Roland FANTOM X7 Owner Manual

Add to my manuals
348 Pages

advertisement

Roland FANTOM X7 Owner Manual | Manualzz

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

T.O.M.S. Sound & Music

(Pty)Ltd.

2 ASTRON ROAD DENVER

JOHANNESBURG ZA 2195,

SOUTH AFRICA

TEL: (011)417 3400

FAX: (011)417 3462

Paul Bothner(PTY)Ltd.

Royal Cape Park, Unit 24

Londonderry Road, Ottery 7800

Cape Town, SOUTH AFRICA

TEL: (021) 799 4900

ASIA

CHINA

Roland Shanghai Electronics

Co.,Ltd.

5F. No.1500 Pingliang Road

Shanghai 200090, CHINA

TEL: (021) 5580-0800

PHILIPPINES

G.A. Yupangco & Co. Inc.

339 Gil J. Puyat Avenue

Makati, Metro Manila 1200,

PHILIPPINES

TEL: (02) 899 9801

SINGAPORE

SWEE LEE MUSIC

COMPANY PTE. LTD.

150 Sims Drive,

SINGAPORE 387381

TEL: 6846-3676

TAIWAN

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

THAILAND

Theera Music Co. , Ltd.

330 Soi Verng NakornKasem,

New Road, Sumpantawongse,

Bangkok 10100, THAILAND

TEL: (02) 224-8821

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

Roland Shanghai Electronics

Co.,Ltd.

(BEIJING OFFICE)

10F. No.18 3 Section Anhuaxili

Chaoyang District Beijing

100011 CHINA

TEL: (010) 6426-5050

HONG KONG

Tom Lee Music Co., Ltd.

Service Division

22-32 Pun Shan Street, Tsuen

Wan, New Territories,

HONG KONG

TEL: 2415 0911

CENTRAL/LATIN

AMERICA

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

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

COSTA RICA

JUAN Bansbach Instrumentos

Musicales

Ave.1. Calle 11, Apartado

10237,

San Jose, COSTA RICA

TEL: 258-0211

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

TRINIDAD

AMR Ltd

Ground Floor

Maritime Plaza

Barataria Trinidad W.I.

TEL: (868) 638 6385

CURACAO

Zeelandia Music Center Inc.

Orionweg 30

Curacao, Netherland Antilles

TEL:(305)5926866

DOMINICAN REPUBLIC

Instrumentos Fernando Giraldez

Calle Proyecto Central No.3

Ens.La Esperilla

Santo Domingo,

Dominican Republic

TEL:(809) 683 0305

ECUADOR

Mas Musika

Rumichaca 822 y Zaruma

Guayaquil - Ecuador

TEL:(593-4)2302364

EL SALVADOR

OMNI MUSIC

75 Avenida Norte y Final

Alameda Juan Pablo II,

Edificio No.4010 San Salvador,

EL SALVADOR

TEL: 262-0788

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

URUGUAY

Todo Musica S.A.

Francisco Acuna de Figueroa

1771

C.P.: 11.800

Montevideo, URUGUAY

TEL: (02) 924-2335

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

CROATIA

ART-CENTAR

Degenova 3.

HR - 10000 Zagreb

TEL: (1) 466 8493

CZECH REP.

CZECH REPUBLIC

DISTRIBUTOR s.r.o

Voctárova 247/16

CZ - 180 00 PRAHA 8,

CZECH REP.

TEL: (2) 830 20270

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/CYPRUS

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

NORWAY

Roland Scandinavia Avd.

Kontor Norge

Lilleakerveien 2 Postboks 95

Lilleaker N-0216 Oslo

NORWAY

TEL: 2273 0074

POLAND

ROLAND POLSKA SP. Z O.O.

UL. Gibraltarska 4.

PL-03 664 Warszawa

POLAND

TEL: (022) 679 4419

PORTUGAL

Roland Iberia, S.L.

Portugal Office

Cais das Pedras, 8/9-1 Dto

4050-465, Porto, PORTUGAL

TEL: 22 608 00 60

ROMANIA

FBS LINES

Piata Libertatii 1,

535500 Gheorgheni,

ROMANIA

TEL: (266) 364 609

RUSSIA

MuTek

Dorozhnaya ul.3,korp.6

117 545 Moscow, RUSSIA

TEL: (095) 981-4967

SLOVAKIA

DAN Acoustic s.r.o.

Povazská 18.

SK - 940 01 Nové Zámky

TEL: (035) 6424 330

SPAIN

Roland Iberia, S.L.

Paseo García Faria, 33-35

08005 Barcelona SPAIN

TEL: 93 493 91 00

SWEDEN

Roland Scandinavia A/S

SWEDISH SALES OFFICE

Danvik Center 28, 2 tr.

S-131 30 Nacka SWEDEN

TEL: (0)8 702 00 20

SWITZERLAND

Roland (Switzerland) AG

Landstrasse 5, Postfach,

CH-4452 Itingen,

SWITZERLAND

TEL: (061) 927-8383

UKRAINE

EURHYTHMICS Ltd.

P.O.Box: 37-a.

Nedecey Str. 30

UA - 89600 Mukachevo,

UKRAINE

TEL: (03131) 414-40

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

IRAN

MOCO INC.

No.41 Nike St., Dr.Shariyati Ave.,

Roberoye Cerahe Mirdamad

Tehran, IRAN

TEL: (021) 285-4169

ISRAEL

Halilit P. Greenspoon & Sons

Ltd.

8 Retzif Ha'aliya Hashnya St.

Tel-Aviv-Yafo ISRAEL

TEL: (03) 6823666

NORTH AMERICA

CANADA

Roland Canada Ltd.

(Head Office)

5480 Parkwood Way

Richmond B. C., V6V 2M4

CANADA

TEL: (604) 270 6626

Roland Canada 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

JORDAN

MUSIC HOUSE CO. LTD.

FREDDY FOR MUSIC

P. O. Box 922846

Amman 11192 JORDAN

TEL: (06) 5692696

KUWAIT

EASA HUSAIN AL-YOUSIFI

& SONS CO.

Abdullah Salem Street,

Safat, KUWAIT

TEL: 243-6399

LEBANON

Chahine S.A.L.

Gerge Zeidan St., Chahine

Bldg., Achrafieh, P.O.Box: 16-

5857

Beirut, LEBANON

TEL: (01) 20-1441

OMAN

TALENTZ CENTRE L.L.C.

Malatan House No.1

Al Noor Street, Ruwi

SULTANATE OF OMAN

TEL: 2478 3443

QATAR

Al Emadi Co. (Badie Studio &

Stores)

P.O. Box 62, Doha, QATAR

TEL: 4423-554

SAUDI ARABIA aDawliah Universal

Electronics APL

Corniche Road, Aldossary

Bldg., 1st Floor, Alkhobar,

SAUDI ARABIA

P.O.Box 2154, Alkhobar 31952

SAUDI ARABIA

TEL: (03) 898 2081

SYRIA

Technical Light & Sound

Center

Rawda, Abdul Qader Jazairi St.

Bldg. No. 21, P.O.BOX 13520,

Damascus, SYRIA

TEL: (011) 223-5384

TURKEY

ZUHAL DIS TICARET A.S.

Galip Dede Cad. No.37

Beyoglu - Istanbul / TURKEY

TEL: (0212) 249 85 10

U.A.E.

Zak Electronics & Musical

Instruments Co. L.L.C.

Zabeel Road, Al Sherooq Bldg.,

No. 14, Grand Floor, Dubai,

U.A.E.

TEL: (04) 3360715

As of November 1, 2006 (ROLAND)

03569901 07-04-AN

* 0 3 5 6 9 9 0 1 1 0 *

Owner’s Manual

Thank you, and congratulations on your choice of the Roland Fantom-X6/X7/X8.

201b

Before using this unit, carefully read the sections entitled: “IMPORTANT SAFETY

INSTRUCTIONS” (p. 2), “USING THE UNIT SAFELY” (p. 3–4), and “IMPORTANT NOTES”

(p. 4–5). These sections provide important information concerning the proper operation of the unit. Additionally, in order to feel assured that you have gained a good grasp of every feature provided by your new unit, Handbook and Owner’s manual should be read in its entirety. The manual should be saved and kept on hand as a convenient reference.

This Owner’s Manual applies to the Fantom-X6, the Fantom-X7 and the Fantom-X8. The manual uses the term “Fantom-X” to indicate all these three models.

Listening to the Demo Songs

Press [PLAY] to start demo song playback.

To stop the performance, press [STOP].

Rewind Stop Play

* The operation described here will play back one demo song.

In addition to this song, the Fantom-X contains other demo songs that let you experience

the amazing sounds of the Fantom-X. To listen to these demo songs, refer to p. 23.

202

Copyright © 2004 ROLAND CORPORATION

All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION.

2

WARNING:

To reduce the risk of fire or electric shock, do not expose this apparatus 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.

Read these instructions.

2.

Keep these instructions.

3.

Heed all warnings.

4.

Follow all instructions.

5.

Do not use this apparatus near water.

6.

Clean only with a dry cloth.

7.

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 the 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 a 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. Use only with the cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over.

13. Unplug this apparatus during lightning storms or when unused for long periods of time.

14. 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.

WARNING: THIS APPARATUS MUST BE EARTHED

IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.

GREEN-AND-YELLOW: EARTH, BLUE: NEUTRAL, 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 GREEN-AND-YELLOW must be connected to the terminal in the plug which is marked by the letter E or by the safety earth symbol or coloured GREEN or GREEN-AND-YELLOW.

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.

For the USA

DECLARATION OF CONFORMITY

Compliance Information Statement

Model Name :

Type of Equipment :

Responsible Party :

Address :

Telephone :

Fantom-X6/X7/X8

Synthesizer Keyboard

Roland Corporation U.S.

5100 S. Eastern Avenue, Los Angeles, CA 90040-2938

(323) 890-3700

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.

Tested To Comply With FCC Standards

FOR HOME OR OFFICE USE

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

This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.

AVIS

Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.

Fantom-X678_r_e.book 3 ページ 2007年3月20日 火曜日 午前10時20分

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 to damage or other adverse effects caused with respect to the home and all its furnishings, as well to domestic animals or pets.

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.

symbol alerts the user to things that must be The 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.

001

• Before using this unit, make sure to read the instructions below, and the Owner’s Manual.

..........................................................................................................

002b

• Connect mains plug of this model to a mains socket outlet with a protective earthing connection.

..........................................................................................................

• Do not open or perform any internal modifications on the unit.

(The only exception would be where this manual provides specific instructions which should be followed in order to put in

place user-installable options; see p. 240, p. 242, p. 244, p. 246.)

..........................................................................................................

003

• Do not attempt to repair the unit, 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.

..........................................................................................................

004

• Never use or store the unit 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.

..........................................................................................................

005

• This unit should be used only with a rack or stand that is recommended by Roland.

..........................................................................................................

006

• When using the unit with a rack or stand recommended by

Roland, the rack or stand must be carefully placed so it is level and sure to remain stable. If not using a rack or stand, you still need to make sure that any location you choose for placing the unit provides a level surface that will properly support the unit, and keep it from wobbling.

..........................................................................................................

008a

• The unit should be connected to a power supply only of the type described in the operating instructions, or as marked on the unit.

..........................................................................................................

008e

• Use only the attached power-supply cord. Also, the supplied power cord must not be used with any other device.

..........................................................................................................

009

• 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!

..........................................................................................................

010

• This unit, 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 unit, and consult an audiologist.

..........................................................................................................

011

• Do not allow any objects (e.g., flammable material, coins, pins); or liquids of any kind (water, soft drinks, etc.) to penetrate the unit.

..........................................................................................................

012a:

• 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

• If smoke or unusual odor occurs

• Objects have fallen into, or liquid has been spilled onto the unit; 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.

..........................................................................................................

013

• In households with small children, an adult should provide supervision until the child is capable of following all the rules essential for the safe operation of the unit.

..........................................................................................................

014

• Protect the unit from strong impact.

(Do not drop it!)

..........................................................................................................

015

• Do not force the unit’s power-supply 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.

..........................................................................................................

016

• Before using the unit in a foreign country, consult with your retailer, the nearest Roland Service Center, or an authorized

Roland distributor, as listed on the “Information” page.

..........................................................................................................

3

Fantom-X678_r_e.book 4 ページ 2007年3月20日 火曜日 午前10時20分

022a

• Always turn the unit off and unplug the power cord before

attempting installation of the circuit board (SRX series; p. 240, p.

242, DIMM; p. 244, p. 246).

..........................................................................................................

023

• DO NOT play a CD-ROM disc on a conventional audio CD player. The resulting sound may be of a level that could cause permanent hearing loss. Damage to speakers or other system components may result.

..........................................................................................................

026

• Do not put anything that contains water (e.g., flower vases) on this unit. 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.

..........................................................................................................

101a

• The unit should be located so that its location or position does not interfere with its proper ventilation.

..........................................................................................................

101c

• This unit for use only with Roland stand KS-12 (Fantom-X6/

Fantom-X7) / KS-17 (Fantom-X8). Use with other stands (or carts) is capable of resulting in instability causing possible injury.

..........................................................................................................

102b

• Always grasp only the plug on the power-supply cord when plugging into, or unplugging from, an outlet or this unit.

..........................................................................................................

103a:

• At regular intervals, you should unplug the power plug and clean it by using a dry cloth to wipe all dust and other accumulations away from its prongs. Also, disconnect the power plug from the power outlet whenever the unit is to remain unused for an extended period of time. Any accumulation of dust between the power plug and the power outlet can result in poor insulation and lead to fire.

104

• Try to prevent cords and cables from becoming entangled. Also, all cords and cables should be placed so they are out of the reach of children.

..........................................................................................................

106

• Never climb on top of, nor place heavy objects on the unit.

..........................................................................................................

107b

• Never handle the power cord or its plugs with wet hands when plugging into, or unplugging from, an outlet or this unit.

..........................................................................................................

108a

• Before moving the unit, disconnect the power plug from the outlet, and pull out all cords from external devices.

..........................................................................................................

109a

• Before cleaning the unit, turn off the power and unplug the power

cord from the outlet (p. 22).

..........................................................................................................

110a

• Whenever you suspect the possibility of lightning in your area, pull the plug on the power cord out of the outlet.

..........................................................................................................

115a

• Install only the specified circuit board(s) (SRX Series, DIMM).

Remove only the specified screws (p. 240, p. 242, p. 244, p. 246, p.

248).

..........................................................................................................

118

• Should you remove the screws that fasten the bottom panel (the front panel of the Fantom-X8) or the PC card protector, be sure to place them out of children’s reach, so there is no chance of them being swallowed accidentally.

..........................................................................................................

4

IMPORTANT NOTES

291b

In addition to the items listed under “IMPORTANT SAFETY INSTRUCTIONS” and “USING THE UNIT SAFELY” on pages 2–4, please read and observe the following:

Power Supply

301

• Do not connect this unit to same electrical outlet that is being used by an electrical appliance that is controlled by an inverter (such as a refrigerator, washing machine, microwave oven, or air conditioner), or that contains a motor. Depending on the way in which the electrical appliance is used, power supply noise may cause this unit to malfunction or may produce audible noise. If it is not practical to use a separate electrical outlet, connect a power supply noise filter between this unit and the electrical outlet.

307

• Before connecting this unit to other devices, turn off the power to all units.

This will help prevent malfunctions and/or damage to speakers or other devices.

308

• Although the LCD and LEDs are switched off when the POWER switch is switched off, this does not mean that the unit has been completely disconnected from the source of power. If you need to turn off the power completely, first turn off the POWER switch, then unplug the power cord from the power outlet. For this reason, the outlet into which you choose to connect the power cord's plug should be one that is within easy reach and readily accessible.

Placement

351

• Using the unit 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.

352a

• This device may interfere with radio and television reception. Do not use this device in the vicinity of such receivers.

352b

• 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, you should relocate such wireless devices so they are at a greater distance from this unit, or switch them off.

354a

• 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. Excessive heat can deform or discolor the unit.

355b

• When moved from one location to another where the temperature and/or humidity is very different, water droplets (condensation) may form inside the unit. Damage or malfunction may result if you attempt to use the unit in this condition. Therefore, before using the unit, you must allow it to stand for several hours, until the condensation has completely evaporated.

358

• Do not allow objects to remain on top of the keyboard. This can be the cause of malfunction, such as keys ceasing to produce sound.

Fantom-X678_r_e.book 5 ページ 2007年3月20日 火曜日 午前10時20分

IMPORTANT NOTES

Maintenance

401a

• For everyday cleaning wipe the unit with a soft, dry cloth or one that has been slightly dampened with water. To remove stubborn dirt, use a cloth impregnated with a mild, non-abrasive detergent. Afterwards, be sure to wipe the unit thoroughly with a soft, dry cloth.

402

• Never use benzine, thinners, alcohol or solvents of any kind, to avoid the possibility of discoloration and/or deformation.

Repairs and Data

452

• Please be aware that all data contained in the unit’s memory may be lost when the unit is sent for repairs. Important data should always be backed up on a memory card, or written down on paper (when possible). During repairs, due care is taken to avoid the loss of data. However, 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, and Roland assumes no liability concerning such loss of data.

Additional Precautions

551

• Please be aware that the contents of memory can be irretrievably lost as a result of a malfunction, or the improper operation of the unit. To protect yourself against the risk of loosing important data, we recommend that you periodically save a backup copy of important data you have stored in the unit’s memory on a memory card, or other device.

552

• Unfortunately, it may be impossible to restore the contents of data that was stored on a memory card, unit’s memory, or other device once it has been lost. Roland Corporation assumes no liability concerning such loss of data.

553

• Use a reasonable amount of care when using the unit’s buttons, sliders, or other controls; and when using its jacks and connectors. Rough handling can lead to malfunctions.

554

• Never strike or apply strong pressure to the display.

555

• A small amount of noise may be heard from the display during normal operation.

556

• When connecting / disconnecting all 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.

557

• A small amount of heat will radiate from the unit during normal operation.

558a

• To avoid disturbing your neighbors, try to keep the unit’s volume at reasonable levels. You may prefer to use headphones, so you do not need to be concerned about those around you (especially when it is late at night).

559a

• When you need to transport the unit, package it in the box (including padding) that it came in, if possible. Otherwise, you will need to use equivalent packaging materials.

561

• Use only the specified expression pedal (EV-5; sold separately). By connecting any other expression pedals, you risk causing malfunction and/or damage to the unit.

562

• 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.

566b

• The sensitivity of the D Beam controller will change depending on the amount of light in the vicinity of the unit. If it does not function as you expect, adjust the sensitivity as appropriate for the brightness of your

location. Increase this value will raise the sensitivity (p. 226).

Before Using Cards

Using Memory Cards

704

• Carefully insert the memory Card all the way in—until it is firmly in place.

705

• Never touch the terminals of the memory card. Also, avoid getting the terminals dirty.

707

• This unit’s memory card slot accepts CompactFlash, Smartmedia (3.3V).

708

• CompactFlash, Smartmedia (3.3V) are constructed using precision components; handle the cards carefully, paying particular note to the following.

• To prevent damage to the cards from static electricity, be sure to discharge any static electricity from your own body before handling the cards.

• Do not touch or allow metal to come into contact with the contact portion of the cards.

• Do not bend, drop, or subject cards to strong shock or vibration.

• Do not keep cards in direct sunlight, in closed vehicles, or other such locations (storage temperature: -25 to 85° C).

• Do not allow cards to become wet.

• Do not disassemble or modify the cards.

Handling CD-ROMs

801

• Avoid touching or scratching the shiny underside (encoded surface) of the disc. Damaged or dirty CD-ROM discs may not be read properly. Keep your discs clean using a commercially available CD cleaner.

Copyright

851

• Unauthorized recording, distribution, sale, lending, public performance, broadcasting, or the like, in whole or in part, of a work (musical composition, video, broadcast, public performance, or the like) whose copyright is held by a third party is prohibited by law.

