha'aliya Hashnya St.
Tel-Aviv-Yafo ISRAEL
TEL: (03) 6823666
As of April 26, 2005 (RES)
89
FR-7/FR-5 V-Accordion
Index |
11. Index
AfterT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74
Aftertouch . . . . . . . . . . . . . . . . . . . . . . . . .25
PitchDown . . . . . . . . . . . . . . . . . . . . 42, 54
Alpine . . . . . . . . . . . . . . . . . . . . . . . . . 29, 42
American. . . . . . . . . . . . . . . . . . . . . . . 29, 42
Arabic . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29
Auto Power OFF . . . . . . . . . . . . . . . . . . . . .62
Copy
All Effects . . . . . . . . . . . . . . . . . . . . . . . . .64
Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . .64
Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64
Reverb. . . . . . . . . . . . . . . . . . . . . . . . . . . .64
Set . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64
Copying . . . . . . . . . . . . . . . . . . . . . . . . . . . .64
Copying settings . . . . . . . . . . . . . . . . . . . .64
Curve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60
G
B
D
Bagpipe sounds . . . . . . . . . . . . . . . . . . . . .25
Balance . . . . . . . . . . . . . . . . . . . . . . . . 20, 22
Bandoneon . . . . . .41, 42, 45, 46, 48, 49
Bass
& Chord Mode. . . . . . . . . . . . . . . . . . . . .61
Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45
Link . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42
MIDI TX. . . . . . . . . . . . . . . . . . . . . . . . . . .47
Orchestra . . . . . . . . . . . . . . . . . . . . . . . . .27
Panel functions. . . . . . . . . . . . . . . . . . . .12
Sust . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60
Touch . . . . . . . . . . . . . . . . . . . . . . . . . . . .63
Using. . . . . . . . . . . . . . . . . . . . . . . . . . . . .22
Battery. . . . . . . . . . . . . . . . . . . . . . . . . . 9, 32
Status . . . . . . . . . . . . . . . . . . . . . . . . . . . .63
Battery Charger . . . . . . . . . . . . . . . . . . . . .32
Bellows
Curve . . . . . . . . . . . . . . . . . . . . . . . . . . . .60
Detune . . . . . . . . . . . . . . . 42, 47, 49, 53
TX Resolution . . . . . . . . . . . . . . . . . . . . .71
Bend. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54
Bending notes . . . . . . . . . . . . . . . . . . . . . .42
Bulk
Dump . . . . . . . . . . . . . . . . . . . . . . . . . . . .75
Reception. . . . . . . . . . . . . . . . . . . . . . . . .76
Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30
Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30
Noise. . . . . . . . . . . . . . . . . . . . . . . . . 46, 49
German . . . . . . . . . . . . . . . . . . . . . . . .29, 42
Growl . . . . . . . . . . . . . . . . . . . . . . . . . .46, 49
Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26
Data Write Error. . . . . . . . . . . . . . . . . . . . .80
Delay . . . . . . . . . . . . . . . . . . 21, 56, 57, 64
Fback . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56
Macro Type . . . . . . . . . . . . . . . . . . . . . . .58
Parameters. . . . . . . . . . . . . . . . . . . . . . . .58
Send . . . . . . . . . . . . . 42, 47, 49, 52, 54
Demo songs . . . . . . . . . . . . . . . . . . . . . . . .16
Detune. . . . . . . . . . . . . 28, 42, 47, 49, 53
D-Folk . . . . . .29, 41, 42, 45, 46, 48, 49
Display . . . . . . . . . . . . . . . . . . . . . . . . . 18, 60
Drone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25
Dry . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29, 42
Dual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25
Dynamics. . . . . . . . . . . . . . . . . . . . . . . . . . .25
A
r
C
Cajun . . . . . . . . . . .41, 42, 45, 46, 48, 49
Cancel . . . . . . . . . . . . . . . . . . . . . . . . . 24, 27
Cassotto . . . . . . . . . . . . . . . . . . . . . . . 20, 41
CC00 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73
CC32 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73
Character . . . . . . . . . . . . . . . . . . . . . . . . . .56
Charging . . . . . . . . . . . . . . . . . . . . . . . . . . .32
Chord. . . . . . . . . . . . . . . . . . . . . . 22, 61, 67
MIDI TX. . . . . . . . . . . . . . . . . . . . . . . . . . .47
Chord Sust . . . . . . . . . . . . . . . . . . . . . . . . .60
Chorus . . . . . . . . . . . . . . . . . . . . . . . . . 21, 64
Macro Type . . . . . . . . . . . . . . . . . . . . . . .56
MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74
Parameters. . . . . . . . . . . . . . . . . . . . . . . .57
Send . . . . . . . . . . . . . 42, 47, 49, 52, 54
Classic . . . . . .29, 41, 42, 45, 46, 48, 49
Classic2 . . . . . . . . .41, 42, 45, 46, 48, 49
Common . . . . . . . . . . . . . . . . . . . . . . . . . . .55