852a

• When exchanging audio signals through a digital connection with an external instrument, this unit can perform recording without being subject to the restrictions of the Serial Copy Management System (SCMS). This is because the unit is intended solely for musical production, and is designed not to be subject to restrictions as long as it is used to record works (such as your own compositions) that do not infringe on the copyrights of others.

(SCMS is a feature that prohibits second-generation and later copying through a digital connection. It is built into MD recorders and other consumer digital-audio equipment as a copyright-protection feature.)

853

• Do not use this unit for purposes that could infringe on a copyright held by a third party. We assume no responsibility whatsoever with regard to any infringements of third-party copyrights arising through your use of this unit.

237

204

* Microsoft and Windows are registered trademarks of Microsoft Corporation.

206j

* Windows® is known officially as: “Microsoft® Windows® operating system.”

207

* Apple and Macintosh are registered trademark of Apple Computer, Inc.

209

* MacOS is a trademark of Apple Computer, Inc.

213

* Pentium is a registered trademark of Intel Corporation.

220

* All product names mentioned in this document are trademarks or registered trademarks of their respective owners.

230

* SmartMedia is a trademark of Toshiba Corp.

231

* OMS is a registered trademark of Opcode Systems, Inc.

234

* CompactFlash and are trademarks of SanDisk Corporation and licensed by CompactFlash association.

235

* Roland Corporation is an authorized licensee of the CompactFlash™ and

CF logo ( ) trademarks.

5

Fantom-X678_r_e.book 6 ページ 2007年3月20日 火曜日 午前10時20分

Contents

USING THE UNIT SAFELY ..............................................................................3

IMPORTANT NOTES ........................................................................................4

Main Features ................................................................................................15

Panel Descriptions ........................................................................................16

Front Panel................................................................................................................................................. 16

Rear Panel .................................................................................................................................................. 18

Getting Ready ................................................................................................19

Connecting an Amp and Speaker System............................................................................................. 19

Placing the Fantom-X8 on a Stand (For Fantom-X8 user) ................................................................. 20

Turning On the Power ............................................................................................................................. 21

Adjusting the Display Contrast (LCD Contrast).................................................................................. 22

Turning Off the Power............................................................................................................................. 22

Listening to the Demo Songs .......................................................................23

Listening to the demo song loaded when you start up the Fantom-X ............................................. 23

Listening to the other demo songs......................................................................................................... 23

Various Performance Features ....................................................................24

Velocity/Aftertouch ..................................................................................................................... 24

Pitch Bend/Modulation Lever .................................................................................................... 24

Octave Shift (Oct) .......................................................................................................................... 24

Hold Pedal...................................................................................................................................... 24

Control Pedal ................................................................................................................................. 25

Transpose (Trans).......................................................................................................................... 25

Overview of the Fantom-X ............................................................................26

How the Fantom-X Is Organized ........................................................................................................... 26

Basic Structure ............................................................................................................................... 26

Classification of Fantom-X Sound Types................................................................................... 26

About Simultaneous Polyphony................................................................................................. 28

About Memory.......................................................................................................................................... 28

Temporary Memory...................................................................................................................... 29

Rewritable Memory ...................................................................................................................... 29

Non-Rewritable Memory ............................................................................................................. 29

About the Onboard Effects ..................................................................................................................... 29

Effect Types.................................................................................................................................... 29

How Effects Units Work in Different Modes ............................................................................ 30

About the Sequencer ................................................................................................................................ 30

What Is a Song? ............................................................................................................................. 30

What Is a Track? ............................................................................................................................ 30

Songs and the Sound Generator Mode ...................................................................................... 31

Positions for Storing a Song......................................................................................................... 31

About the Sampling Section.................................................................................................................... 32

Where Samples are Stored ........................................................................................................... 32

Basic Operation of the Fantom-X ........................................................................................................... 33

Switching the Sound Generator Mode....................................................................................... 33

About the Function Buttons ........................................................................................................ 34

Moving the Cursor........................................................................................................................ 34

Modifying a Value ........................................................................................................................ 35

Assigning a Name ......................................................................................................................... 36

Registering and recalling frequently used screen pages (Bookmark) .............................................. 37

Registering a page......................................................................................................................... 37

Recalling a page............................................................................................................................. 37

Viewing an explanation of each button (Help) .................................................................................... 37

Viewing the number of voices used by the sound generator (Voice Monitor) ............................... 37

6

Fantom-X678_r_e.book 7 ページ 2007年3月20日 火曜日 午前10時20分

Contents

Playing in Patch Mode ..................................................................................38

About the Patch Play Screen ................................................................................................................... 38

Displaying Patch Play Screen ...................................................................................................... 38

Selecting a Patch ....................................................................................................................................... 39

Selecting Patches by Category (Patch Finder) .......................................................................... 40

Selecting Patches from the List.................................................................................................... 41

Auditioning Patches (Phrase Preview) ...................................................................................... 42

Creating a list of frequently used Patches and Performances (Live Setting).................................. 42

Recalling sounds ........................................................................................................................... 42

Registering a sound ...................................................................................................................... 43

Removing a registration............................................................................................................... 43

Removing all sound registrations from a bank ........................................................................ 43

Changing the step at which a sound is registered ................................................................... 43

Selecting Favorite Patches (Favorite Patch).......................................................................................... 44

Registering a Favorite Patch ........................................................................................................ 44

Registering Favorite Rhythm Sets .............................................................................................. 45

Transposing the Keyboard in Octave Units (Octave Shift) ................................................................ 45

Transposing the Keyboard in Semitone Steps (Transpose)................................................................ 46

Selecting the Tones That Will Sound (Tone On/Off).......................................................................... 46

Playing Single Notes (Monophonic)...................................................................................................... 46

Creating Smooth Pitch Changes (Portamento) .................................................................................... 47

Selecting the Parameter Controlled by the Realtime Controllers or D Beam Controller

(Control Setting) ....................................................................................................................................... 47

Specifying the Part that Will be Affected by the Controller ................................................... 47

Assigning a Parameter to a Controller....................................................................................... 48

Playing Percussion Instruments............................................................................................................. 52

Selecting a Rhythm Set ................................................................................................................. 52

Playing a Rhythm Set ................................................................................................................... 53

Playing in Piano Mode ..................................................................................54

Selecting Piano Mode............................................................................................................................... 54

Selecting a Patch ....................................................................................................................................... 54

Selecting Patches by Category..................................................................................................... 54

Selecting from the Patch List Screen........................................................................................... 54

Playing acoustic piano sounds ............................................................................................................... 54

Adjusting the Keyboard Touch (Key Touch) ............................................................................ 54

Changing the Piano Sound (Open/Close) ................................................................................ 55

Adjusting the Depth of Resonance (Resonance)....................................................................... 55

Playing electric piano sounds ................................................................................................................. 55

Selecting electric piano effects..................................................................................................... 55

Saving a Sound (Patch) ............................................................................................................................ 55

Creating a Patch ............................................................................................56

How to Make Patch Settings................................................................................................................... 56

Editing in a Graphic Display (Zoom Edit) ................................................................................ 57

Initializing Patch Settings (Init)................................................................................................... 57

Copying Patch (Tone) Settings (Copy)....................................................................................... 58

Cautions When Selecting a Waveform ...................................................................................... 58

Saving Patches You’ve Created (Write) ................................................................................................ 59

Auditioning the Save-Destination Patch (Compare) ............................................................... 60

Functions of Patch Parameters ............................................................................................................... 60

Settings Common to the Entire Patch (General)....................................................................... 60

Modifying Waveforms (Wave) ................................................................................................... 62

Changing How a Tone Is Sounded (TMT) ................................................................................ 63

Modifying Pitch (Pitch/Pitch Env)............................................................................................. 67

Modifying the Brightness of a Sound with a Filter (TVF/TVF Env)..................................... 69

Adjusting the Volume (TVA/TVA Env) ................................................................................... 71

7

Fantom-X678_r_e.book 8 ページ 2007年3月20日 火曜日 午前10時20分

Contents

Output............................................................................................................................................. 73

Modulating Sounds (LFO) ........................................................................................................... 74

Apply Portamento or Legato to the Sound (Solo/Porta) ........................................................ 77

Miscellaneous Settings (Misc) ..................................................................................................... 78

Matrix Control Settings (Ctrl1–4)................................................................................................ 80

Setting Effects for a Patch (Effects/MFX/MFX Control/Chorus/Reverb).......................... 82

Creating a Rhythm Set ..................................................................................83

How to make Rhythm Set settings......................................................................................................... 83

Editing in a Graphic Display (Zoom Edit) ................................................................................ 84

Initializing Rhythm Set Settings (Init)........................................................................................ 84

Copying Rhythm Tone Settings (Copy)..................................................................................... 84

Cautions When Selecting a Waveform ...................................................................................... 85

Saving Rhythm Sets You’ve Created (Write) ....................................................................................... 86

Auditioning the Save-Destination Rhythm Set (Compare) .................................................... 86

Functions of Rhythm Set Parameters .................................................................................................... 87

Making Settings Common to the Entire Rhythm Set (General) ............................................. 87

Modifying Waveforms (Wave) ................................................................................................... 88

Changing How a Rhythm Tone Is Sounded (WMT) ............................................................... 89

Modifying Pitch (Pitch/Pitch Env)............................................................................................. 90

Modifying the Brightness of a Sound with a Filter (TVF/TVF Env)..................................... 92

Adjusting the Volume (TVA/TVA Env) ................................................................................... 94

Output Settings (Output) ............................................................................................................. 95

Setting Effects for a Rhythm Set (Effects/MFX/MFX Control/Chorus/Reverb) ............... 96

Playing in Performance Mode ......................................................................97

Displaying Performance Layer Screen .................................................................................................. 97

Displaying Performance Mixer Screen.................................................................................................. 97

Functions in the PERFORMANCE Layer/Mixer Screen.................................................................... 98

Selecting a Performance........................................................................................................................... 99

Selecting Performances from the List......................................................................................... 99

Creating a list of frequently used Patches and Performances (the Live Setting function) ............ 99

Selecting Favorite Performances .......................................................................................................... 100

Registering a Favorite Performance ......................................................................................... 100

Using the Layer Screen .......................................................................................................................... 100

Selecting a Part ............................................................................................................................ 100

Selecting the Part that You want to Sound (Keyboard Switch)............................................ 101

Selecting the Sound for a Part ................................................................................................... 101

Combining and Playing Sounds Together (Layer) ................................................................ 102

Playing Different Sounds in Different Areas of the Keyboard (Split) ................................. 102

Using the Mixer Screen.......................................................................................................................... 103

Selecting Parts for a Layer or Split............................................................................................ 103

Selecting the Sound for a Part ................................................................................................... 103

Editing the Part Settings............................................................................................................. 104

Selecting a Part to Play Individually (Solo)............................................................................. 105

Silencing the Playback of a Specific Part (Mute) .................................................................... 105

Using pads to mute Parts ........................................................................................................... 105

Viewing the Part Settings as a List (Performance Part View) .......................................................... 106

Performing with the Arpeggio/Rhythm function............................................................................. 106

Performing with the Realtime Controllers and D Beam Controller ............................................... 106

Viewing MIDI messages for each Part (Part Information) ............................................................... 106

Viewing the number of voices used by the sound generator (Voice Monitor) ............................. 106

Adjusting the Master Level................................................................................................................... 106

8

Fantom-X678_r_e.book 9 ページ 2007年3月20日 火曜日 午前10時20分

Contents

Creating a Performance ..............................................................................107

Viewing the Part Settings as a List (Performance Part View) .......................................................... 107

Adjusting the Parameters of Each Part .................................................................................... 107

Selecting the Parameter Controlled by the Realtime Controllers or D Beam Controller

(Control Setting) ..................................................................................................................................... 114

Make Settings for the Realtime Controllers and D Beam Controller (Ctrl)........................ 114

Control Switch Settings (Ctrl Switch) ...................................................................................... 118

Changing the Settings of the Patch Assigned to a Part..................................................................... 119

Initializing Performance Settings (Init) ............................................................................................... 119

Saving a Performance You’ve Created (Write) .................................................................................. 120

Modifying the Sound in Real Time .............................................................121

Waving Your Hand Over the D Beam to Modify the Sound (D Beam Controller) ...................... 121

Making Settings for the D Beam Controller ............................................................................ 122

Using Knobs or Buttons to Modify the Sound (Realtime Controller) ............................................ 124

Changing Realtime Controller Settings ................................................................................... 125

Using a Pedal to Modify the Sound (Control Pedal)......................................................................... 126

Making Control Pedal Settings ................................................................................................. 126

Playing Arpeggios .......................................................................................128

About Arpeggio ...................................................................................................................................... 128

Playing Arpeggios .................................................................................................................................. 128

Turning Arpeggio On and Off .................................................................................................. 128

Determining the Tempo for Arpeggio Performances............................................................ 128

Holding an Arpeggio.................................................................................................................. 128

Playing Arpeggios Along with the Sequencer ................................................................................... 129

Arpeggio Settings ................................................................................................................................... 129

Selecting Styles for Arpeggio Performances (Arpeggio Style) ............................................. 129

Changing the Beat and Shuffle (Arp/Rhythm Grid)............................................................. 129

Applying Staccato and Tenuto (Arp/Rhythm Duration) ..................................................... 130

Selecting Ascending/Descending Variations (Different Ways of Playing the Sounds)

(Arp Motif) ................................................................................................................................... 130

Adjusting the Velocity of the Arpeggio (Arp Velocity)......................................................... 130

Selecting the Part that Will Play Arpeggios in Performance Mode (Arp Part).................. 130

Changing the Accent Strength (Arp Accent) .......................................................................... 130

Hanging the Range of the Arpeggio (Oct Range) .................................................................. 131

Using the Realtime Control Knobs to Edit the Arpeggio Settings....................................... 131

Creating an Arpeggio Style (Arpeggio Style Edit) ............................................................................ 131

Step-recording ............................................................................................................................. 131

Using the Dial or [INC][DEC] to Input Values....................................................................... 132

Saving the Styles You Have Created (Write)...................................................................................... 132

Using the Chord Memory Function (Chord Memory) ...............................133

About the Chord Memory Function.................................................................................................... 133

Performing with the Chord Memory Function.................................................................................. 133

Turning Chord Memory Function On and Off....................................................................... 133

Selecting Chord Forms ............................................................................................................... 133

Sounding a chord in the order of its notes (Rolled Chord)................................................... 134

Creating Your Own Chord Forms ....................................................................................................... 134

Saving the Chord Forms You Have Created ...................................................................................... 134

9

Fantom-X678_r_e.book 10 ページ 2007年3月20日 火曜日 午前10時20分

Contents

10

Playing Rhythms .........................................................................................135

About Rhythm Patterns......................................................................................................................... 135

Using Rhythm Groups........................................................................................................................... 135

Playing Rhythm ...................................................................................................................................... 135

Turning Rhythm On and Off..................................................................................................... 135

Determining the Tempo for Rhythm Pattern Performances ................................................ 135

Select the Rhythm Group........................................................................................................... 136

Rhythm Pattern Settings........................................................................................................................ 136

Selecting Rhythm Patterns......................................................................................................... 136

Changing the Beat and Shuffle (Grid)...................................................................................... 137

Applying Staccato and Tenuity (Duration)............................................................................. 137

Changing the velocity of Rhythm Pattern (Rhythm Pattern Velocity) ............................... 137

Changing the Accent Strength (Rhythm Accent) ................................................................... 137

Using the Realtime Control Knobs to Control the Rhythm .................................................. 137

Creating an Rhythm Pattern (Rhythm Pattern Edit)......................................................................... 138

Step-recording ............................................................................................................................. 138

Using the Dial or [INC][DEC] to Input Values....................................................................... 138

Saving the Patterns You Have Created (Write) ................................................................................. 139

Creating Your Own Styles (Rhythm Group Edit).............................................................................. 139

Saving the Rhythm Group You Have Created (Write) ..................................................................... 140

Sampling ......................................................................................................141

Switching external input on/off........................................................................................................... 141

Making Input Source Settings (Input Setting).................................................................................... 141

Input Effect Setup Settings.................................................................................................................... 142

Sampling Procedure............................................................................................................................... 142

Dividing a Sample During Sampling ....................................................................................... 144

Sampling Earlier in Time (Skip Back Sampling)................................................................................ 145

Editing a Sample..........................................................................................146

Selecting a Sample (Sample List).......................................................................................................... 146

Selecting a Sample....................................................................................................................... 146

Loading a Sample........................................................................................................................ 147

Loading all Samples.................................................................................................................... 147

Unloading a Sample.................................................................................................................... 147

Deleting a Sample ....................................................................................................................... 147

Importing an Audio File ............................................................................................................ 148

Displaying Sample Edit Screen ............................................................................................................ 148

Magnifying/Shrinking the Waveform Display (Zoom In/Out).......................................... 148

Setting the Start/End Points of the Sample........................................................................................ 149

Using the knobs to edit the points ............................................................................................ 149

Making Settings for Sample (Sample Parameters) ............................................................................ 150

Assigning Samples to a Pad (Assign To Pad) .................................................................................... 151

From Patch Mode ........................................................................................................................ 151

From Performance Mode ........................................................................................................... 151

Assigning a Sample as a Patch to a Part (Assign to Keyboard)....................................................... 152

From Patch Mode ........................................................................................................................ 152

From Performance Mode ........................................................................................................... 152

Create a Rhythm Set (Create Rhythm) ................................................................................................ 152

Creating a Multisample (Create Multisample) .................................................................................. 153

Unloading a Sample (Unload) .............................................................................................................. 155

Removing Unwanted Portions of a Sample (Truncate) .................................................................... 155

Boosting or Limiting the High-frequency Range of the Sample (Emphasis) ................................ 155

Maximizing the Volume of a Sample (Normalize)............................................................................ 156

Amp.......................................................................................................................................................... 156

Stretching or Shrinking a Sample (Time Stretch)............................................................................... 156

Dividing a Sample into Notes (Chop) ................................................................................................. 157

Joining Two or More Samples (Combine) .......................................................................................... 158

Saving a Sample...................................................................................................................................... 159

Fantom-X678_r_e.book 11 ページ 2007年3月20日 火曜日 午前10時20分

Contents

Using the Pads.............................................................................................160

Using the Hold Function to Sustain a Sound ..................................................................................... 160

Using the Roll Function to Play Sounds.............................................................................................. 160

Making Settings for the Pads (Pad Setting) ........................................................................................ 161

Specify the Currently Used Sound Generator ........................................................................ 161

Settings You Can Make for Each Pad....................................................................................... 161

Settings that Apply to All Pads................................................................................................. 161

Writing the Pad Settings ............................................................................................................ 162

Exchanging the Sound of Two Pads (Pad Exchange) ............................................................ 162

Assigning a Pattern to a Pad (RPS Function) ..................................................................................... 163

Using the Pads to Play Rhythms .......................................................................................................... 163

Playing Back a Song ...................................................................................164

Playing a Song Immediately (Quick Play).......................................................................................... 164

Playing Back Songs Consecutively (Chain Play) ............................................................................... 164

Various Playback Methods ................................................................................................................... 165

Fast-Forward and Rewind During Playback .......................................................................... 165

Playing Back Correctly from the Middle of the Song (MIDI Update)................................. 165

Muting the Playback of a Specific Instrument ........................................................................ 165

Changing the Playback Tempo of a Song................................................................................ 166

Playing a Song Back at a Fixed Tempo (Muting the Tempo Track) .................................... 166

Playing Back a S-MRC Format Song ........................................................................................ 166

Playing Back a Song Repeatedly (Loop Play) ......................................................................... 166

Using the D Beam Controller to Start/Stop Song Playback ................................................. 167

Recording Songs .........................................................................................168

Two Recording Methods............................................................................................................ 168

Before You Record a New Song ........................................................................................................... 168

Select the Sound to be Used for Recording ............................................................................. 168

Erasing the Song/Pattern from Temporary Song (Song Clear) ........................................... 168

Specify the Time Signature ........................................................................................................ 169

Setting the tempo ........................................................................................................................ 169

Recording Your Performance as You Play It (Realtime Recording) ............................................... 170

Basic Operation for Realtime Recording ................................................................................. 170

Recording Tempo Changes in a Song (Tempo Recording)................................................... 171

Loop Recording and Punch-In Recording............................................................................... 171

Correct the Timing of Your Playing as You Record (Recording Quantize) ....................... 172

Selecting the Sequencer Data that will Be Recorded (Recording Select) ............................ 172

Erasing Unwanted Data While You Record (Realtime Erase).............................................. 173

Recording Arpeggios Aligned to the Measures of the Sequencer ....................................... 173

Auditioning Sounds or Phrases While Recording (Rehearsal Function)............................ 173

Inputting Data One Step at a Time (Step Recording)........................................................................ 174

Inputting Notes and Rests ......................................................................................................... 174

Assigning a Pattern to a Phrase Track ..................................................................................... 176

Editing Songs ..............................................................................................177

Loading the Song You Want to Edit .................................................................................................... 177

Viewing the data within a track................................................................................................ 178

Using Different Sound Generators for Each Track ................................................................ 178

Loading Individual Tracks/Patterns of Song Data................................................................ 178

Silencing the Playback of a Track (Mute) ................................................................................ 178

Assigning Markers (Locate Positions) to a Song .................................................................... 179

Specifying the Area of a Song that will Repeat (Loop Points).............................................. 179

Editing Sequencer Data Over the Specified Range (Track Edit) ..................................................... 180

Basic Operation for Track Editing ............................................................................................ 180

Aligning a Song’s Timing (Quantize) ...................................................................................... 181

Erasing Unwanted Performance Data (Erase) ........................................................................ 183

Deleting Unwanted Measures (Delete).................................................................................... 184

Copying Phrases (Copy) ............................................................................................................ 184

11

Fantom-X678_r_e.book 12 ページ 2007年3月20日 火曜日 午前10時20分

Contents

12

Inserting a Blank Measure (Insert) ........................................................................................... 185

Transpose the Key (Transpose)................................................................................................. 185

Changing the Velocity (Volume) (Change Velocity) ............................................................. 186

Changing the MIDI Channel (Change Channel) .................................................................... 186

Modifying the Length of Notes (Change Duration) .............................................................. 187

Combining Two Phrase Tracks or Patterns into One (Merge) ............................................. 188

Extracting and Moving a Part of Sequencer Data (Extract) .................................................. 188

Shifting Performance Data Forward and Back (Shift Clock) ................................................ 189

Thinning Out the Sequencer Data (Data Thin) ....................................................................... 190

Swapping Two Phrase Tracks or Patterns (Exchange) .......................................................... 191

Adjusting the Song’s Playback Time (Time Fit) ..................................................................... 191

Deleting Blank Measures (Truncate) ........................................................................................ 191

Editing Individual Items of Sequencer Data (Micro Edit)................................................................ 192

Editing Sequencer Data (Basic Procedure in the Microscope).............................................. 192

Sequencer Data Handled by a Phrase Track/Pattern............................................................ 193

Viewing Sequencer Data (View) ............................................................................................... 194

Inserting Sequencer Data (Create) ............................................................................................ 194

Erasing Sequencer Data (Erase) ................................................................................................ 195

Moving Sequencer Data (Move) ............................................................................................... 195

Copying Sequencer Data (Copy) .............................................................................................. 195

Changing the Tempo Midway Through the Song ................................................................. 196

Changing the Time Signature Midway Through the Song................................................... 196

Assigning a Name to a Song (Song Name)......................................................................................... 197

Saving/Loading a song (Save/Load) ..........................................................198

Saving a Song (Save) .............................................................................................................................. 198

Basic Procedure ........................................................................................................................... 198

Data saved together with a song............................................................................................... 198

Saving a Song with Samples (Save Song+Samples)............................................................... 199

Saving a Song (Save Song) ......................................................................................................... 199

Saving Samples (Save All Samples).......................................................................................... 200

Saving a Song as an SMF File (Save as SMF)...................................................................................... 200

Loading a Song (Load)........................................................................................................................... 201

Basic Procedure ........................................................................................................................... 201

Loading a Song with Samples (Load Song+Samples) ........................................................... 201

Loading a song (Load Song)...................................................................................................... 202

Loading Samples (Load All Samples) ...................................................................................... 202

Importing a WAV/AIFF File (Import Audio).................................................................................... 202

Playing a Phrase at the Touch of a Finger (RPS Function) .....................203

Before You Use the RPS Function ........................................................................................................ 203

Record a Pattern .......................................................................................................................... 203

Settings for the RPS Function .................................................................................................... 203

Using the RPS Function While You Perform...................................................................................... 204

Recording a Performance Using the RPS Function................................................................ 205

Adding Effects .............................................................................................206

Turning Effects On and Off................................................................................................................... 206

Making Effect Settings ........................................................................................................................... 206

Applying Effects in Patch Mode .......................................................................................................... 207

Specifying How the Sound Will Be Output (Routing) .......................................................... 207

Signal Flow Diagram and Parameters ..................................................................................... 207

Applying Effects in Performance Mode.............................................................................................. 210

Specifying How the Sound Will Be Output (Routing) .......................................................... 210

Signal Flow Diagram and Parameters ..................................................................................... 210

Making Multi-Effects Settings (MFX1–3) ............................................................................................ 213

Making Multi-Effects Settings (MFX Control) ................................................................................... 213

Specifying the multi-effect structure (MFX Structure)...................................................................... 215

Making Chorus Settings (Chorus) ....................................................................................................... 215

Fantom-X678_r_e.book 13 ページ 2007年3月20日 火曜日 午前10時20分

Contents

Making Reverb Settings (Reverb) ........................................................................................................ 216

Mastering Effect...................................................................................................................................... 217

Connecting to Your Computer via USB (USB Mode) ...............................218

About USB Functions............................................................................................................................. 218

Switching the Storage Mode and the MIDI Mode............................................................................. 218

Transferring Files to or from Your Computer (Storage Mode) ....................................................... 219

Exchanging MIDI Messages with Your Computer (MIDI Mode)................................................... 222

File-Related Functions (File Utility)............................................................223

Basic Procedure....................................................................................................................................... 223

Copying a File (Copy)............................................................................................................................ 224

Deleting a File (Delete) .......................................................................................................................... 224

Moving a File (Move)............................................................................................................................. 224

Initializing a Memory Card (Card Format) ........................................................................................ 224

Settings Common to All Modes (System Function) .................................225

How to Make System Function Settings ............................................................................................. 225

Saving the System Settings (System Write) ........................................................................................ 225

Functions of System Parameters .......................................................................................................... 226

Pedal/D Beam ............................................................................................................................. 226

Keyboard ...................................................................................................................................... 226

Sync/Temp .................................................................................................................................. 227

Metronome................................................................................................................................... 228

Sound ............................................................................................................................................ 229

MIDI .............................................................................................................................................. 230

USB ................................................................................................................................................ 231

Scale Tune..................................................................................................................................... 232

Preview ......................................................................................................................................... 232

System Ctrl ................................................................................................................................... 233

Background .................................................................................................................................. 233

Screen Saver ................................................................................................................................. 233

Sampling....................................................................................................................................... 233

Start up.......................................................................................................................................... 234

System Information................................................................................................................................ 234

Data Management Functions

Reset to Default Factory Settings (Factory Reset) ...................................235

Basic Procedure....................................................................................................................................... 235

Backing Up User Data (User Backup) ................................................................................................. 235

Restoring User Data that You Backed Up (User Restore) ................................................................ 235

Factory Reset ........................................................................................................................................... 235

Using Fantom-X Editor................................................................................236

Installing Fantom-X Editor into Your Computer............................................................................... 236

Making Connections .............................................................................................................................. 236

Using Fantom-X Librarian .................................................................................................................... 236

Fantom-X Editor System Requirements.............................................................................................. 237

System Requirements (Windows) ............................................................................................ 237

System Requirements (Mac OS)................................................................................................ 237

About V-LINK ...............................................................................................238

What is V-LINK? .................................................................................................................................... 238

Connection Examples ............................................................................................................................ 238

Turning the V-LINK ON/OFF ............................................................................................................. 238

V-LINK Settings...................................................................................................................................... 238

V-LINK Parameters .................................................................................................................... 239

Resetting the Image..................................................................................................................... 239

13

Fantom-X678_r_e.book 14 ページ 2007年3月20日 火曜日 午前10時20分

Contents

Installing the Wave Expansion Board........................................................240

Cautions When Installing an Wave Expansion Board ...................................................................... 240

How to Install a Wave Expansion Board ............................................................................................ 240

Checking the Installed Wave Expansion Boards ............................................................................... 241

Installation de la carte d’expansion Wave ................................................242

Précautions à prendre lors de l’installation d’une carte d’expansion Wave ................................. 242

Installation d’une carte d’expansion Wave ........................................................................................ 242

Vérification des cartes d’extension audio aprés installation............................................................ 243

Expanding the Memory ...............................................................................244

Precautions for Expanding Memory ................................................................................................... 244

How to Expand the Memory ................................................................................................................ 244

Removing the Memory............................................................................................................... 245

Checking that memory is installed correctly...................................................................................... 245

Ajouter de la mémoire .................................................................................246

Précautions à prendre lors de l’ajout de mémoire............................................................................. 246

Installation du module de mémoire .................................................................................................... 246

Retrait du module de mémoire ................................................................................................. 247

Vérifier que la mémoire est installée correctement ........................................................................... 247

Using a Memory Card..................................................................................248

Before Using the Memory Card ........................................................................................................... 248

Writing data to the card......................................................................................................................... 248

Installing the PC Card Protector .......................................................................................................... 248

Troubleshooting ..........................................................................................249

Problems Concerning the Entire Fantom-X ............................................................................ 249

Issues Related to Sound ............................................................................................................. 249

Issues Related to Effects ............................................................................................................. 251

Issues Related to Saving Data ................................................................................................... 251

Issues Related to Sequencer....................................................................................................... 252

Issues Related to MIDI and External Devices ......................................................................... 253

Issues Related to Sampling ........................................................................................................ 254

Issues Related to a Memory Card............................................................................................. 254

Parameter List..............................................................................................255

Patch Parameter...................................................................................................................................... 255

Rhythm Set Parameter ........................................................................................................................... 259

Performance Parameter ......................................................................................................................... 262

Rhythm Group Parameter..................................................................................................................... 265

Sample Parameters................................................................................................................................. 265

System Parameters ................................................................................................................................. 266

Effects List ...................................................................................................270

Multi-Effects Parameter......................................................................................................................... 270

Chorus Parameters ................................................................................................................................. 293

Reverb Parameters ................................................................................................................................. 294

Input Effect Parameters ......................................................................................................................... 294

Error Messages............................................................................................296

About MIDI....................................................................................................297

About MIDI Connectors............................................................................................................. 297

MIDI Channels and Multi-timbral Sound Generators........................................................... 297

MIDI Implementation ...................................................................................298

Specifications ..............................................................................................333

Index .............................................................................................................335

14

Fantom-X678_r_e.book 15 ページ 2007年3月20日 火曜日 午前10時20分

Main Features

Cutting-edge sound engine that unifies audio and MIDI

The Fantom-X inherits the same sound engine that was acclaimed on the Fantom-S, unifying synthesizer and sampler into a single sound generator. Sampled waveforms and waveforms imported from a PC or other external source can also be used as synthesizer waveforms.

In addition to the internal sounds and sampled waveforms, you can install up to four SRX-series wave expansion boards for instant access to an even broader range of sounds.

Top-class 128-voice polyphony

An ample 128 voices of polyphony guarantees stress-free music production or live performance.

Highest quality 88-note multisampled piano waveforms

The Fantom-X features an 88-note multisampled piano painstakingly recorded by professional engineers. Every note has been sampled in stereo with four velocity-switched layers, meaning that a lavish 704 samples are used to create this piano sound. It boasts not only tonal quality but also a high level of presence, making it closer than ever to the “real thing.”

The 128 MB of internal waveform memory is double that of the

Fantom-S series. It adds a wide range of sounds created with an emphasis on quality, including strings, nylon string guitar, drums, and bass, as well as piano.

* 88-note multisampling is used only for the piano waveform.

Large, color LCD—first ever on a synthesizer!

A large, color LCD is used for excellent visibility and userfriendliness.

With a fresh new appearance, it opens a new era in user interfaces.

Full-fledged sampler

In addition to sampling and resampling functionality, waveform editing is also provided, delivering functionality that rivals dedicated samplers. There’s also an Auto Sync function that can automatically match the length of a measure to the current tempo.

32 MB of sampling memory is provided as standard, and you can install expansion DIMM modules to expand this to as much as 544

MB.

Skip Back Sampling

The Skip Back Sampling function that was so popular on the

Fantom-S series is also featured on the Fantom-X.

This function continually records whatever you play on the Fantom-

X. Then, when you happen to come up with an inspired riff, simply press a single button to capture it.

Piano mode and Live Setting function

Piano mode lets you use the Fantom-X as a dedicated piano simply by pressing one button. The Live Setting function provides recall of live performance setups, guaranteeing smooth transitions between songs in your set.

A full complement of interfaces

USB connector for connection to your computer

USB-MIDI support allows data to be exchanged with your computer, and also makes it easy to connect with PC tools.

For connection to audio devices, both analog and digital input and output are provided as standard. When sampling, you can select either analog or digital as the source.

There’s also a PC card slot for backing up your data. This allows you a broad choice of media including SmartMedia and Compact Flash, and since media capacities up to 1 GB are supported (when using

Compact Flash), you have great flexibility in data transfer.

Built-in 16-track sequencer

A high-resolution 16-track sequencer is built in. With functions like

Loop recording that lets you record each part non-stop, it’s designed not to interfere with your creative imagination. After you’ve input your data, you can take advantage of the large LCD to edit track data graphically.

Dynamic pad bank

The Fantom-X features a dynamic pad bank that is sensitive to velocity and aftertouch. They can be used as trigger pads to play favorite sounds like hits or bass sounds, to recall RPS sequence phrases, or assigned to play skip back-sampled phrases. In another idea, rhythm sounds that were “chopped” from a loop phrase can be assigned to the pads and played for realtime input into the sequencer.

Mastering functionality

78 different multi-effects, chorus, and reverb are provided. Since the mastering effects that are indispensable as the final step of the music production process are also provided, you can create songs with a level of quality that approaches a commercially released CD.

V-LINK functionality

V-LINK lets you synchronize music and images to create completely new forms of expression. Realtime controllers such as the D Beam controller and the dynamic pads can be used to control images while you perform music.

Fantom-X Editor/Librarian included

The included editor and librarian software lets you edit and manage

Fantom-X sounds from your computer.

15

Fantom-X678_r_e.book 16 ページ 2007年3月20日 火曜日 午前10時20分

Panel Descriptions

Front Panel

fig.01-001

14

1 2

15 3

4

6

5

7

8

9

10

11

13

12

1 D BEAM

D BEAM

Switches D Beam function on/off. You can apply a variety of effects

to sounds simply by moving your hand. -> (p. 121)

[ASSIGNABLE]

You can assign a variety of parameters and functions to D Beam to

modify the sound in realtime. -> (p. 122)

[PAD TRIGGER]

Instead of striking the pads themselves, you can also use the D Beam

controller to control the sounding of the pads. -> (p. 122)

[SOLO SYNTH]

Play the Fantom-X as a monophonic synthesizer. -> (p. 123)

* Hold down [SHIFT] and press one of the corresponding buttons to access the D BEAM setting screen.

2 EXT SOURCE

[MIX IN]

Switches the external input on/off. -> (p. 141)

* Hold down [SHIFT] and press this button to access the external source setting screen.

LEVEL knob

Controls the volume of the external input.

PEAK indicator

This will light when the volume of the external input is too high.

3 VOLUME / V-LINK

VOLUME

Adjusts the overall volume that is output from the rear panel

OUTPUT A (MIX) jacks and PHONES jack. -> (p. 21)

[V-LINK]

Switches the V-LINK function on/off. -> (p. 238)

* Hold down [SHIFT] and press [V-LINK] to access the V-LINK setting screen.

4 REALTIME CONTROL

[ ]REALTIME CONTROL knob

Depending on the parameter or function that is assigned, you can use

the knobs to modify the sound in realtime. -> (p. 47)

16

[ ], [ ]ASSIGNABLE switch

You can assign a variety of parameters and functions to these two buttons. Use them to switch the parameters and functions to modify

the sound in realtime. -> (p. 122)

[RPS]

Switches RPS on/off. -> (p. 203)

* Hold down [SHIFT] and press (or rotate) one of the above switches (or knob) to access the corresponding setting screen.

[-OCT], [+OCT]

Transposes the pitch of the keyboard in 1 octave units (-3- +3 octaves).

5 ARPEGGIO / RHYTHM

[CHORD MEMORY]

Switches the CHORD MEMORY on/off. -> (p. 133)

[RHYTHM]

Switches the RHYTHM on/off. -> (p. 135)

[ARPEGGIO]

Switches the ARPEGGIO on/off. -> (p. 128)

* Hold down [SHIFT] and press one of the corresponding buttons to access

CHORD MEMORY, RHYTHM or ARPEGGIO settings screen.

[ARP HOLD]

Switches the Arpeggio Hold function on/off.

BEAT (Beat Indicator)

This blinks in sync with the tempo and beat.

6 SEQUENCER

Perform sequencer operations such as playback and record.

[RESET]

Moves the song position to the top. If you press this during playback,

you will return to the beginning of the song and stop. -> (p. 165)

[BWD]

Moves the song position to the first beat of the previous measure. ->

(p. 165)

[FWD]

Moves the song position to the first beat of the next measure. -> (p.

165)

[Play]

Controls sequencer play.

Fantom-X678_r_e.book 17 ページ 2007年3月20日 火曜日 午前10時20分

Panel Descriptions

[STOP]

Controls sequencer stop.

While stopped, you can hold down [SHIFT] and Press [PLAY] to

perform MIDI Update. -> (p. 165)

[REC]

The display changes to the Recording Standby window. -> (p. 170)

If you press this during recording, the Rehearsal function will be

activated. -> (p. 173)

7 DISPLAY

Display

This displays information regarding the operation you are performing

8

[MENU]

Opens the MENU. The contents of the menu will depend on the current mode.

Function buttons ([F1]–[F8])

During editing, these buttons execute a variety of functions, and their function will differ depending on the screen.

[TEMPO]

Sets the tempo (BPM). -> (p. 128, p. 135, p. 166)

9

LCD CONTRAST knob

Adjusts the display contrast. -> (p. 22)

[WRITE]

Save edited settings into Temporary Area or a memory card. -> (p.

59, p. 86, p. 120, p. 132, p. 134, p. 159, p. 198, p. 225)

[PATCH EDIT]

Make patch-related settings.

[SONG EDIT]

Make settings for song data and song edit. -> (p. 164)

[EFFECTS]

Make effect-related settings. Here you can also make mastering

settings. -> (p. 206)

10

[MIXER]

View the Performance mode’s Mixer screen. -> (p. 103)

[LAYER/SPLIT]

View the Performance mode’s Layer screen. -> (p. 100)

[PATCH/RHYTHM]

Enter Patch/Rhythm mode. -> (p. 38)

11

VALUE Dial

This is used to modify values. If you hold down [SHIFT] as you turn the VALUE dial, the value will change in greater increments.

[DEC], [INC]

This is used to modify values. If you keep on holding down one button while pressing the other, the value change accelerates. If you press one of these buttons while holding down [SHIFT], the value will change in bigger increments.

[CURSOR]

Moves the cursor location up/down/left/right.

[SHIFT] (JUMP)

This button is used in conjunction with other buttons to execute various functions.

[ENTER]

Use this button to execute an operation.

[EXIT]

Return to the previous screen, or close the currently open window.

In some screens, this causes the currently executing function to be aborted.