Connections . . . . . . . . . . . . . . . . . . . . . . . .14
Contrast . . . . . . . . . . . . . . . . . . . . . . . . . . .60
90
E
Easy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18
Echo . . . . . . . . . . . . . . . . . . . . . . . . . . . 21, 58
Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35
Effect
Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . .21
Copying . . . . . . . . . . . . . . . . . . . . . . . . . .64
Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21
Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21
Reverb. . . . . . . . . . . . . . . . . . . . . . . . . . . .21
Ending . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61
Enter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26
Equal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29
Expression . . . . . . . . . . . . . . . . . . . . . . . . . .74
Pedal . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31
Ext. Seq. Playback . . . . . . . . . . . . . . . . . . .70
External Battery Charger . . . . . . . . . 32, 33
F
Factory Setup . . . . . . . . . . . . . . . . . . . . . . .78
FBC-7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31
Connecting . . . . . . . . . . . . . . . . . . . . . . .14
Footswitch functions . . . . . . . . . . . . . . .60
MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . .67
Feedback . . . . . . . . . . . . . . . . . . . . . . . . . . .58
F-Folk . . . . . . .29, 41, 42, 45, 46, 48, 49
F-Folk2. . . . . . . . . 41, 42, 45, 46, 48, 49
Fill. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61
Flanger. . . . . . . . . . . . . . . . . . . . . . . . . . . . .56
Foot . . . . . . . . . . . . . . . . . . . . . . . . . . . 41, 48
Footswitches. . . . . . . . . . . . . . . . . . . . 31, 60
Free Bass . . . . . . . . . . . . . . . . . . . . . . . . . . .23
Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48
MIDI TX . . . . . . . . . . . . . . . . . . . . . . . . . . .50
Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . .62
Panel functions . . . . . . . . . . . . . . . . . . . .12
French . . . . . . . . . . . . . . . . . . . . . . . . .29, 42
Full . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18
H
Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55
Headphones . . . . . . . . . . . . . . . . . . . .13, 14
High . . . . . . . . . . . . . . . . . . . . . . . . . . .25, 49
HighLand . . . . . . . . . . . . . . . . . . . . . . . . . . .25
Hold . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60
I
Icon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .59
I-Folk . . . . . . . . . . 41, 42, 45, 46, 48, 49
Initialize. . . . . . . . . . . . . . . . . . . . . . . . . . . .78
Intro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61
Italian. . . . . . . . . . . . . . . . . . . . . . . . . .29, 42
J
Jazz. . . . . . . . . . . . 41, 42, 45, 46, 48, 49
Jump . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35
Just. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29
K
Key . . . . . . . . . . . . . . . . . . . . . . . . . . . .28, 29
Keyboard icon. . . . . . . . . . . . . . . . . . . . . . .24
Kirnberger . . . . . . . . . . . . . . . . . . . . . . . . . .29
L
LCD Contrast. . . . . . . . . . . . . . . . . . . . . . . .60
Level . . . . . . . . . . . . . . . . . . . . . . . . . . .30, 42
Button Noise . . . . . . . . . . . . . . . . . . . . . .49
Gowl . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46
Reverb. . . . . . . . . . . . . . . . . . . . . . . . . . . .56
Link. . . . . . . . . . . . . . . . . . . . . . . . . . . .42, 43
Low. . . . . . . . . . . . . . . . . . . . . . . . . . . .26, 49
Lowest Note . . . . . . . . . . . . . . . . . . . . . . . .51
M
Macro. . . . . . . . . . . . . . . . . . . . . . 55, 56, 58
Main page . . . . . . . . . . . . . . . . . . . . . . . . . .19
Master bar. . . . . . . . . . . . . . . . . . . . . . . . . .26
Master Bar Recall. . . . . . . . . . . . . . . . . . . .59
Master Tune . . . . . . . . . . . . . . . . . . . . . . . .38
Mean-Tone . . . . . . . . . . . . . . . . . . . . . . . . .29
Memory Error . . . . . . . . . . . . . . . . . . . . . . .80
Menu . . . . . . . . . . . . . . . . . . . . . . . . . .35, 36
V-Accordion
MIDI
Channels. . . . . . . . . . . . . . . . . . . . . . 67, 69
Implementation . . . . . . . . . . . . . . . . . . .86
Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72
Remote control . . . . . . . . . . . . . . . . . . . .60
Sections . . . . . . . . . . . . . . . . . . . . . . . . . .72
TX. . . . . . . . . . . . . . . . 44, 47, 50, 52, 54
Mode . . . . . . . . . . . . . . . . . . . . . . . . . . 25, 43
Module . . . . . . . . . . . . . . . . . . . . . . . . . . . .67
Musette Detune . . . . . . . . . . . . . . . . . 28, 42
N
Name . . . . . . . . . . . . . . . . . . . . . . . . . . 59, 63
No Link . . . . . . . . . . . . . . . . . . . . . . . . . . . .43
Noise . . . . . . . . . . . . . . . . . . . . . . . . . . 42, 49
Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30
North Eur . . . . . . . . . . . . . . . . . . . . . . 29, 42
Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72
O
Octave . . . . . . . . . . . . . . . . . . . . . 42, 53, 73
OldItaly . . . . . . . . . . . . . . . . . . . . . . . . 41, 42
Orc Bass
MIDI TX . . . . . . . . . . . . . . . . . . . . . . . . . . .52
Release Time . . . . . . . . . . . . . . . . . . . . . .52
Volume . . . . . . . . . . . . . . . . . . . . . . . 27, 52
ORC.BASS . . . . . . . . . . . . . . . . . . . . . . . . . .51
ORCH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24
EDIT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53
Orch
Bs Sust . . . . . . . . . . . . . . . . . . . . . . . . . . .60
On/Off. . . . . . . . . . . . . . . . . . . . . . . . . . . .60
Sust . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60
Orchestra. . . . . . . . . . . . . . . . . . . . . . . . . . .24
Bass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27
Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53
Link . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43
MIDI TX . . . . . . . . . . . . . . . . . . . . . . . . . . .54
Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . .25
Octave. . . . . . . . . . . . . . . . . . . . . . . . . . . .53
Volume . . . . . . . . . . . . . . . . . . . . . . . 26, 53
Orchestra Bass . . . . . . . . . . . . . . . . . . . . . .51
Organetto . . . . . . 41, 42, 45, 46, 48, 49
Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14
P
Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14
Delay. . . . . . . . . . . . . . . . . . . . . . . . . 56, 58
Dlay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58
Panel functions . . . . . . . . . . . . . . . . . . . . .11
Panpot . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73
Parameter Access. . . . . . . . . . . . . . . . . . . .60
PBM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40
Pedal Controller . . . . . . . . . . . . . . . . . . . . .60
Personalizing . . . . . . . . . . . . . . . . . . . . . . .63
PHONES. . . . . . . . . . . . . . . . . . . . . . . . . . . .13
Physical Behavior Modeling. . . . . . . . . . .40
Pitch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28
Plate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55
Pre-Dly T.. . . . . . . . . . . . . . . . . . . . . . . . . . .56
Pre-LPF . . . . . . . . . . . . . . . . . . . . . . . . . . . .56
Pythagorean . . . . . . . . . . . . . . . . . . . . . . . .29
R
Recovering Data. . . . . . . . . . . . . . . . . . . . .80
Reed
Growl . . . . . . . . . . . . . . . . . . . . . . . .46, 49
Type. . . . . . . . . . . . . . . . . . . . . . 41, 45, 48
Volume . . . . . . . . . . . . . . . . . . . 42, 46, 49
Register
Bass . . . . . . . . . . . . . . . . . . . . . . . . . .12, 46
Footswitches . . . . . . . . . . . . . . . . . . . . . .31
Free Bass. . . . . . . . . . . . . . . . . . . . . . . . . .49
Treble . . . . . . . . . . . . . . . . . . . . . . . .11, 41
Release Time . . . . . . . . . . . . . . . . . . . . . . . .52
Resetting . . . . . . . . . . . . . . . . . . . . . . . . . . .78
Resolution. . . . . . . . . . . . . . . . . . . . . . . . . .71
Restore SET . . . . . . . . . . . . . . . . . . . . . . . . .65
Reverb . . . . . . . . . . . . . . . . . . . . . . . . .21, 64
Macro Type . . . . . . . . . . . . . . . . . . . . . . .55
MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73
Parameters. . . . . . . . . . . . . . . . . . . . . . . .56
Send . . . . . . . . . . . . . 42, 47, 49, 52, 54
Room . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55
Root note . . . . . . . . . . . . . . . . . . . . . . . . . .29
S
Saving settings. . . . . . . . . . . . . . . . . . . . . .77
Scale. . . . . . . . . . . . . . . . . . . . . . . . . . .29, 38
Assign . . . . . . . . . . . . . . . . . . . . . . . . . . . .39
Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38
Scottish . . . . . . . . . . . . . . . . . . . . . . . .29, 42
Send . . . . . . . . . . . . . . . 42, 47, 49, 52, 54
Sequencer . . . . . . . . . . . . . . . . . . . . . .67, 70
Remarks . . . . . . . . . . . . . . . . . . . . . . . . . .68
Set . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64
Common. . . . . . . . . . . . . . . . . . . . . . . . . .55
Description. . . . . . . . . . . . . . . . . . . . . . . .17
Footswitches . . . . . . . . . . . . . . . . . . . . . .31
Name. . . . . . . . . . . . . . . . . . . . . . . . . . . . .59