12 DYNAMIC PAD / SAMPLING

[SAMPLE EDIT]

Edit a sample. -> (p. 148)

[SAMPLE LIST]

View the sample list. -> (p. 146)

[SAMPLING]

View the Sampling Menu screen. -> (p. 142)

[SKIP BACK SAMPLING]

Sample the performance for a specified duration prior to the moment

you pressed the button. -> (p. 145)

[PAD SETTING]

Make pad settings. -> (p. 160)

[CLIP BOARD]

You can register frequently used screens and use the pads to recall

them (the Bookmark function). -> (p. 37)

[SAVE/LOAD]

Saves/loads data in the Temporary Area (p. 29) or sample memory

(p. 32) to/from user memory or a memory card.

[PAD 1–16]

Use as a keyboard to play sound.

[ROLL]

Turn “roll” playback on/off. -> (p. 160)

[HOLD]

Turn “hold” (sustaining the sound after you release the pad) on/off.

->(p. 160)

13

Pitch Bend/Modulation Lever

This allows you to control pitch bend or apply vibrato.

14

Here you can install a wave expansion board (SRX series; sold separately) or install separately sold memory (DIMM).

On the Fantom-X6/X7, this is located on the bottom panel. -> (p.

240, p. 242)

15

[PIANO MODE]

Switches to a special mode optimal for playing piano sounds. If you press this button while holding down [SHIFT], the Live Setting Play

screen will appear. -> (p. 54)

17

Fantom-X678_r_e.book 18 ページ 2007年3月20日 火曜日 午前10時20分

Panel Descriptions

Rear Panel

fig.01-002 fig.01-003 fig.01-007, 008

POWER ON Switch

Press to turn the power on/off. -> (p. 21, p. 22)

AC Inlet

Connect the included power cord to this inlet. -> (p. 21)

fig.01-004

CTL (CONTROL) PEDAL Jack

You can connect optional expression pedals (EV-5, etc.) to these jacks. By assigning a desired function to a pedal, you can use it to select or modify sound or perform various other control. You can also connect optional pedal switches (DP series etc.) to sustain

sound. -> (p. 25)

925

* Use only the specified expression pedal (EV-5; sold separately). By connecting any other expression pedals, you risk causing malfunction and/or damage to the unit.

HOLD PEDAL Jack

An optional pedal switch (DP series etc.) can be connected to this

jack for use as a hold pedal. -> (p. 24)

This can also be set so it supports the use of half-pedaling techniques. So, after connecting an optional expression pedal (DP-8, etc.), you can employ pedal work to achieve even finer control in performances in which piano tones are used. fig.01-005

OUTPUT A (MIX) Jacks (L (MONO), R)

These jacks output the audio signal to the connected mixer/amplifier

system in stereo. For mono output, use the L jack. -> (p. 19)

OUTPUT B Jacks (L, R)

These jacks output the audio signal to the connected mixer/amplifier system in stereo.

INDIVIDUAL 1–4 Jacks

These jacks output audio signals in mono to an amp or mixer.

The setting determining whether these jacks are used as stereo

OUTPUT jacks or monaural INDIVIDUAL jacks is made with the

Output Assign setting (p. 207).

AUDIO INPUT Jack (L, R)

Accept input of audio signals in stereo (L/R) from external devices.

If you want to use mono input, connect to the L jack.

When recording from a mic, connect it to the L jack, and set Input

Select (p. 141) to “MICROPHONE.”

PHONES Jack

This is the jack for connecting headphones (sold separately). -> (p.

19)

fig.01-003a

MIDI Connectors (IN, OUT, THRU)

These connectors can be connected to other MIDI devices to receive and transmit MIDI messages.

fig.01-006

PC CARD Slot

A memory card can be inserted here. -> (p. 244, p. 246)

931

* Carefully insert the memory card all the way in-until it is firmly in place.

USB Connector

This connector lets you use a USB cable to connect your computer to

the Fantom-X. -> (p. 218)

DIGITAL IN/OUT Connectors (S/P DIF COAXIAL)

These are coaxial-type S/P DIF format digital in/out connectors.

These connectors input and output a digital audio signal (stereo).

The output signal is identical to the signal that is output from the

OUTPUT A (MIX) jacks.

* S/P DIF is a digital interface format used for consumer digital audio devices.

18

Fantom-X678_r_e.book 19 ページ 2007年3月20日 火曜日 午前10時20分

Getting Ready

Connecting an Amp and Speaker System

1.

2.

3.

Since the Fantom-X contains no amplifier or speakers, you’ll need to connect it to audio equipment such as a keyboard amplifier, monitor speaker system or home stereo, or use headphones to hear its sound.

Before hooking anything up, make sure that the power on all of your gear is turned

OFF.

Connect one end of the supplied power cable to the Fantom-X, and the other end to a power outlet.

Connect the Fantom-X to your amp/speaker system as shown in the diagram.

fig.02-002.e

921

To prevent malfunction and/ or damage to speakers or other devices, always turn down the volume, and turn off the power on all devices before making any connections.

to Power outlet

Stereo headphones

Mixer etc.

Monitor speakers

(powered)

Power amp

In order to fully experience the

Fantom-X’s sound, we recommend using a stereo amp/speaker system. If you’re using a mono system, however, make your connections to the Fantom-X’s

OUTPUT A (MIX) jack L

(MONO).

Audio cables are not included with the Fantom-X. You’ll need to provide them.

For details on how to install a

Wave Expansion Board (sold

separately), refer to “Installing the Wave Expansion Board”

(p. 240).

The OUTPUT A [MIX] jacks support balanced output. Use a correctly wired cable so that the HOT, COLD, and GND as printed on the rear panel of the

Fantom-X are correct for the mixer or other input device you’re using.

19

Fantom-X678_r_e.book 20 ページ 2007年3月20日 火曜日 午前10時20分

Getting Ready

Placing the Fantom-X8 on a Stand (For Fantom-X8 user)

If you want to place the Fantom-X8 on a stand, use the Roland KS-17. Place the instrument on the stand as follows.

fig.02-001.e

Place it so the center of the stand comes between the "a" and "n" of the word "Fantom."

Place so that it is immediately above

Rubber feet of the Fantom-X8

Stand screws

Center

20

Fantom-X678_r_e.book 21 ページ 2007年3月20日 火曜日 午前10時20分

Getting Ready

Turning On the Power

1.

Once the connections have been completed (p. 19), turn on power to your various devices in

the order specified. By turning on devices in the wrong order, you risk causing malfunction and/or damage to speakers and other devices.

fig.bender.e

Before turning on the Fantom’s power, consider these two questions:

• Are all peripheral devices connected correctly?

• Have the volume controls of the Fantom-X and all connected audio devices been turned to their lowest settings?

2.

Turn on the POWER ON switch located on the rear panel of the Fantom-X.

fig.02-003

941

To ensure proper operation of the pitch bend lever, make sure not to touch the lever when turning the Fantom-X’s power on.

* This unit is equipped with a protection circuit. A brief interval (a few seconds) after power up is required before the unit will operate normally.

3.

Turn on the power for any connected amplifiers or speakers.

4.

Play the Fantom-X’s keyboard, gradually increasing the setting of its volume control, and then carefully raise the volume of your connected amplifiers or speakers to the desired listening level.

fig.02-004

Do not touch!

Be careful not to set your listening volume too high to avoid damage to your amp/ speaker system or your

942 hearing.

21

Fantom-X678_r_e.book 22 ページ 2007年3月20日 火曜日 午前10時20分

Getting Ready

Adjusting the Display Contrast (LCD Contrast)

The characters in the display may be difficult to view immediately after turning on the Fantom-

X’s power or after extended use. Your viewing angle or the current lighting conditions can also affect the appearance of the display. In such situations, you can turn the CONTRAST knob

(located on the rear panel) to adjust the contrast of the display.

fig.02-005

Turning Off the Power

1.

Before you turn off the power, consider these two questions:

• Have the volume controls for the Fantom-X and all connected audio devices been turned to their lowest settings?

• Have you saved your Fantom-X sounds or other data you’ve created?

2.

3.

Turn off the power for all connected audio devices.

Turn off the POWER ON switch of the Fantom-X.

If you need to turn off the power completely, first turn off the POWER switch, then unplug the power cord from the power outlet. Refer to

“Power Supply” (p. 4).

22

Fantom-X678_r_e.book 23 ページ 2007年3月20日 火曜日 午前10時20分

Listening to the Demo Songs

The Fantom-X contains a demonstration (“demo”) song that you can listen to using the

Fantom-X’s Demo Play feature. The demo will introduce you to the Fantom-X’s exceptional sounds and effects.

Listening to the demo song loaded when you start up the

Fantom-X

With the factory settings, you can play a song simply by powering up the Fantom-X and pressing the [PLAY] button.

Song name: Still Solace Copyright©Roland Corporation

This song is an acoustic piano and acoustic guitar performance. Either sound is ideal for both soloing and accompaniment.

fig.02-005a

You can use the Song Edit screen to view the musical data of this song.

981a

All rights reserved.

Unauthorized use of this material for purposes other than private, personal enjoyment is a violation of applicable laws.

Listening to the other demo songs

If you want to hear the other songs, use the following procedure to play them.

For the names and copyright information of these songs, refer to the Fantom-X's display.

1.

Press [MENU].

The pull-down menu appears.

fig.02-006

2.

Press fig.02-007

to select a “Demo Play,” and then press [ENTER].

3, 4 2, 5

3.

Press [F1 (SONG1)]-[F7 (SONG7)] to start demo song playback.

Otherwise, playback will stop automatically when the song ends.

If you press [F8 (All Songs)], the songs will playback successively, beginning from the first.

4.

Press [F8 (Exit)] to return to the Demo Menu screen.

5.

Press [EXIT] to return to the previous screen.

* When you play back using the procedure of steps 1–5, the playback data will not be transmitted from the MIDI OUT connector.

When you perform demo playback, any patch or performance you may have been editing will be lost.

982

23

Fantom-X678_r_e.book 24 ページ 2007年3月20日 火曜日 午前10時20分

Various Performance Features

Velocity/Aftertouch

The force with which you play the keyboard, or the “velocity” with which you play, can affect the volume or timbre of a sound. Aftertouch—downward pressure you apply to a key after playing a note—can also affect the sound.

fig.02-008

For details on the setting, refer

to p. 226.

There are two types of aftertouch: Polyphonic

Aftertouch, which applies aftertouch to individual notes, and Channel Aftertouch, which applies aftertouch to an

entire MIDI channel (p. 193).

The Fantom-X can output the

MIDI data for Polyphonic

Aftertouch using the pads, and

Channel Aftertouch using the keyboard.

Pitch Bend/Modulation Lever

While playing the keyboard, move the lever to the left to lower the pitch of the currently selected patch, or to the right to raise its pitch. This is known as pitch bend . You can also apply vibrato by gently pushing the lever away from you. This is known as modulation .

If you push the lever away from you and at the same time move it to the right or left, you can apply both effects at once.

fig.02-009.e

You can set the amount of

pitch change for each patch (p.

67).

Pitch Bend Modulation

Octave Shift (Oct)

You can shift the pitch of the keyboard in one-octave units over a range of +/-3 octaves by adjusting the value of the Octave Shift parameter.

Use KEY EFFECT [-OCT] or [+OCT] at the left of the screen to make the desired setting.

To return to the original setting, press both buttons simultaneously.

Hold Pedal

If an optional pedal switch (DP series) is connected to the rear panel PEDAL HOLD jack, you can press the pedal switch to cause notes to sustain or “hold” even after their keys have been released.

fig.02-010

For details on the setting, refer

to p. 226.

24

Fantom-X678_r_e.book 25 ページ 2007年3月20日 火曜日 午前10時20分

Various Performance Features

Control Pedal

If an optional expression pedal or pedal switch (EV-5, DP-2.) is connected to the rear panel

PEDAL CONTROL jack, you can use the pedal to control the volume or various function. fig.02-011

The way in which the sound changes will depend on the settings. For details on settings for parameters controlled by the pedal, refer to “Making

Control Pedal Settings”

(

“Making Control Pedal

Settings” (p. 126)).

Roland

Use only the specified expression pedal or pedal switch (EV-5, DP-2; sold separately). By connecting any other expression pedals, you risk causing malfunction and/ or damage to the unit.

Transpose (Trans)

You can transpose the pitch of the keyboard in semitone steps, over a range of G–F# (-5– +6 semitones) by adjusting the Transpose parameter’s value.

Press [CURSOR] to move the cursor to “Trans” in the upper part of the screen, and turn the

VALUE dial or press [INC] or [DEC] to change its setting.

fig.02-012

For details, refer to

“Transposing the Keyboard in

Octave Units (Octave Shift)”

(

“Transposing the Keyboard in Octave Units (Octave

Shift)” (p. 45)).

25

Fantom-X678_r_e.book 26 ページ 2007年3月20日 火曜日 午前10時20分

Overview of the Fantom-X

How the Fantom-X Is Organized

Basic Structure

Broadly speaking, the Fantom-X consists of a controller section, a sound generator section, and a sequencer section. These sections are internally connected via MIDI.

fig.04-001.e

Audio Input

Sampling

Sequencer

Section

Playback

Sampler

Section

Sound

Generator

Section

Resampling

Recording Play

Classification of Fantom-X Sound

Types

When using the Fantom-X, you will notice that a variety of different categories come into play when working with sounds. What follows is a simple explanation of each sound category.

Tones

On the Fantom-X, the tones are the smallest unit of sound. However, it is not possible to play a tone by itself. The patch is the unit of sound which can be played, and the tones are the basic building blocks which make up the patch.

fig.04-002.e

Tone

LFO 1 LFO 2

Controller Section (controllers such as keyboard, pad, pitch bend lever, etc.)

Controller Section

This section consists of the keyboard, pad, pitch bend/modulation lever, panel knobs and buttons, and D Beam controller. It also includes any pedals that may be connected to the rear panel. The performance information generated when you do things such as press/release a key or pad, or depress the hold pedal is converted into MIDI messages and sent to the sound generator section, sequencer section, and/or an external MIDI device.

Sound Generator Section

The sound generator section produces the sound. It receives MIDI messages from the keyboard controller section and sequencer section and/or from an external MIDI device, generates musical sound according to the MIDI messages that were received, and outputs the sound from the output jacks or headphone jack.

Sequencer Section

This section records operations of the keyboard controller section as

MIDI messages, and transmits the recorded MIDI messages to the sound generator section. MIDI messages recorded on the sequencer can also be transmitted from the MIDI OUT connector to allow the

Fantom-X to also control external MIDI devices.

The Sampler section

A sampler is a device that captures sounds from a CD player or mic connected to the audio input or the digital input (or sounds from a wave file) as “samples.”

Samples you record can be used in the same way as the waveforms

that are built into the internal sound generator. (p. 141)

The Fantom-X can load WAV or AIFF format wave files as samples via a USB connection. Loaded sample can be used in patches or rhythm sets.

26

WG TVF TVA

Pitch

Envelope

TVF

Envelope

TVA

Envelope audio signal control signal

Tones consist of the following five components.

WG (Wave Generator)

Specifies the PCM waveform (wave) that is the basis of the sound, and determines how the pitch of the sound will change.

The Fantom-X has 1,480 different waveforms. All patches built into the Fantom-X consist of combinations of tones which are created based on these waveforms.

There are four wave generators for each rhythm tone

(percussion instrument sounds).

TVF (Time Variant Filter)

Specifies how the frequency components of the sound will change.

TVA (Time Variant Amplifier)

Specifies the volume changes and the sound’s position in a stereo soundfield.

Envelope

You use Envelope to initiate changes to occur to a sound over time.

There are separate envelopes for Pitch, TVF (filter), and TVA

(volume). For example if you wish to modify the way in which the sound attacks or decays over time, you would adjust the TVA envelope.

Fantom-X678_r_e.book 27 ページ 2007年3月20日 火曜日 午前10時20分

Overview of the Fantom-X

LFO (Low Frequency Oscillator)

Use the LFO to create cyclic changes (modulation) in a sound. The

Fantom-X has two LFOs. You can use the LFO to apply an effect to either the WG (pitch), the TVF (filter), or the TVA (volume). When an

LFO is applied to the WG pitch, a vibrato effect is produced. When an

LFO is applied to the TVF cutoff frequency, a wah effect is produced.

When an LFO is applied to the TVA volume, a tremolo effect is produced.

LFO is not included in the rhythm tones (percussion instrument sounds).

Patches

Patches are the basic sound configurations that you play during a performance. Each patch can be configured by combining up to four tones. How the four tones are combined is determined by the

Structure Type parameter (p. 63).

fig.04-003.e

Patch

Tone 4

Tone 3

Tone 2

Tone 1

LFO 1 LFO 2

Each percussion instrument consists of the following four elements.

(For details, refer to the explanations for “Tones.”)

WG (Wave Generator): 1–4

TVF (Time Variant Filter)

TVA (Time Variant Amplifier)

Envelope

Performances

A performance has a patch or rhythm set assigned to each of the 16 parts, and can simultaneously handle 16 sounds.

The Fantom-X has two screens: a Layer screen and a Mixer screen (p.

100, p. 103).

Use the Layer screen if you want to play two or more patches together (Layer) or play different patches in separate areas of the keyboard (Split).

Use the Mixer screen if you want to “mix” by individually adjusting the pan and level settings for each of the sixteen parts.

Because the Fantom sound generator can control multiple sounds

(instruments) it is called a Multi-timbral sound generator.

fig.04-005.e

Performance

Layer

Mixer

Part 16

WG

Pitch

Envelope

TVF

TVF

Envelope

TVA

TVA

Envelope Part 1

Patch/

Rhythm Set

Rhythm Sets

Rhythm sets are groups of a number of different percussion instrument sounds. Since percussion instruments generally do not play melodies, there is no need for a percussion instrument sound to be able to play a scale on the keyboard. It is, however, more important that as many percussion instruments as possible be available to you at the same time. Therefore, each key (note number) of a rhythm set will produce a different percussion instrument.

fig.04-004.e

Rhythm Set

Note Number 98 (D7)

Note Number 97 (C#7)

Note Number 36 (C2)

Note Number 35 (B1)

Rhythm Tone (Percussion instrument sound)

WG TVF TVA

Pitch

Envelope

TVF

Envelope

TVA

Envelope

Part

On the Fantom-X, a “part” is something to which you assign a patch or rhythm set. Patch mode has two parts, the Pad part and the

Keyboard part, and you can assign a patch or rhythm set to each of these parts. In Performance mode, each performance has sixteen parts, and you can assign a patch or rhythm set to each part.

27

Fantom-X678_r_e.book 28 ページ 2007年3月20日 火曜日 午前10時20分

Overview of the Fantom-X

About Simultaneous Polyphony

The Fantom-X can play a maximum of 128 sounds simultaneously.

The following paragraphs discuss what this means, and what will happen when more than 128 simultaneous voices are requested from the Fantom-X.

Calculating the Number of Voices

Being Used

The Fantom-X is able to play up to 128 notes simultaneously. The polyphony, or the number of voices (sounds) does not refer only to the number of patches actually being played, but changes according to the number of tones used in the patches, and the number of waves used in the tones. The following method is used to calculate the number of sounds used for one patch being played.

(Number of patches being played) x (Number of tones used by patches being played) x (Number of waves used in the tones)

For example, a patch that combines four tones, each of which use two waves, will use eight notes of polyphony at once. Also, when playing in Performance mode, the number of sounds for each part is counted to obtain the total number of sounds for all parts.

How a Patch Sounds

When the Fantom-X is requested to play more than 128 voices simultaneously, currently sounding notes will be turned off to make room for newly requested notes. The note with the lowest priority will be turned off first. The order of priority is determined by the

Patch Priority setting (p. 61).

Patch Priority can be set either to “LAST” or “LOUDEST.” When

“LAST” is selected, a newly requested note that exceeds the 128 voice limit will cause the first-played of the currently sounding notes to be turned off. When “LOUDEST” is selected, the quietest of the currently sounding notes will be turned off. Usually, “LAST” is selected.

Note Priority in Performance Mode

Since Performance mode is usually used to play an ensemble consisting of several patches, it is important to decide which parts take priority.

Priority is specified by the Voice Reserve settings (p. 111). When a note

within a patch needs to be turned off to make room for a new note, the

Patch Priority setting of the patch will apply (p. 61).