Program change . . . . . . . . . . . . . . . . . . .69
Restore . . . . . . . . . . . . . . . . . . . . . . . . . . .65
Selecting. . . . . . . . . . . . . . . . . . . . . . . . . .21
Solo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25
Sordina . . . . . . . . . . . . . . . . . . . . . . . . . . . .21
Specifications . . . . . . . . . . . . . . . . . . . . . . .81
Start/Stop . . . . . . . . . . . . . . . . . . . . . . . . . .61
Startup. . . . . . . . . . . . . . . . . . . . . . . . . . . . .63
Name. . . . . . . . . . . . . . . . . . . . . . . . . . . . .63
Status. . . . . . . . . . . . . . . . . . . . . . 41, 46, 49
Std . . . . . . . . . . . . . . . . . . . . . . . . 26, 27, 30
Steierische. . . . . . 41, 42, 45, 46, 48, 49
Stereo
Position. . . . . . . . . . . . . . . . . . . . . . . . . . .14
Width . . . . . . . . . . . . . . . . . . . . . . . . . . . .62
Studio . . . . . . . . . 41, 42, 45, 46, 48, 49
Sustain. . . . . . . . . . . . . . . . . . . . . . . . .31, 60
Switching on/off . . . . . . . . . . . . . . . . . . . .15
System . . . . . . . . . . . . . . . . . . . . . . . . . . . . .59
r
Treble . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
MIDI TX . . . . . . . . . . . . . . . . . . . . . . . . . .
Octave. . . . . . . . . . . . . . . . . . . . . . . . . . .
Orchestra . . . . . . . . . . . . . . . . . . . . . . . .
Panel functions . . . . . . . . . . . . . . . . . . .
Sust . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Trikitixa . . . . . . . . 41, 42, 45, 46, 48,
Tuning . . . . . . . . . . . . . . . . . . . . . . . . .29,
Tuning system . . . . . . . . . . . . . . . . . . . . .
Type . . . . . . . . . . . . . . . . . . . . . . . . . . .38,
Reed . . . . . . . . . . . . . . . . . . . . . . . . .45,
11
40
44
42
24
11
60
20
49
38
38
41
48
U
User 1~3 . . . . . . . . . . . . . . . . . . . . . . . . . . 29
V
Valve. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Level . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Noise . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Velocity . . . . . . . . . . . . . . . . . . . . . . . .25,
Velocity sensitivity . . . . . . . . . . . . . . . . . .
Volume. . . . . . . . . . . . . . . . . 20, 22, 30,
Effects . . . . . . . . . . . . . . . . . . . . . . . . . . .
Orchestra . . . . . . . . . . . . . . . . . 26, 30,
Orchestra Bass . . . . . . . . . . . . . . . . .27,
Swells . . . . . . . . . . . . . . . . . . . . . . . . . . .
30
30
42
74
25
73
21
53
52
31
W
Warning. . . . . . . . . . . . . . . . . . . . . . . . . . .
Werckmeister . . . . . . . . . . . . . . . . . . . . . .
Whole. . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Wrap. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Write . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
80
29
49
51
77
Z
Zampogna . . . . . . . . . . . . . . . . . . . . . . . . . 25
T
TexMex. . . . . . . . . . . . . . . . . . . . . . . . .41, 42
Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56
TO FBC-7 . . . . . . . . . . . . . . . . . . . . . . . . . . .13
Tone Generator . . . . . . . . . . . . . . . . . . . . .67
Touch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63
Tradition . . . . . . . 41, 42, 45, 46, 48, 49
Transpose . . . . . . . . . . . . . . . . . . . . . .28, 38
RealTime RX-TX . . . . . . . . . . . . . . . . . . . . .69
Recharging . . . . . . . . . . . . . . . . . . . . . . . . .32
91
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FR-7/FR-5 V-Accordion
Index |
92
For EU Countries
This product complies with the requirements of European Directives EMC 89/336/EEC and LVD 73/23/EEC.
For the USA
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. These limits are designed to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in
accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee
that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the
interference by one or more of the following measures:
– Reorient or relocate the receiving antenna.
– Increase the separation between the equipment and receiver.
– Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
– Consult the dealer or an experienced radio/TV technician for help.
This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions:
(1) This device may not cause harmful interference, and
(2) This device must accept any interference received, including interference that may cause undesired operation.
Unauthorized changes or modification to this system can void the users authority to operate this equipment.
This equipment requires shielded interface cables in order to meet FCC class B Limit.
For Canada
NOTICE
AVIS
R®
602.00.0033.02
RES 434-04 FR7/5 Owner's Manual - E