Voice Reserve

The Fantom-X has a Voice Reserve function that lets you reserve a minimum number of notes that will always be available for each part. For example if Voice Reserve is set to “10” for part 16, part 16 will always have 10 notes of sound-producing capacity available to it even if a total of more than 128 notes (total for all parts) are being requested. When you make Voice Reserve settings, you need to take into account the number of notes you want to play on each part as

well as the number of tones used by the selected patch (p. 111).

28

It is not possible to make Voice Reserve settings that would cause the total of all parts to be greater than 64 voices.

About Memory

Patch and performance settings are stored in what is referred to as memory. There are three kind of memory: temporary, rewritable, and non-rewritable.

fig.04-006.e

Fantom-X

Preset A (PR-H)

Preset A (PR-G)

Preset A (PR-F)

System

Preset A (PR-E)

Preset A (PR-D)

Preset A (PR-C)

Preset A (PR-B)

Preset A (PR-A)

Patch

128

Rhythm Set

32 * 1

Performance

64 * 1

GM (GM2)

Patch

256

Rhythm Set

9

User (USER)

Patch

256

Rhythm Set

32

Performance

64

Select Select

* 2 Select Write

Temporary Area

Select

EXP D Slot

EXP C Slot

EXP B Slot

EXP A Slot

Patch

Rhythm Set

Wave Expansion Board

Select

Patch

256

Rhythm Set

32

Performance

64

Memory Card

* 1 Only in PR-A (PRST)

* 2 The selected Patches/Rhythm Sets cannot be changed.

Write

Fantom-X678_r_e.book 29 ページ 2007年3月20日 火曜日 午前10時20分

Overview of the Fantom-X

Temporary Memory

Temporary Area

This is the area that holds the data for the patch or performance that you’ve selected using the panel buttons.

When you play the keyboard or play back a sequence, sound is produced based on data in the temporary area. When you edit a patch or performance, you do not directly modify the data in memory; rather, you call up the data into the temporary area, and edit it there.

Settings in the temporary area are temporary, and will be lost when the power is turned off or when you select another patch/ performance. To keep the settings you have modified, you must write them into rewritable memory.

Rewritable Memory

System Memory

System memory stores system parameter settings that determine how the Fantom-X functions.

User Memory

User memory is the internal memory area that holds patches, performances, samples, and performance data.

Memory Card

You can use a memory card to store patches, performances, samples, and performance data just as you can in User memory.

Non-Rewritable Memory

Preset Memory

Data in Preset memory cannot be rewritten. However, you can call up settings from preset memory into the temporary area, modify them and then store the modified data in rewritable memory (except

GM2).

Wave Expansion Boards

(SRX Series; sold separately)

The Fantom-X can be equipped with up to four Wave Expansion

Boards (SRX series; sold separately). Wave Expansion Boards contain Wave data, as well as patches and rhythm sets that use this

Wave data, which can be called directly into the temporary area and played.

About the Onboard Effects

Effect Types

The Fantom-X has built-in effect units, and you can independently edit each unit’s settings.

Multi-Effects

The multi-effects are multi-purpose effects that completely change the sound type by changing the sound itself. Contained are 78 different effects types; select and use the type that suits your aims. In addition to effects types composed of simple effects such as

Distortion, Flanger, and other such effects, you can also set up a wide variety of other effects, even connecting effects in series or in parallel. Furthermore, while chorus and reverb can be found among the multi-effects types, the following chorus and reverb are handled with a different system. In Performance mode, three types of multieffect can be used simultaneously; these are referred to as MFX1,

MFX2, and MFX3. In Patch mode, the Keyboard part can use MFX1 and the Pad part can use MFX2.

Chorus

Chorus adds depth and spaciousness to the sound. You can select whether to use this as a chorus effect or a delay effect.

Reverb

Reverb adds the reverberation characteristics of halls or auditoriums. Five different types are offered, so you can select and use the type that suits your purpose.

Mastering Effect

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

29

Fantom-X678_r_e.book 30 ページ 2007年3月20日 火曜日 午前10時20分

Overview of the Fantom-X

How Effects Units Work in

Different Modes

In Patch Mode

Multi-effects can be used individually by each patch and rhythm set.

Chorus and reverb are each shared by patches and rhythm sets; the same effect applies to each tone. Adjusting the signal level to be sent to each effects unit (Send Level) provides control over the effect intensity that’s applied to each tone.

fig.04-007

Keyboard part

Patch

TONE Multi-Effects

Pad part

C8

Rhythm Set

A0

RHYTHM

TONE

+

+

Multi-Effects

Chorus

Reverb

About the Sequencer

A sequencer records keyboard performance and controller movements as MIDI messages (sequencer data). As the data plays back, the recorded MIDI messages are sent to a sound generator which will produce the required sounds. The sequencer actually plays instruments instead of the musician, and since it can record a musical performance, it is a tape recorder as well.

But in reality a sequencer doesn’t record sound, but actually the steps that cause the sound generator to produce sound, so it offers several advantages. Sound quality is always excellent, the equivalent of first-generation tape, no matter how many times the data plays back; tempo changes have no effect on pitch; detailed editing is possible, etc.

What Is a Song?

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

fig.04-009.e

Song

Phrase track 16

Pattern

Pattern

1

Pattern

2

Phrase track 2

Phrase track 1

* To each part you can assign either a Patch or a Rhythm Set.

In the Performance Mode

The multi-effects, chorus and reverb effects can be set individually for each performance. The intensity of each effect will be set for each part.

When you apply effects in Performance mode, the effect settings of the patch or rhythm set assigned to each part will be ignored, and the effect settings of the performance will be used. Thus, the effects for the same patch or rhythm set may differ when played in Patch mode and in Performance mode. However, depending on the settings, you can have effect settings for a patch or rhythm set assigned to a part applied to the entire performance. In addition, when using the multieffects settings of a performance, you can use three different multieffects simultaneously, depending on the effect type.

fig.04-008.e

Performance/Multitimbre

Part 1

Patch

Part16

TONE Multi-Effects

Chorus

Reverb

Tempo track

Beat track

Pattern

100

What Is a Track?

Each section of a song which stores musical performance data is called a track.

Phrase Tracks 1–16

Phrase tracks record the musical performance. Each Phrase track records musical performance data for 16 MIDI channels. Totally, up to 16 tracks x 16 MIDI channels of data can be recorded. It’s helpful if you’ve made decision prior to recording such as recording melody on Phrase track 1, bass on Phrase track 2, drums on Phrase track 10, and accompaniment on the remaining Phrase tracks.

30

Fantom-X678_r_e.book 31 ページ 2007年3月20日 火曜日 午前10時20分

Overview of the Fantom-X

Tempo Track

The Tempo track records tempo changes of a song over time. It can be used for tempo changes during a song. If a song has the same tempo from beginning to end, the Tempo track can be ignored.

When a song is first recorded on the Fantom-X, a tempo setting at the time of recording will be stored at the beginning of the Tempo track. Therefore when song playback starts from the beginning, the song will always play back at this initial tempo.

Thus playback tempo is determined by the Tempo track setting. If you modify the tempo during playback, the overall tempo of the song will be controlled by the setting you make.

Beat Track

The Beat track records the time signature of each measure of a song.

Set the Beat track when recording a new song, or when you want to change time signature during a song.

Pattern

Patterns are a place to store performance data separately from phrase tracks. You can create up to one hundred patterns; as with a phrase track, each pattern can contain up to sixteen MIDI channels of data.

Patterns can be assigned to phrase tracks. This means that if your song uses repeating phrases such as drum or bass riffs, you can record each phrase as a pattern, and then use the Step Recording

window to assign the patterns at the appropriate locations (p. 176).

In this case, the phrase track only contains “pattern call numbers” which specify which pattern is to be played. This is convenient, and also lets you conserve memory.

The RPS function (p. 203) for immediate playback also applies to

Patterns. Patterns are therefore convenient for live performance, if you’ve recorded necessary sequencer data as Patterns and take them to the gig.

Patterns also make fine scratch-pads for musical ideas.

Songs and the Sound Generator

Mode

The Fantom-X’s sequencer can be used at any time, regardless of the mode of the sound generator (Patch/Performance).

In Performance mode you can use up to sixteen sounds, with each part playing a different sound. This means that Performance mode is ideal for recording or playing an ensemble that uses multiple instruments, such as drums, bass, and piano.

In Patch mode you can play using the sounds that are assigned to the

Keyboard part and the Pad part.

Positions for Storing a Song

Temporary Area

The sequencer has an area called Temporary Area that can temporarily store one song. So we call this temporary song.

To play back a song saved to a disk with the Fantom-X, it doesn’t have to be loaded into Temporary Area. Only when you’re going to record a song or edit a song saved to disk, do you have to load it into

Temporary Area. Since only one song can be worked on during recording or editing, all the Temporary Area has to do is store one song (about 120,000 notes).

The song in Temporary Area is volatile and will be lost when the power is turned off. To keep a song, you must save it to user memory or memory card.

Memory Card/User Memory

When keeping a recorded or edited song in Temporary Area, save it to user memory or memory card as a song file. Up to 256 songs can be saved to a card and user memory.

If you want to keep the song in Temporary Area that you recorded or edited, you must save it as a song file onto a memory card or into user memory. Either method lets you save up to 256 songs.

A card and user memory can contain two file types. The three-letter symbol shown in parentheses ( ) is a file name extension that distinguishes the different file types.

Song File (.SVQ)

This file is a song created on the Fantom-X. It is called an MRC Pro song.

Standard MIDI File (.MID)

Standard MIDI File is a standard file format that allows sequencer data to be exchanged between most musical applications. Fantom-X files can be saved as Standard MIDI Files. This also allows you to play back commercially available music data (GM scores) that is compatible with the GM/GM2 system.

fig.04-010.e

Temporary Memory

Internal Memory

User Memory

Song file

Standard MIDI file

Fantom-X

Memory Card

Song file

Standard MIDI file

31

Fantom-X678_r_e.book 32 ページ 2007年3月20日 火曜日 午前10時20分

Overview of the Fantom-X

About the Sampling Section

The Sampling section samples (records) external sounds from an audio device or mic as digital data. Sampled sounds can be played as a patch or rhythm set. You can also import WAV/AIFF format files and use them in the same way.

Samples

A sample contains the waveform data sampled by the Fantom-X. In addition to the actual waveform data itself, a sample also contains parameters such as start point, loop start, and loop end. The Fantom-

X can hold 9,000 samples.

fig.04-011.e

Sample

Drum

Sampling

Sample List

Added automatically

0001

0002

User Sample

Wave

(Sample) 2000

Where Samples are Stored

Samples that you record or import are stored in sample memory.

This sample memory is temporary, and its data will be lost when you turn off the power. If you want to keep these samples, you must save them to user memory or a memory card.

* You cannot save data to the preset memory.

fig.04-013.e

Write

Write

Sample Memory

Sampler Section

Preset Bank

User Bank

Card Bank

Load

Write

Load

Write

Write

Preset Memory

User Memory

Load/Write

Fantom-X

Multisamples

Two or more samples assigned to the keyboard are collectively called a multisample . A multisample is divided into 128 “splits.”

Each split contains the number of a sample in the sample list—it does not contain the actual sample data itself.

The Fantom-X has 128 internal samples (preset samples), and in addition can store up to 128 user samples in a separately sold memory card.

fig.04-012.e

Multisample

Multisample

Multisample

No.128

No.001

sample

No.001

sample

No.002

sample

No.003

Number in the sample list

A multisample is divided into 128 sample

No.127

sample

No.128

Memory Card

Sampling

32

Fantom-X678_r_e.book 33 ページ 2007年3月20日 火曜日 午前10時20分

Overview of the Fantom-X

Basic Operation of the Fantom-X

Switching the Sound Generator Mode

The Fantom-X has two sound generating modes: Patch mode,

Performance mode. You can select the sound generating mode (state) that is most appropriate for how you are playing the Fantom-X.

Use the following procedure to switch between these modes.

Patch mode

In this mode you can use the keyboard and pads to play individual sounds (patches/rhythm sets).

The keyboard and pads each have their own sound generator and part, and are connected on a single MIDI channel.

To select Patch mode

1.

Press [PATCH/RHYTHM].

fig.04-014_50

To select the Layer screen

1.

Press [LAYER/SPLIT].

fig.04-015_50

To select the Mixer screen

1.

Press [MIXER].

fig.04-016_50

Performance Mode

This mode allows you to combine multiple sounds (patches or rhythm sets).

LAYER/SPLIT display

Use this screen when you want to play two or more sounds

(patches/rhythm sets) together.

You can play patches together (Layer) or divide the keyboard into two regions and play different patches in each region (Split).

MIXER display

Use this screen when you want to mix the sounds by adjusting the level and pan for each of the 16 parts.

The Layer screen and Mixer screen provide different views of the same performance. For example, you’ll want to use the

Layer/Split screen when you’re setting up a keyboard split, or use the Mixer screen when you’re adjusting the effect settings or volume balance of the patches for each part.

33

Fantom-X678_r_e.book 34 ページ 2007年3月20日 火曜日 午前10時20分

Overview of the Fantom-X

About the Function Buttons

The eight [F1]–[F8] buttons (function buttons) located below the display execute various functions, and their operation will differ depending on the screen. Functions will be listed in the bottom of the screen.

fig.04-017

Moving the Cursor

A single screen or window displays multiple parameters or items for selection. To edit the setting of a parameter, move the cursor to the value of that parameter. To select an item, move the cursor to that item. When selected with the cursor, a parameter value or other selection is highlighted.

fig.04-019.e

Cursor

Move the cursor with the fig.04-020

, , and (cursor buttons).

Window

The somewhat smaller screens that appear temporarily on top of the normal screens are called windows. Various types of windows appears according to the situation. Some display lists, others allow you to make settings, and still others ask you to confirm an operation.

fig.04-018.e

:

:

:

: moves the cursor up.

moves the cursor down.

moves the cursor to the left.

moves the cursor to the right.

If you hold down one cursor button while you also press the cursor button for the opposite direction, the cursor will move more rapidly in the direction of the first-pressed cursor button.

When the cursor is displayed, pressing [ENTER] will sometimes display a list of the available choices for that parameter. This is convenient when you want to see what your choices are. When the list is displayed, you can also use the pads to input your

choice. (p. 35)

Window

Press [EXIT] to close the window. Some windows will close automatically when an operation is performed.

34

Fantom-X678_r_e.book 35 ページ 2007年3月20日 火曜日 午前10時20分

Modifying a Value

To modify the value, use the VALUE dial or the [INC]/[DEC] buttons.

fig.04-021

Overview of the Fantom-X

Using the pads

In some cases when the cursor is located at an input location, you can press [ENTER] to see a list of parameter values. For some of these lists, the screen will show an icon like the following, which means you can use the pads to input or specify the value.

When inputting a numerical value

fig.04-021a

In each screen of the Fantom-X, you can use the cursor to move the area displayed as highlighted, and modify its value.

Each parameter has its own range of possible values, so you cannot set any value smaller than the minimum value or greater than the maximum value.

VALUE Dial

Rotating the VALUE dial clockwise increases the value, counterclockwise decreases the value. Holding down [SHIFT] as you move the VALUE dial increases value increments so you can make large value changes faster.

When the cursor is located at a parameter value, press [ENTER] to display a window where you can set the value. Use to select a value, and then press [ENTER] to finalize the setting.

PAD 1–9: Input numerals 1–9

PAD 10: Input the numeral 0

BS: Cancels the numeral you input

DEL: Cancels the lowest place of the number you input. If you’ve input “15,” pressing DEL will change the value to “1.”

When inputting directly

fig.04-021a

[INC] and [DEC]

Pressing [INC] increases the value, and [DEC] decreases it. Keep the button pressed for continuous adjustment. For faster value increases, keep [INC] pressed down and press [DEC]. For decreasing value faster, keep [DEC] pressed down and press [INC].

If you press [INC] or [DEC] while holding down [SHIFT], the value increments will get bigger.

Pressing a pad will directly input the corresponding value. From the top, the items in the list correspond to pads 1–16.

35

Fantom-X678_r_e.book 36 ページ 2007年3月20日 火曜日 午前10時20分

Overview of the Fantom-X

Assigning a Name

On the Fantom-X, you can assign names to each patch, rhythm set, performance, Song, Sample, and Pattern. The procedure is the same for any type of data.

1.

Press [CURSOR] to move the cursor to the location where you wish to input a character.

fig.04-022a

Using the Pads to Specify Characters

You can use the pads to specify characters.

By pressing a pad one or more times, you can successively select the letters, numerals, and symbols that appear on the pad. For example, if you repeatedly press pad 1, you will cycle through the available choices like this: 1 -> A -> B -> C -> 1 -> A...

• You can switch between uppercase and lowercase letters for the character to be entered by pressing CAPS LOCK.

• Press SPACE to replace the character at the cursor location with a space.

• Press INS to insert a space at the cursor location.

• Press DEL to delete the character at the cursor location.

• Press BS to delete the character to the left of the cursor location.

fig.04-022

2.

Turn the VALUE dial, or press [INC]/[DEC] to specify the character.

[F1 (Change Type)]: Selects the type of character. Each time you press this, you will alternately select the first character of a character set: uppercase (A), lowercase (a), or numerals and symbols (0).

• [F2 (Delete)]: Deletes the character at the cursor location, and moves the subsequent characters one space forward.

• [F3 (Insert)]: Inserts a space at the cursor location.

or

,

:

:

Move the cursor.

Switch between uppercase and lowercase letters.

* If you decide to discard your input, press [F7 (Cancel)].

Available characters/symbols are: space, A–Z, a–z, 0–9, ! “ # $ % & ‘ ( ) * + , - . / : ; < = > ? @ [ \ ] ^

_ ` { | }

From a naming screen you can press [MENU] and select

“Undo” to return the name to what it was before you changed it. From [MENU] you can select “To Upper” or press to change the character at the cursor to uppercase. From [MENU] you can select “To Lower” or press to change the character at the cursor to lowercase. From [MENU] you can select “Delete

All” to clear all the characters you were inputting.

Song file names may not contain lowercase characters or certain symbols (“ * + , . / : ; < = > ? [ \ ] |).

36

Fantom-X678_r_e.book 37 ページ 2007年3月20日 火曜日 午前10時20分

Overview of the Fantom-X

Registering and recalling frequently used screen pages (Bookmark)

This function lets you register frequently used screen pages, and use the pads to access them. For example, if you find yourself frequently moving between the Patch Edit page and the Effect page, this function will help you switch between these two pages more efficiently.

Registering a page

1.

Access the page that you want to register.

2.

Hold down [CLIP BOARD] and press the pad to which you want to register this page.

For example, if you register the page at pad number 3, the display will indicate “Bookmarked to #3.”

3.

Press [EXIT].

The settings are stored in the Fantom-X.

* If you do not press [EXIT], these settings will be lost when you turn off the power.

Recalling a page

1.

Press [CLIP BOARD].

The Bookmark screen will appear.

Pads for which a page has been registered will blink.

fig.04-023

Viewing an explanation of each button (Help)

Here's how you can make the Fantom-X's screen display a brief explanation of each button or what the button does when pressed while holding down the [SHIFT] key.

1.

Press [MENU].

2.

Use the VALUE dial or [INC][DEC] to select “Help.”

3.

Press [ENTER].

The “Help” screen will appear.

Viewing the number of voices used by the sound generator (Voice Monitor)

Here’s how you can see a graphic indication of the number of voices used by the sound generator.

1.

In the Patch mode or Performance mode screen, hold down

[SHIFT] and press [F4 (Voice Monitor)].

2.

Press [F8 (Exit)] to return to the previous screen.

2.

Press one of the blink pads; the Bookmarked to that pad will appear.

* To clear a registered page, hold down [CLIPBOARD] in step 1 and press the pad whose registration you want to clear.

37

Fantom-X678_r_e.book 38 ページ 2007年3月20日 火曜日 午前10時20分

Playing in Patch Mode

In Patch mode, the keyboard and the pads are each used to play a single sound (patch/rhythm set).

The keyboard controller section and the pad controller section each have their own sound generator part, and each are connected by their own MIDI channel. This means you can play separate sounds on the keyboard and the pads.

About the Patch Play Screen

4.

Press [F6] to switch the Patch Play screen.

This screen simultaneously displays the settings of the

Keyboard part and the Pad part.

fig.05-003_50

Displaying Patch Play Screen

To access the Patch Play screen, use the following procedure.

1.

Press [PATCH/RHYTHM].

You will enter Patch mode, and the Patch Play screen appears.

The Fantom-X has two parts; a Keyboard part and a Pad part.

2.

Press [F7 (Part Kbd)] to select the Keyboard part.

fig.05-001.e

Patch type

Patch group

Patch number

Patch name

Patch Category

Press [F3 (Part Level)] to adjust the volume of the keyboard part and pad part.

Pressing [F8 (Part Level)] will open a window where you can adjust the volume of the keyboard part and pad part.

Press [F6] (keyboard part) or [F7] (pad part) to select the part, and turn the VALUE dial or use [INC][DEC] to adjust the volume.

Press [F8 (Close)] to close the window.

fig.05-004_50

3.

Press [F8 (Part Pad)] to select the Pad part.

fig.05-002.e

Patch type Patch Category

Patch group Patch number / Patch name

38

Fantom-X678_r_e.book 39 ページ 2007年3月20日 火曜日 午前10時20分

Playing in Patch Mode

Functions in the Patch Play screen

fig.05-005.e

7 8

9

1

2

6

11

12

11

14

3

7

4

9

5

8

10

8

13

15

16 17 18 19 20 21 22

1

2

Indicates the current sound generating mode.

Indicates the volume of the Keyboard part and Pad part.

3

4

5

6

7

8

9

10

11

12

13

14

15

16

Indicates multi-effects (MFX1, 2), chorus (CHO), reverb (REV), and masterring (MASTER) on and off.

Indicates the name of the currently selected song, the measure location

Indicates the time signature, and the tempo.

Indicates the Loop Play on/off (LOOP).

Sets the Transpose (Trans). And indicates the Octave Shift (Oct).

Patch/rhythm set select switch

Determines whether you will be selecting patches or rhythm sets.

Indicates/selects the patch category.

Selects whether the patch category will be locked.

Indicates/selects the group, number, and name of the selected patch.

Indicates the tone On/Off status.

Indicates whether the controller settings will apply to the keyboard or the pads.

Indicates the state of the pad settings.

Indicates the rhythm tone.

Indicates the functions that are assigned to each realtime controller knob (

) and assignable switch (

).

This indicates the function that is assigned to the D Beam controller, and the response status of the D Beam controller.

Displays the Patch List screen.

17 Displays the Favorite screen.

18 Adjusts the volume of the keyboard part and pad part.

19

20

Displays the Control Setting screen.

Displays the Tone SW/Select screen.

21

22

Switches the Patch Play screen.

Switches the keyboard part and pad part.

Selecting a Patch

The Fantom-X has eight patch groups, including the User group and

Preset groups A–H and GM, with each group storing 128 patches

(256 in GM, USER). What’s more, you can further expand your options by installing up to four optional Wave Expansion Boards

(SRX series; sold separately), enabling you to select from a huge assortment of available patches.

USER

This is the group inside the Fantom-X which can be rewritten. patches you yourself create can be stored in this group. The Fantom-

X includes 256 preset patches.

PR-A–H (Preset A–H)

This is the group inside the Fantom-X which cannot be rewritten.

However you may modify the settings of the currently selected patch, and then store the modified patch in User memory. Groups

A–H already contain 128 prepared patches each, for a total of 1024 patches.

CARD (Memory Card)

This group lets you use patches stored on a memory card inserted in the rear panel card slot. Since the data in this group can be rewritten, you can use this group to store patches that you create.

GM (GM2)

This is an internal group of patches compatible with General MIDI 2, a system of MIDI function specifications designed to transcend differences between makers and types of devices; these patches cannot be overwritten. Furthermore, settings of currently selected patches from this group cannot be changed. The Fantom-X includes

256 preset patches.

XP-A–D (Wave Expansion Boards installed in

EXP-A–D Slots)

These are groups used when using patches from Wave Expansion

Boards installed in the EXP A–D slots, and cannot be rewritten.

However you may modify the settings of the currently selected patch, and then store the modified patch in User memory and

Memory card. The number of onboard patches depends on the specific Wave Expansion Boards installed.

XP-A–D patches can be selected only if a Wave Expansion

Board SRX series (SRX series; sold separately) is installed in the corresponding slot.

39

Fantom-X678_r_e.book 40 ページ 2007年3月20日 火曜日 午前10時20分

Playing in Patch Mode

1.

Press [PATCH/RHYTHM] to access the Patch Play screen.

fig.05-001.e

Patch type

Patch group

Patch number

Patch name

Patch Category

Selecting Patches by Category

(Patch Finder)

The Fantom-X provides a “Patch Search function” (Patch Finder) which allows you to specify a type (category) of patch so that you can quickly find the desired patch. There are a total of 38 categories.

1.

Press [PATCH/RHYTHM] to access the Patch Play screen.

fig.05-001.e

Patch type

Patch group

Patch number

Patch name

Patch Category

2.

Press [F7 (Part Kbd)] or [F8 (Part Pad)] to move the cursor to the pad part or the keyboard part.

fig.05-006.e

Patch type Patch group Patch number

3.

If you selected a patch group, turn the VALUE dial or use

[INC][DEC] to choose the patch group.

USER:

PR-A–H:

User

Preset A–H

CARD: Memory Card

GM: (GM2)

XP-A–D: Wave Expansion Boards installed in EXP-A–D Slots

* Make sure that the patch type select switch is set to “Patch.” If this is set to “Rhythm,” use [CURSOR] to move the cursor to the switch, and turn the VALUE dial or press [DEC] to select “Patch.”

4.

Press [CURSOR] to move the cursor to the patch group.

5.

Turn the VALUE dial, or press [INC]/[DEC] to select a patch group.

6.

If you selected a patch for the pad part, play the pads to hear the sound. If you selected a patch for the keyboard part, play the keyboard to hear the sound.

2.

Make sure that the patch type is set to “PATCH.”

If this is set to “Rhythm,” use [CURSOR] to move the cursor to the switch, and turn the VALUE dial or press [DEC] to select

“Patch.”

3.

Use [CURSOR] to move the cursor to the “Patch Category,” and turn the VALUE dial, or press [INC]/[DEC] to select the desired category.

4.

Press to move the cursor to “Lock,” and turn the VALUE dial or press [INC] to add a check mark (

).

5.

Use [CURSOR] to move the cursor to the patch group or patch number, and turn the VALUE dial or use [INC]/[DEC] to select the patch.

When the cursor is located at the Patch group, you can select the group. When the cursor is located at the Patch number, you can specify the number.

40

Fantom-X678_r_e.book 41 ページ 2007年3月20日 火曜日 午前10時20分

Playing in Patch Mode

Category

- - -

PNO

EP

KEY

No Assign

AC.Piano

EL.Piano

Keyboards

FRT

PRC

SFX

BTS

DRM

CMB

PLS

FX

SYN

BPD

SPD

VOX

PLK

ETH

WND

FLT

BRS

SBR

SAX

HLD

SLD

TEK

BEL

MLT

ORG

ACD

HRM

AGT

EGT

DGT

BS

SBS

STR

ORC

HIT

Bell

Mallet

Organ

Accordion

Harmonica

AC.Guitar

EL.Guitar

DIST.Guitar

Bass

Synth Bass

Strings

Orchestra

Hit&Stab

Wind

Flute

AC.Brass

Synth Brass

Sax

Hard Lead

Soft Lead

Techno Synth

Pulsating

Synth FX

Other Synth

Bright Pad

Soft Pad

Vox

Plucked

Ethnic

Fretted

Percussion

Sound FX

Beat&Groove

Drums

Combination

The following categories can be selected.

Contents

No assign

Acoustic Piano

Electric Piano

Other Keyboards (Clav,

Harpsichord etc.)

Bell, Bell Pad

Mallet

Electric and Church Organ

Accordion

Harmonica, Blues Harp

Acoustic Guitar

Electric Guitar

Distortion Guitar

Acoustic & Electric Bass

Synth Bass

Strings

Orchestra Ensemble

Orchestra Hit, Hit

Winds (Oboe, Clarinet etc.)

Flute, Piccolo

Acoustic Brass

Synth Brass

Sax

Hard Synth Lead

Soft Synth Lead

Techno Synth

Pulsating Synth

Synth FX (Noise etc.)

Poly Synth

Bright Pad Synth

Soft Pad Synth

Vox, Choir

Plucked (Harp etc.)

Other Ethnic

Fretted Inst (Mandolin etc.)

Percussion

Sound FX

Beat and Groove

Drum Set

Other patches which use

Split and Layer

Selecting Patches from the List

You can display a list of patches and select a patch from that list.

1.

Press [PATCH/RHYTHM] to access the Patch Play screen.

2.

Press [F1 (Patch List)].

The Patch List screen will appear.

fig.05-008_50

Press [F4 (Patch Categ)] to see a list sorted by category, or press

[F5 (Patch)] or [F6 (Rhythm)] to see the patch group list.

3.

Use [F1]/[F2] to select a category or group.

4.

Turn the VALUE dial or use [DEC]/[INC] or select a patch.

fig.05-009_50

/ to

You can press [F7 (Preview)] to audition the patch using an appropriate phrase that is preset for each category (Phrase

Preview).

5.

Press [F8 (Select)] to confirm your patch selection.

41

Fantom-X678_r_e.book 42 ページ 2007年3月20日 火曜日 午前10時20分

Playing in Patch Mode

Auditioning Patches

(Phrase Preview)

The Fantom-X allows you to preview patches by hearing a phrase appropriate for each type of patch.

1.

Press [PATCH/RHYTHM] to access the Patch Play screen.

2.

Press [F1 (Patch List)] to access the Patch List screen.

fig.05-009_50

3.

Press and hold [F7 (Preview)].

The patch selected in the Patch List screen will be sounded.

4.

Release your finger from [F7 (Preview)], and the phrase will stop playing.

If you wish to change how the phrase is played by Phrase

Preview, you can edit the Preview Mode parameter (p. 232).

Creating a list of frequently used Patches and

Performances (Live Setting)

You can create a list of frequently used sounds, and recall them instantly. Since you can register Patches, Rhythm Sets, or

Performances, any type of sound you need can be recalled instantly regardless of the mode.

Each list (bank) can store a total of sixteen patches, rhythm sets, and performances. You can create twenty of these banks.

For example, you might use bank 1 to list up to sixteen sounds that you use in the first song of your live set.

Recalling sounds

1.

Press [MENU] to open the Menu window.

2.

Either turn the VALUE dial or press or

“Live Setting Play,” and then press [ENTER].

The Live Setting Play screen appears.

fig.05-001b_50

to select

You can also hold down [SHIFT] and press [PIANO MODE] to access the Live Setting Play screen.

3.

Press or to select the bank that you want to recall.

4.

Press [F1 (1)]–[F8 (8)] to select the step number that you want to recall.

To select 9–16, hold down [SHIFT] and press [F1 (9)]–[F8 (16)].

The selected sound will be recalled.

Alternatively, in step 4 of this procedure, you can use [INC]/

[DEC] to step through the sounds by moving to the next (or previous) step number.

In step 4 of this procedure, you can also use or to select the step number. In this case, the sound will not change until you press [ENTER].

42

Fantom-X678_r_e.book 43 ページ 2007年3月20日 火曜日 午前10時20分

Playing in Patch Mode

Registering a sound

1.

Access the screen of the patch, rhythm set, or performance that you want to register.

2.

Press [MENU] to open the Menu window.

3.

Either turn the VALUE dial or press or

“Live Setting Edit,” and then press [ENTER].

The Live Setting Edit screen appears.

fig.05-001c_50

to select

Changing the step at which a sound is registered

Here’s how to change the step at which a sound is registered.

1.

In the Live Setting Edit screen, use or to move the cursor to the step at which the sound you want to move is registered.

2.

Hold down [SHIFT] and use or to move the sound.

Importing a Text File (Import Text)

Here’s how you can import a text file you created on your computer, and display it in the Fantom-X’s Live Setting screen.

1.

Access the Live Setting Edit screen, and press to view.

or

([F1 (

)] or [F2 (

)]) to select the Bank whose text you want

2.

Press [F6 (Import Text)].

fig.23-002_50

You can also hold down [SHIFT] and press [ENTER] to access the Live Setting Edit screen.

4.

Use or ([F1 (

)] or [F2 (

)]) to select the bank in which you want to register the sound.

5.

Use or to select the number (step) in which to register the sound.

You can register the sound in any of the sixteen steps. Register the sounds in an order that’s appropriate for your song or live performance.

6.

Press [F8 (Regist)] to register the sound.

For example, if you register the sound in Bank 1, step number

02, the display will indicate “Regist to 1-02.”

Removing a registration

1.

In the Live Setting Edit screen, use or to move the cursor to the step that you want to remove.

2.

Press [F7 (Remove)].

For example, if you remove the registration for Bank 1, step number 02, the display will indicate “Remove 1-02,” and that step becomes empty.

Removing all sound registrations from a bank

1.

In the Live Setting Edit screen, use [F1 (

)] or [F2 (

)] to move the cursor to the bank for which you want to clear the registrations.

2.

Hold down [SHIFT] and press [F7 (Bank Remove)].

If you clear the entire contents of Bank 1, the display will indicate “Remove Bank 1,” and that bank is made empty.

3.

Press [F1 (User)] or [F2 (Card)] to select the area (user memory or card) from which you want to import the text file.

4.

Press or to select the file you want to import.

5.

Press [F8 (Import Text)].

The file you want to import will be displayed.

* To cancel, press [F7 (Cancel)].

6.

Press [F8 (Exec)].

The file will be imported.

* To cancel, press [F7 (Cancel)].

You can scroll the screen by turning the VALUE dial.

43

Fantom-X678_r_e.book 44 ページ 2007年3月20日 火曜日 午前10時20分

Playing in Patch Mode

2.

Press [F2 (Favorite)].

fig.05-007_50

Selecting Favorite Patches

(Favorite Patch)

In the patch mode, You can bring together your favorite and most frequently used patches in one place by registering them in the favorite patch. By using this function, you can rapidly select favorite patches from Preset/User/Card area or a Wave Expansion Board.

1.

Press [PATCH/RHYTHM] to access the Patch Play screen.

2.

Press [F2 (Favorite)].

The Favorite Patch window appears.

fig.05-007_50

3.

Press or to choose the patch.

4.

To change the bank, turn the VALUE dial or use [INC][DEC].

5.

After you have changed the bank, press [F1]–[F8] to select a patch.

6.

Press [EXIT] to close the Favorite Patch window

Registering a Favorite Patch

You can bring together your favorite and most frequently used patches in one place by registering them in the favorite patch. By using this function you can rapidly select favorite patches from

Preset/User/card area or a Wave Expansion Board. You can register a total of 64 sounds (8 sounds x 8 banks) as favorite patchs.

For details on selecting a favorite patch, refer to

“Registering a

Favorite Patch” (p. 44).

Using [F1]–[F8] to Register

1.

Press [PATCH/RHYTHM] to access the Patch Play screen to

select the patch that you wish to register (p. 39).

3.

4.

Turn the VALUE dial or press [INC]/[DEC] to select the Bank.

Hold down [SHIFT] and press [F1]–[F8] to execute the registration.

The patch will be registered to the button you pressed.

5.

When you have finished registering, press [EXIT].

Using the Favorite List Screen to

Register

1.

Press [PATCH/RHYTHM] to access the Patch Play screen to

select the patch that you wish to register (p. 39).

2.

Press [F1 (Patch List)].

3.

Press [F3 (Favorite)].

The Favorite List screen appears.

fig.05-010_50

4.

Press [F1 ( ⇑ )] or [F2 ( ⇓ )] to select the Bank.

5.

Press or to select a favorite number.

6.

Press [F6 (Regist)] to execute the registration.

The patch will be registered to the button you pressed.

7.

When you have finished registering favorite patchs, press

[EXIT] to close the Favorite List screen.

By pressing [F7 (Preview)] you can audition the sound of the registered patch (Phrase Preview).

Canceling a patch registration

By pressing [F5 (Remove)] you can cancel the patch registration that is selected in the Favorite List screen.

44

Fantom-X678_r_e.book 45 ページ 2007年3月20日 火曜日 午前10時20分

Playing in Patch Mode

Registering Favorite Rhythm Sets

You can bring together your favorite and most frequently used rhythm sets in one place by registering them in the favorite patch. By using this function you can rapidly select favorite rhythm sets from

Preset/User/Card area or a Wave Expansion Board. You can register a total of 64 sounds (8 sounds x 8 banks) as favorite patchs.

For details on selecting a favorite patch, refer to

“Selecting

Favorite Patches (Favorite Patch)” (p. 44).

Using [F1]–[F8] to Register

1.

Press [PATCH/RHYTHM] to access the Patch Play screen,

and select the rhythm set that you wish to register (p. 52).

2.

Press [F2 (Favorite)].

3.

Turn the VALUE dial or press [INC]/[DEC] to select the

Bank.

4.

Hold down [SHIFT] and press [F1]–[F8] to execute the registration.

The rhythm set will be registered to the button you pressed.

5.

When you have finished registering, press [EXIT].

Using the Favorite List Screen to

Register

1.

Press [PATCH/RHYTHM] to access the Patch Play screen,

and select the rhythm set that you wish to register (p. 52).

2.

Press [F1 (Patch List)].

3.

Press [F3 (Favorite)].

The Favorite List screen appears.

fig.05-011_50

Canceling a patch registration

By pressing [F4 (Remove)] you can cancel the patch registration that is selected in the Favorite List screen.

Transposing the Keyboard in Octave Units (Octave

Shift)

The Octave Shift function transposes the pitch of the keyboard in 1 octave units (-3– +3 octaves).

For playing a bass part more easily using your right hand, transpose the keyboard down by 1 or 2 octaves.

* Octave Shift applies only to the keyboard part.

1.

Press [PATCH/RHYTHM] to access the Patch Play screen.

2.

Press KEYSHIFT [-OCT] or [+OCT] to set the amount of transposition (-3–+3).

The button will light if this is set.

* Each time you press [+OCT], the amount of transposition will change in the order of +1, +2, and +3. Each time you press [-OCT], the amount of transposition will change in the order of -1, -2, and -3. If you press both buttons simultaneously, the amount of movement will be zero.

fig.05-012

There is a single Octave Shift setting (Setup parameter) for the entire Fantom-X. The changed setting will be remembered even if you switch patches or performances.

4.

Press [F1 ( ⇑ )] or [F2 ( ⇓ )] to select the Bank.

5.

Press or to select favorite number.

6.

Press [F6 (Regist)] to execute the registration.

By pressing [F7 (Preview)] you can audition the sound of the registered rhythm set (Phrase Preview).

7.

When you have finished registering favorite patchs, press

[EXIT] to close the Favorite List screen.

45

Fantom-X678_r_e.book 46 ページ 2007年3月20日 火曜日 午前10時20分

Playing in Patch Mode

Transposing the Keyboard in Semitone Steps

(Transpose)

Transpose changes keyboard pitch in units of semitones.

This function is useful when you play transposed instruments such as trumpet or clarinet following a printed score.

* Transpose applies only to the keyboard part.

1.

Press [PATCH/RHYTHM] to access the Patch Play screen.

2.

Press [F7 (Part Kbd)] to move the cursor to the keyboard part.

3.

Press [F6] to switch the Patch Play screen.

4.

Use [CURSOR] to move the cursor to “Trans.” fig.05-013

5.

Either turn the VALUE dial or use [INC]/[DEC] to adjust the

Transpose setting (G–F#: -5–+6 semitones).

There is a single Transpose setting (Setup parameter) for the entire Fantom-X. The changed setting will be remembered even if you switch patches or performances.

If you assign “Transpose Up” “Transpose Down” as a function to be controlled by the realtime assignable switches ([ ]/

[ ]), you can easily change the Transpose by pressing these

buttons (p. 125).

Selecting the Tones That Will

Sound (Tone On/Off)

Since a patch is a combination of up to four tones, you can switch unwanted (tones out of the four) off and get just the sound of a specific tone.

1.

Press [PATCH/RHYTHM] to access the Patch Play screen.

2.

Press [F7 (Part Kbd)] or [F8 (Part Pad)] to move the cursor to the pad part or the keyboard part.

3.

Press [F5 (Tone Sw/Sel)].

fig.05-014_50

4.

Press [F1 (Tone Sw)]/[F4 (Tone Sw)] to turn each tone on/ off. The setting will switch on/off each time you press the button.

5.

Press [EXIT] to close the window.

If you want just one or two tones to sound in a patch, turn the others off and store that setting on a patch. This cuts nonessential use of the Fantom-X’s simultaneous voices.

Playing Single Notes

(Monophonic)

When using a patch for a naturally monophonic instrument such as sax or flute, it is effective to play in mono.

1.

Press [PATCH/RHYTHM] to access the Patch Play screen.

2.

Press [F7 (Part Kbd)] to move the cursor to the keyboard part.

3.

Press [PATCH EDIT] to access the Patch Edit screen.

4.

Press [F1 (

)] or [F2 (

)] to select the “Solo/Porta” tab.

A screen like the one shown below appears.

fig.05-015_50

5.

Press

Poly.”

or to move the cursor to “MONO (Solo)/

6.

Turn the VALUE dial or press [DEC] to select “MONO.”

Now you can play in mono mode.

If you assign “Mono/Poly” as a function to be controlled by the assignable switch ([ ]/[ ]), you can easily switch

between mono/poly by pressing a button (p. 125).

46

Fantom-X678_r_e.book 47 ページ 2007年3月20日 火曜日 午前10時20分

Playing in Patch Mode

Creating Smooth Pitch

Changes (Portamento)

Portamento is an effect which smoothly changes the pitch from the first-played key to the next-played key. By applying portamento when Mono mode is selected (see the preceding item), you can simulate performance effects such as slurring on a violin.

1.

Press [PATCH/RHYTHM] to access the Patch Play screen.

2.

Press [F7 (Part Kbd)] to move the cursor to the keyboard part.

3.

Press [PATCH EDIT] to access the Patch Edit screen.

4.

Press [F1 ( ⇑ )] or [F2 ( ⇓ )] to select the “Solo/Porta” tab.

A screen like the one shown below appears.

fig.05-015_50

Selecting the Parameter

Controlled by the Realtime

Controllers or D Beam

Controller (Control Setting)

The Fantom-X lets you assign the parameters that will be affected when you operate the realtime control knobs, assignable switches, D

Beam, pitch bend, or modulation lever. This lets you modify the sound in a variety of ways by operating the controllers.

Specifying the Part that Will be

Affected by the Controller

You can specify whether operating the controller will affect the sound assigned to the keyboard part or the sound assigned to the pad part.

1.

Press [PATCH/RHYTHM] to access the Patch Play screen.

2.

Press [F4 (Ctrl Setting)].

3.

Press [F7 (Ctrl Part)].

fig.05-016_50

When you press [F7 (Zoom Edit)], the Solo Synth Zoom Edit screen will appear, which displays the above parameters in graphical fashion, simulating an analog synthesizer. To exit from this screen, press [F8 (Exit)] or [EXIT].

5.

Press

Switch.”

or to move the cursor to “Portamento

6.

Turn the VALUE dial or press [INC] to select “ON.”

You’re ready to play portamento.

7.

When you want to change the portamento setting, edit the following parameters in the screen of step 6.

Portamento Mode, Portamento Type, Portamento Start,

Portamento Time

See p. 77 for each parameter’s functions.

8.

Press [EXIT] to return to the Patch Play screen and play.

If you assign “Portamento” as a function to be controlled by the assignable switches ([ ]/[ ]), you can use a button to

easily turn portamento on/off (p. 125).

4.

Use [CURSOR] to select the parameter.

5.

Either turn the VALUE dial or use [INC][DEC] to turn the setting.

6.

If you want to keep the settings, press [F8 (System Write)].

7.

When you have finished making settings, press [EXIT] to return to the Patch Play screen.

When Patch mode is selected, controller settings cannot be saved for each individual patch. Controller settings are saved as system settings.

Bender and Modulation Part Select

Selects the part that will be controlled by pitch bend messages or modulation messages.

Value: PAD

Beam Part Select

Selects the part that will be controlled by the D Beam.

Value: KBD, PAD

47

Fantom-X678_r_e.book 48 ページ 2007年3月20日 火曜日 午前10時20分

Playing in Patch Mode

Knob Part Select

Selects the part that will be controlled by the realtime control knobs.

Value: PAD

Assigning a Parameter to a

Controller

Here’s how to specify the parameter that will be affected when you operate a controller.

1.

Press [PATCH/RHYTHM] to access the Patch Play screen.

2.

Press [F4 (Ctrl Setting)].

fig.05-017_50

D Beam (Pad Trigger)

Instead of striking the pads themselves, you can also use the D Beam controller to control the sounding of the pads.

PAD trigger settings are saved independently for each performance as part of the performance settings. This lets you create performances that make effective use of controller settings.

fig.05-018_50

3.

Press [F1 (

)] or [F2 (

)] to select the parameter.

4.

Use [CURSOR] to move the cursor to the parameter.

5.

Either turn the VALUE dial or use [INC][DEC] to set the value.

6.

If you want to keep the settings, press [F8 (System Write)].

When Patch mode is selected, controller settings cannot be saved for each individual patch. Controller settings are saved as system settings.

7.

When you have finished making settings, press [EXIT] to return to the Patch Play screen.

You can jump directly to various setting screens by holding down the [SHIFT] and operating the following buttons or knobs.

• Button at the right of the realtime control knobs

• Assignable switch

For details on these settings, refer to

“Assigning a Parameter to a Controller” (p. 48).

Pad Number

Specifies the pad number affected by the D Beam.

When the cursor is located at this parameter, you can also make this setting by striking the desired pad.

Value: 0–16

Pad Velocity

Specifies the strength of the pad sound played by the D Beam controller.

Value: 1–127

Pad Control Mode

This specifies how the D Beam will behave when it is obstructed. If this is set to MOMENTARY, the parameter will be on only while the

D Beam is obstructed, and will turn off when you stop obstructing it.

If this is set to LATCH, the parameter will alternately be switched on/off each time you obstruct the D Beam.

Value: LATCH

48

Fantom-X678_r_e.book 49 ページ 2007年3月20日 火曜日 午前10時20分

Playing in Patch Mode

D Beam (Solo Synth)

You can use the D Beam controller to perform in a way similar to on a mono synth.

fig.05-019_50

When you press [F6 (Panel View)], the Panel View screen will appear, which displays the above parameters in graphical fashion, simulating an analog synthesizer. From the Panel View screen, you can press [F2 (Image View)] to open the Image View screen, where you can see a graphical indication of the D Beam output value. Press [EXIT] to return to the Control Setting screen.

For details on these settings, refer to

“Assigning a Parameter to a Controller” (p. 48).

OSC 1/2 Waveform

Select the waveform. SAW is a sawtooth wave, and SQR is a square wave.

Value: SAW, SQR

OSC 1/2 Pulse Width

Specifies the pulse width of the waveform. By cyclically modifying the pulse width you can create subtle changes in the tone.

* The Pulse Width is activated when “SQR” is selected with OSC1/2 waveform.

Value: 0–127

OSC 1/2 Coarse Tune

Adjusts the pitch of the tone’s sound up or down in semitone steps

(+/-4 octaves).

Value: -48–+48

OSC 1/2 Fine Tune

Adjusts the pitch of the tone’s sound up or down in 1-cent steps (+/-

50 cents).

Value: -50–+50

OSC2 Level

Adjust the OSC2 level.

Value: 0–127

OSC Sync Switch

Turning this switch on produces a complex sound with many harmonics. This is effective when the OSC1 pitch is higher than the

OSC2 pitch.

Value: OFF, ON

Filter Type

Selects the type of filter.

OFF:

LPF:

No filter is used.

Low Pass Filter. This reduces the volume of all frequencies above the cutoff frequency (Cutoff Freq) in order to round off, or un-brighten the sound.

This is the most common filter used in synthesizers.

BPF:

HPF:

PKG:

Band Pass Filter. This leaves only the frequencies in the region of the cutoff frequency (Cutoff

Frequency), and cuts the rest. This can be useful when creating distinctive sounds.

High Pass Filter. This cuts the frequencies in the region below the cutoff frequency (Cutoff

Frequency). This is suitable for creating percussive sounds emphasizing their higher tones.

Peaking Filter. This emphasizes the frequencies in the region of the cutoff frequency (Cutoff

Frequency). You can use this to create wah-wah effects by employing an LFO to change the cutoff frequency cyclically.

Cutoff

Selects the frequency at which the filter begins to have an effect on the waveform’s frequency components.

Value: 0–127

Resonance

Emphasizes the portion of the sound in the region of the cutoff frequency, adding character to the sound. Excessively high settings can produce oscillation, causing the sound to distort.

Value: 0–127

Level

Sets the volume.

Value: 0–127

Chorus Send Level

Sets the level of the signal sent to chorus.

Value: 0–127

Reverb Send Level

Sets the level of the signal sent to reverb.

Value: 0–127

LFO Rate

Adjusts the modulation rate, or speed, of the LFO.

Value: 0–127

49

Fantom-X678_r_e.book 50 ページ 2007年3月20日 火曜日 午前10時20分

Playing in Patch Mode

LFO Osc 1 Pitch Depth

Specifies the depth to which the LFO will modulate the OSC1 pitch.

Value: -63–+63

LFO Osc 2 Pitch Depth

Specifies the depth to which the LFO will modulate the OSC2 pitch.

Value: -63–+63

LFO Osc 1 Pulse Width Depth

Specifies the depth to which the LFO will modulate the pulse width of the OSC1 waveform.

* The Pulse Width is activated when “SQR” is selected with OSC1/2 waveform.

Value: -63–+63

LFO Osc 2 Pulse Width Depth

Specifies the depth to which the LFO will modulate the pulse width of the OSC2 waveform.

* The Pulse Width is activated when “SQR” is selected with OSC1/2 waveform.

Value: -63–+63

Range (Solo synth range)

Specifies the range in which the pitch of the solo synth will vary.

Value: 2 OCTAVES, 4 OCTAVES, 8 OCTAVES

D Beam (Assignable)

By assigning a variety of functions to the D Beam controller you can apply different effects to the sound in real time.

fig.05-020_50

For details on these settings, refer to

“Assigning a Parameter to a Controller” (p. 48).

Type

Specifies the function controlled by the D Beam controller.

Value

CC01–31, 33–95: Controller numbers 1–31, 33–95

For more information about Control Change messages, please refer to

“MIDI Implementation” (p. 298).

Bend Up: Raises the pitch in semitone steps (up to 4 octaves higher).

Bend Down:

Start/stop:

TAP Tempo:

Lowers the pitch in semitone steps (up to 4 octaves lower).

Starts/Stops the sequencer.

Arp Grid:

Arp Duration:

Tap tempo (a tempo specified by the interval at which you move your hand over the D

Beam controller).

Arpeggio Grid

Arp Motif:

Arp Oct Up:

Adjusts the duration of each arpeggiated note

Arpeggio Motif

Arp Oct Down:

The range in which the arpeggio is sounded will rise in steps of an octave (maximum 3 octaves).

The range in which the arpeggio is sounded will lower in steps of an octave (maximum 3 octaves).

Range Min (D Beam Range Lower)

Specify the lower limit of the range of the D Beam controller.

Value: 0–127

Range Max (D Beam Range Upper)

Specify the upper limit of the range of the D Beam controller.By setting Range Max below Range Min you can invert the range of change.

Value: 0–127

50

Fantom-X678_r_e.book 51 ページ 2007年3月20日 火曜日 午前10時20分

Playing in Patch Mode

Knob

fig.05-021_50

Switch

fig.05-022_50

For details on these settings, refer to

“Assigning a Parameter to a Controller” (p. 48).

Knob parameters are valid only when the REALTIME

CONTROL button is set to “ASSIGNABLE.”

Knob Assign 1–4 (Realtime Control Knob

Assign 1–4)

Specify the functions that will be controlled by the [] knobs.

Value

CC01–31, 33–95: Controller numbers 1–31, 33–95

For more information about Control Change messages, please refer to

“MIDI Implementation” (p. 298).

Pitch Bend:

Aftertouch:

Pitch Bend

Aftertouch

Arp Style:

Arp Grid:

Arp Duration:

Arp Motif:

Arpeggio Style

Arpeggio Grid

Adjusts the duration of each arpeggiated note

Arpeggio Motif

Chord Form:

Master Level:

Chord Form

The volume of the entire Fantom-X.

* Master Level adjusts the volume both of the OUTPUT A jacks and the

DIGITAL OUT jack. The front panel VOLUME knob only adjusts the volume of the OUTPUT A jacks.

Arp Step: Controls the playback position of the arpeggio pattern.

Digital In: Input level from DIGITAL IN.

For details on these settings, refer to “Assigning a Parameter to a Controller” (p. 34).

Assignable switches are valid only when the keyboard part is selected.

Switch 1/2 (Assignable Switch 1–2)

Specify the functions that will be controlled by the [ buttons.

Value

Transpose Down:

Transpose Up:

]/[ ]

Lowers the key range in semitone steps (up to 5 semitones lower).

Raises the key range in semitone steps (up to

6 semitones higher).

* Normally, the Transpose Down/Up functions are assigned to switches

1/2.

Tap Tempo:

Mono/Poly:

Tap tempo (a tempo specified by the interval at which you press the button).

Pressed to toggle between polyphonic

(POLY) and monophonic (MONO) play of a patch.

Indicator lit = Mono

Portamento:

Hold:

MFX1–3 Sw:

Indicator unlit = Poly

Portamento On/Off

Hold play On/Off

Multi-effect 1–3 switch

Chorus Sw:

Reverb Sw:

Mastering Sw:

Loop:

Rhythm Start/Stop:

Chorus switch

Reverb switch

Mastering switch

Loop play On/Off

Rhythm pattern playback On/Off

51

Fantom-X678_r_e.book 52 ページ 2007年3月20日 火曜日 午前10時20分

Playing in Patch Mode

Playing Percussion

Instruments

In Patch mode, you can play percussion instruments from the keyboard and pad by selecting a rhythm set. As the rhythm tone assigned to each key and pad varies by the rhythm set selected, you can play a wide range of percussion instruments.

Selecting a Rhythm Set

The Fantom-X has four rhythm set groups, including the User group,

Preset group and GM group, with 32 rhythm sets in the User group,

40 rhythm sets in Preset group, and 9 rhythm sets in GM group.

Rhythm sets can also be saved on a memory card. What’s more, you can further expand your options by installing up to three optional

Wave Expansion Boards (SRX series; sold separately), enabling you to select from a large selection of rhythm sets.

USER

This is the group inside the Fantom-X which can be rewritten. The rhythm sets you create can be stored in this group. The Fantom-X includes 32 rhythm sets.

PRST (Preset)

This is the group inside the Fantom-X which cannot be rewritten.

However, you can modify the settings of the currently selected rhythm set, and then save the modified settings in User memory.

The Fantom-X contains 40 preset rhythm sets.

CARD (Memory Card)

This group lets you use patches stored on a memory card inserted in the rear panel card slot. Since the data in this group can be rewritten, you can use this group to store patches that you create.

GM (GM2)

This is an internal group of rhythm sets compatible with General

MIDI 2, a system of MIDI function specifications designed to transcend differences between makers and types of devices; these rhythm sets cannot be overwritten. Furthermore, settings of currently selected rhythm sets from this group cannot be changed.

The Fantom-X includes nine preset rhythm sets.

XP-A–D (Wave Expansion Boards installed in

EXP-A–D Slots)

These groups are for when using rhythm sets from a Wave

Expansion Board installed in slots EXP A–D, and cannot be rewritten. However, you can modify the settings of the currently selected rhythm set, and then save the modified settings in User memory and Memory card. The number of onboard rhythm sets depends on the specific Wave Expansion Boards installed.

A Rhythm Set XP-A–D cannot be accessed if the Wave

Expansion Board (SRX series: sold separately) it belongs to has not been installed.

52

1.

Press [PATCH/RHYTHM] to access the Patch Play screen.

2.

Press [F7 (Part Kbd)] or [F8 (Part Pad)] to select the pad part or the keyboard part.

fig.05-023.e

Patch Type

Rhythm set group Rhythm set number

* Make sure that the Patch Type is set to “Rhythm.” If this is set to

“Patch,” use [CURSOR] to move the cursor to the switch, and turn the VALUE dial or press [INC] to select “Rhythm.”

3.

Press to move the cursor to the rhythm set group.

4.

Turn the VALUE dial or press [INC]/[DEC] to select the rhythm set group.

USER:

PRST:

User

Preset

CARD:

GM:

XP-A–D:

Memory card

Preset GM (GM2)

Wave Expansion Boards installed in EXP-A–D Slots

5.

Press to move the cursor to the rhythm set number.

6.

Turn the VALUE dial or press [INC]/[DEC] to select the rhythm set number.

7.

If you selected a rhythm set for the pad part, play the pads to hear the sound. If you selected a rhythm set for the keyboard part, play the keyboard to hear the sound.

You can select favorite rhythm sets in the same way as when selecting patches. For details on the procedure, refer to

“Selecting Favorite Patches” (p. 28).

Fantom-X678_r_e.book 53 ページ 2007年3月20日 火曜日 午前10時20分

Playing a Rhythm Set

1.

Press [PATCH/RHYTHM] to access the Patch Play screen, and then press [F6].

The Patch Play screen switches.

2.

Press [F7 (Part Kbd)] or [F8 (Part Pad)] to select the part.

Select the rhythm set that you wish to play.

3.

Press a key or a pad on the keyboard to play a percussion instrument.

Below the rhythm set name, the screen shows the note name of the key you pressed, and the name of the percussion instrument

(rhythm tone name) assigned to that key.

fig.05-024.e

Note name

Rhythm tone name

Playing in Patch Mode

53

Fantom-X678_r_e.book 54 ページ 2007年3月20日 火曜日 午前10時20分

Playing in Piano Mode

The Fantom-X has a Piano mode that use the instrument as a dedicated piano. This chapter explains the procedures used in piano mode, and the functions of the parameters.

Cautions for Piano mode

• If you want to edit a patch, switch to Patch mode.

• If you use a Hold pedal, we recommend that you use a

Roland DP-8. If the DP-8 is used, you can control the amount of resonance by the depth to which you press the pedal.

Selecting from the Patch List Screen

You can display a list of piano patches and select a patch from that list.

1.

In the Piano Mode screen, press [F1 (List)].

fig.27-002_50

Selecting Piano Mode

1.

Press [PIANO MODE].

The Piano Mode screen appears.

fig.27-001_50

Selecting a Patch

In Piano mode you can select piano-type sounds.

1.

Press or to move the cursor to the patch name.

2.

Turn the VALUE dial or press [INC]/[DEC] to select the patch.

In Piano mode you cannot select patches from the GM group.

Selecting Patches by Category

The Fantom-X provides a “Patch Search function” (Patch Finder) which allows you to specify a type (category) of patch so that you can quickly find the desired patch.

1.

Press or to move the cursor to the patch category.

2.

Turn VALUE dial of press [INC]/[DEC] to select the patch category.

You can choose from two categories: “PNO” (acoustic piano) and “EP” (electric piano).

2.

Press or to select the patch.

3.

Press [F1 ( ⇑ )] or [F2 ( ⇓ )] to select the desired category.

4.

Turn the VALUE dial or press [INC]/[DEC], and then press

[F8 (Select)] to select the patch.

By pressing [F7 (Preview)] you can audition a patch using a preselected phrase appropriate for that type (category) of patch

(Phrase Preview).

By pressing [F6 (System Write)] you can register the currently selected patch as the one that will be first selected the next time you press [PIANO MODE] to enter Piano mode.

Playing acoustic piano sounds

When you select acoustic piano, the multi-effect setting will be

“78:SYMPATHETIC RESONANCE.”

Adjusting the Keyboard Touch

(Key Touch)

You can vary the touch of the keyboard when you play the keys.

1.

In the Piano Mode screen press [F2 (Key Touch)].

fig.27-004_50

54

Fantom-X678_r_e.book 55 ページ 2007年3月20日 火曜日 午前10時20分

Playing in Piano Mode

2.

Use the VALUE dial or [DEC][INC] to specify the desired touch.

Light: This sets the keyboard to a light touch. You can achieve fortissimo (ff) play with a less forceful touch than usual, so the keyboard feels lighter. This setting makes it easier for children, whose hands have less strength.

Medium: This sets the keyboard to the standard touch. You can play with the most natural touch. This setting is closest to the response of an acoustic piano.

Heavy: This sets the keyboard to a heavy touch. You have to play the keyboard more forcefully than usual in order to play fortissimo (ff), so the keyboard touch feels heavier. This setting allows you to add more expression when playing dynamically.

Changing the Piano Sound

(Open/Close)

1.

In the Piano Mode screen, press [F3 (Open/Close)].

fig.27-003_50

Playing electric piano sounds

Selecting electric piano effects

2.

Use the VALUE dial or [DEC][INC] to change the setting, simulating the way in which the sound changes when you open or close the lid of a grand piano.

Value: 1–6

Adjusting the Depth of Resonance

(Resonance)

When you hold down the damper pedal on an acoustic piano, the strings (notes) you play will cause the other strings to resonate sympathetically, creating a rich and spacious resonance. You can adjust the depth of this resonance.

1.

From the Piano Mode screen, press [F4 (Resonance)].

fig.27-005_50

You can press a button [F4]–[F8] to access multi-effects that are frequently used on electric pianos.

Knobs 1–4 displayed in the screen correspond to REALTIME

CONTROL knobs 1–4.

[F4 (Tremolo)]: Tremolo

[F5 (Chorus)]:

[F6 (Phaser)]:

Chorus

Phaser

[F7 (EQ)]: Equalizer

[F8 (Speaker SIM)]: Speaker simulator

Saving a Sound (Patch)

Changes you make to sound settings are temporary, and will be lost if you turn off the power or select another sound. If you want to keep the modified sound, you must save it in the internal USER group

(user memory). Refer to

“Saving Patches You’ve Created (Write)”

(p. 59).

2.

Either turn the VALUE dial or use [INC] [DEC] to set the value.

55

Fantom-X678_r_e.book 56 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Patch

With the Fantom-X, you have total control over a wide variety of settings. Each item that can be set is known as a parameter . When you change the values of parameters, you are doing what is referred to as Editing . This chapter explains the procedures used in creating patches, and the functions of the patch parameters.

How to Make Patch Settings

Start with an existing patch and edit it to create a new patch. Since a patch is a combination of up to any four tones, you should listen to how the individual tones sound before you edit.

Four Tips for Editing Patches

Select a patch that is similar to the sound you wish to

create ( p. 39 ).

It’s hard to create a new sound that’s exactly what you want if you just select a patch and modify its parameters at random. It makes sense to start with a patch whose sound is related to what you have in mind.

Decide which tones will sound (

p. 46

).

When creating a patch, it is important to decide which tones you are going to use. In the Patch Edit screen, set

Tone Switch 1–4 to specify whether each tone will sound

(on), or not (off). It is also important to turn off unused tones to avoid wasting voices, unnecessarily reducing the number of simultaneous notes you can play.

Check the Structure setting (

p. 63 ).

The important Structure parameter determines how the four tones combine. Before you select new tones, make sure you understand how the currently selected tones are affecting each other.

Turn Effects off (

p. 206

).

Since the Fantom-X effects have such a profound impact on its sounds, turn them off to listen to the sound itself so you can better evaluate the changes you’re making. Since you will hear the original sound of the patch itself when the effects are turned off, the results of your modifications will be easier to hear. Actually, sometimes just changing effects settings can give you the sound you want.

1.

Press [PATCH/RHYTHM] to access the Patch Play screen, and select the part (keyboard part or pad part) and patch

whose settings you want to edit (p. 39).

You cannot edit the patches in the GM2 group.

If you want to create a patch from scratch (rather than starting from an existing patch), execute the Initialize

operation(p. 57).

2.

Press [PATCH EDIT].

The Patch Edit screen appears.

fig.05-015_50

3.

The parameters are organized into several editing groups.

Press [F1 (

)] or [F2 (

)] to select the tab for the editing group that contains the parameter you wish to edit.

For details on how the parameters are grouped, refer to

“Patch

Parameter” (p. 255).

To change the part that you want to edit

Press [F7 (Part Select)].

4.

Press or wish to modify.

to move the cursor to the parameter you

5.

Press [F8 (Tone Sw/Sel)] to select the tone that you want to edit.

The Tone Sw Select window appears.

fig.06-001_50

Press any one of the [F5 (Tone Select)]–[F8 (Tone Select)] buttons to select the tone that you want to edit.

• Simultaneously editing the same parameter of multiple tones

To select the tones you want to edit at the same time, simultaneously press two or more of the [F5 (Tone Select)]-[F8

(Tone Select)] buttons, making them light red.

• To switch a tone on/off

Press a [F1 (Tone Sw)]–[F4 (Tone Sw)] button to switch the corresponding tone on/off.

* You can also select the tone by pressing or . You can also hold down [SHIFT] and press [F1]–[F8] to select a tone to edit or to switch a tone on/off.

6.

When you have made your selection, press [EXIT].

7.

Turn the VALUE dial or press [INC]/[DEC] to get the value you want.

If you’ve selected two or more tones, your editing will modify the parameter values for all selected tones by the same amount.

56

Fantom-X678_r_e.book 57 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Patch

8.

Repeat steps 5-7 to set each parameter you want to edit.

9.

If you wish to save the changes you’ve made, press

[WRITE] to perform the Save operation (p. 59). If you do not

wish to save changes, press [EXIT] to return to the Patch

Play screen.

If you return to the Patch Play screen without saving, an “*” will be displayed at the left of the patch number, indicating that the patch settings have been edited.

If you turn off the power or select a different sound while the display indicates “*,” your edited patch will be lost.

In stead of using [F1] or [F2] in the patch edit screen, you can also select the edit group by holding down [SHIFT] and pressing or . It is convenient to use this feature when the Tone SW/Select window is displayed.

Editing in a Graphic Display

(Zoom Edit)

You can edit while viewing a graphic display of the most frequently used important parameters.Zoom Edit lets you edit the following parameters.

Parameter

Pitch Envelope

TVF

TVF Envelope

TVA Envelope page Parameter

p. 68

p. 69

p. 71

p. 72

Structure Type

LFO 1/2

Step LFO page

p. 63

p. 74 p. 74

1.

Press [PATCH/RHYTHM] to access the Patch Play screen, and select the part (keyboard part or pad part) and patch that you want to edit.

2.

Press [PATCH EDIT], and then press [F3 (Zoom Edit)].

The Zoom Edit screen will appear.

fig.06-002_50

4.

Use [CURSOR] to move the cursor to the parameter that you want to edit.

You can use the realtime control knob to set the value.

5.

Turn the VALUE dial or use [INC][DEC] to modify the value.

6.

When you have finished editing, press [EXIT].

Initializing Patch Settings (Init)

“Initialize” means to return the settings of the currently selected sound to a standard set of values.

The Initialize operation will affect only the currently selected sound; the sounds that are stored in user memory will not be affected. If you wish to restore all of the Fantom-X’s settings to

their factory values, perform a Factory Reset (p. 235).

1.

Press [PATCH/RHYTHM] to access the Patch Play screen, and select the part (keyboard part or pad part) and patch

that you want to initialize (p. 39).

2.

Hold down [SHIFT] and press [F1 (Init)].

A message will ask you for confirmation.

3.

Press [F8 (Exec)].

The initialization will be carried out, and you’ll be returned to the previous screen.

To cancel, press [F7 (Cancel)].

3.

The parameters are organized into several edit groups.

Press [F1]–[F4] to select the tab for the parameters that you want to edit.

To switch the parameter you want to edit

Press [F6].

To switch to a different part for editing

Press [F7 (Part Select)].

To select a tone for editing or switch a tone on/off

Press [F8 (Tone Sw/Sel)].

57

Fantom-X678_r_e.book 58 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Patch

Copying Patch (Tone) Settings

(Copy)

This operation copies the settings of any desired patch to the currently selected patch. You can use this feature to make the editing process faster and easier.

1.

Press [PATCH/RHYTHM] to access the Patch Play screen, and select the part (keyboard part or pad part) that you want

to edit and the copy-destination patch (p. 39).

2.

Press [PATCH EDIT].

3.

Press [F5 (Tone Copy)].

The Patch Copy window appears.

fig.06-003_50

4.

Press [CURSOR] to move the cursor, select the “Source

(copy-source)” group and number, and patch/tone.

5.

Turn the VALUE dial or use [INC][DEC] to make settings.

6.

Press [CURSOR] to move the cursor, select the

“Destination (copy-destination)” patch/tone/number.

7.

Turn the VALUE dial or use [INC][DEC] to make settings.

8.

Press [F8 (Exec)].

A message will ask you for confirmation.

9.

Press [F8 (Exec)] to return to the Patch Edit screen.

To cancel, press [F7 (Cancel)].

The Compare Function

fig.06-004_50

For the Patch Effect Copy and

Patch Tone Copy operations, you can use the Compare function.

If you want to play the copysource patch, press [F6

(Compare)] to light it into red.

Now you can play the copy-source patch from the keyboard or pads.

The patch auditioned using the Compare function may sound slightly different than when it is played normally.

Cautions When Selecting a

Waveform

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

The internal waveforms of the Fantom-X fall into the following two groups.

One-shot: These waveforms contain sounds that have short decays. A one-shot waveform records the initial rise and fall of the sound. Some of the Fantom-X’s one-shot waveforms are sounds that are complete in themselves, such as percussive instrument sounds.

The Fantom-X also contains many other one-shot waveforms that are elements of other sounds. These include attack components such as piano-hammer sounds and guitar fret noises.

Looped: These waveforms include sounds with long decays as well as sustained sounds. Loop waveforms repeatedly play back

(loop) the portion of the waveform after the sound has reached a relatively steady state. The Fantom-X’s looped waveforms also include components of other sounds, such as piano-string resonant vibrations and the hollow sounds of brass instruments.

The following diagram shows an example of sound (electric organ) that combines one-shot and looped waveforms.

fig.06-005.e

TVA ENV for looped Organ waveform (sustain portion)

Level

TVA ENV for one-shot Key

-click waveform (attack portion)

Resulting TVA ENV change

+ =

Note off

Time

Note off

Cautions When Using a One-shot

Waveform

It is not possible to use the envelope to modify a one-shot waveform to create a decay that is longer than the original waveform, or to turn it into a sustaining sound. If you were to program such an envelope, you would be attempting to shape a portion of the sound that simply doesn’t exist, and the envelope would have no effect.

58

Fantom-X678_r_e.book 59 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Patch

Cautions When Using a Loop

Waveform

With many acoustic instruments such as piano and sax, extreme timbral changes occur during the first few moments of each note.

This initial attack is what defines much of the instrument’s character.

For such waveforms, it is best to use the complex tonal changes of the attack portion of the waveform just as they are, and to use the envelope only to modify the decay portion. If you attempt to use the envelope to modify the attack portion as well, the characteristics of the original waveform may prevent you from getting the sound that you intend.

fig.06-006.e

Level

Looped portion

Tone change stored with the wave

Time

Envelope for the TVF filter

Saving Patches You’ve

Created (Write)

Changes you make to sound settings are temporary, and will be lost if you turn off the power or select another sound. If you want to keep the modified sound, you must save it in the internal USER group

(user memory)

When you edit the patch settings, an “*” will appear in the Patch

Play screen.

When you perform the save procedure, the data that previously occupied the save destination will be lost.

1.

Make sure that the patch you wish to save is selected.

2.

Press [WRITE].

The Write Menu screen appears.

fig.06-007_50

Resulting

tone change

3.

Press [F2 (Patch/Rhythm)].

* Alternatively, you can use and then press [ENTER].

or

The Patch Write screen appears.

fig.06-008_50

to select “Patch/Rhythm,”

4.

Assign a name to the patch.

For details on assigning names, refer to

“Assigning a Name”

(p. 36)

5.

When you have finished inputting the name, press [F8

(Write)].

A screen will appear, allowing you to select the writedestination patch.

59

Fantom-X678_r_e.book 60 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Patch

6.

Turn the VALUE dial or use [INC][DEC] and [F2 (

)][F3 (

)] to select the write destination and patch number.

The write destination can be either the Fantom-X’s internal user area (User), or a memory card (Card).

By pressing [F6 (Compare)] you can check the save-destination patch (Compare function).

7.

Press [F8 (Write)].

A message will ask you for confirmation.

Never switch off the Fantom-X while data is being saved.

8.

Press [F8 (Exec)] to execute the save operation.

* To cancel the operation, press [F7 (Cancel)].

Auditioning the Save-Destination

Patch (Compare)

Before you save a patch, you can audition the patch which currently occupies the save destination to make sure that it is one you don’t mind overwriting. This can help prevent important patches from being accidentally overwritten and lost.

1.

Follow the procedure in “Saving Patches You’ve Created

(Write)” through step 6 to select the save destination.

2.

Press [F6 (Compare)] to light it into red.

fig.06-009.e

Save-destination patch

Functions of Patch

Parameters

This section explains the functions the different patch parameters have, as well as the composition of these parameters.

Parameters marked with a “ ★ ” can be controlled using specified MIDI messages (Matrix Control). Settings in the

Control screen will determine how these parameters are

controlled (p. 80).

If a number is displayed for the parameter name, (

1

,

2

,

3

4

), you can use the realtime controller knob of the corresponding number (the left most knob is number 1, the right most knob is number 4) to set the value.

When you enter the Patch Edit screen, the indicator at the right of the

Realtime Control knobs will go out, and the Realtime Control knobs can be used to edit the parameters of the patch or rhythm set. If you once again press the button located at the right of the Realtime

Control knobs to make the indicator light, the knobs will control their original functions. When you exit the Patch Edit screen, the indicator will automatically return to its previous lit state.

fig.06-010

,

3.

Play the keyboard or pad to sound the save destination patch, then check whether you really want to overwrite it.

The patch auditioned using the Compare function may sound slightly different than when it is played normally.

4.

If you wish to change the save destination, re-specify the save-destination patch by using or .

5.

Press [F8 (Write)].

A message will ask you for confirmation.

6.

Press [F8 (Exec)] once again to execute the Save operation.

1 2 3 4

You can use the same knobs to edit the values in the Zoom Edit screen as well.

Settings Common to the Entire Patch

(General)

fig.05-015_50

For details on these settings, refer to

“How to Make Patch

Settings” (p. 56).

60

Fantom-X678_r_e.book 61 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Patch

Patch Category

Specifies the type (category) of the patch.

It also determines the phrase that will be sounded when using the

Phrase Preview function.

For details on the possible category names, refer to (p. 40).

Patch Level

1

Specifies the volume of the patch.

Value: 0–127

Patch Pan

2

Specifies the pan of the patch. “L64” is far left, “0” is center, and

“63R” is far right.

Value: L64–0–63R

Patch Priority

This determines how notes will be managed when the maximum polyphony is exceeded (128 voices).

Value

LAST:

LOUDEST:

The last-played voices will be given priority, and currently sounding notes will be turned off in order, beginning with the first-played note.

The voices with the loudest volume will be given priority, and currently sounding notes will be turned off, beginning with the lowest-volume voice.

Octave Shift

Adjusts the pitch of the patch’s sound up or down in units of an octave (+/-3 octaves).

Value: -3– +3

Patch Coarse Tune

Adjusts the pitch of the patch’s sound up or down in semitone steps

(+/-4 octaves).

Value: -48– +48

Patch Fine Tune

3

Adjusts the pitch of the patch’s sound up or down in 1-cent steps (+/

-50 cents).

Value: -50– +50

One cent is 1/100th of a semitone.

Stretch Tune Depth

This setting allows you to apply “stretched tuning” to the patch.

(Stretched tuning is a system by which acoustic pianos are normally tuned, causing the lower range to be lower and the higher range to be higher than the mathematical tuning ratios would otherwise dictate.) With a setting of “OFF,” the patch’s tuning will be equal temperament. A setting of “3” will produce the greatest difference in the pitch of the low and high ranges.

Value: OFF, 1–3

The diagram shows the pitch change relative to equal temperament that will occur in the low and high ranges. This setting will have a subtle effect on the way in which chords resonate.

fig.06-011.e

Pitch difference from equal temperament Parameter value

3

2

1

OFF OFF

1

2

3

Low note range High note range

Analog Feel (Analog Feel Depth)

4

Specifies the depth of 1/f modulation that is to be applied to the patch. (1/f modulation is a pleasant and naturally-occurring ratio of modulation that occurs in a babbling brook or rustling wind.)

By adding this “1/f modulation,” you can simulate the natural instability characteristic of an analog synthesizer.

Value: 0–127

Cutoff Offset

Cutoff Frequency Offset alters the cutoff frequency of the overall patch, while preserving the relative differences between the cutoff frequency values set for each tone in the Cutoff Frequency

parameters (p. 69).

Range: -63– +63

This value is added to the cutoff frequency value of a tone, so if the cutoff frequency value of any tone is already set to “127”

(maximum), positive “+” settings here will not produce any change.

61

Fantom-X678_r_e.book 62 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Patch

Resonance Offset

Resonance Offset alters the resonance of the overall patch, while preserving the relative differences between the resonance values set

for each tone in the Resonance parameter (p. 69).

Range: -63– +63

* Resonance: emphasizes the overtones in the region of the cutoff frequency, adding character to the sound.

This value is added to the resonance value of a tone, so if the resonance value of any tone is already set to “127” (maximum), positive “+” settings here will not produce any change.

Attack Time Offset

Attack Time Offset alters the attack time of the overall patch, while preserving the relative differences between the attack time values set

for each tone in the A-Env Time 1 parameters (p. 73), F-Env Time 1

parameters (p. 71).

Range: -63– +63

* Attack Time: The time it takes for a sound to reach maximum volume after the key is pressed and sound begun.

This value is added to the attack time value of a tone, so if the attack time value of any tone is already set to “127” (maximum), positive “+” settings here will not produce any change.

Release Time Offset

Release Time Offset alters the release time of the overall patch, while preserving the relative differences between the release time values

set for each tone in the A-Env Time 4 parameters (p. 73), F-Env Time

4 parameters (p. 71).

Range: -63– +63

* Release Time: The time from when you take your finger off the key until the sound disappears.

This value is added to the release time value of a tone, so if the release time value of any tone is already set to “127”

(maximum), positive “+” settings here will not produce any change.

Velocity Sens Offset (Velocity Sensitivity

Offset)

Velocity Sensitivity Offset alters the Velocity Sensitivity of the overall patch while preserving the relative differences between the

Velocity Sensitivity values set for each tone in the parameters below.

Cutoff V-Sens parameter (p. 70)

Level V-Sens parameter (p. 71)

Range: -63– +63

* Velocity: Pressure with which the key is pressed.

This value is added to the velocity sensitivity value of a tone, so if the velocity sensitivity value of any tone is already set to

“+63” (maximum), positive “+” settings here will not produce any change.

62

Modifying Waveforms (Wave)

fig.06-012_50

For details on these settings, refer to

“How to Make Patch

Settings” (p. 56).

Wave Group

Selects the group for the waveform that is to be the basis of the tone.

Value

INT:

EXP:

SAMP:

MSAM:

Waveforms stored in internal

Waveform stored in a Wave Expansion Board (SRX series) installed in EXP slots.

Sample waveforms

Multisample waveforms

You cannot select a waveform group of a Wave Expansion

Board that is not installed.

Wave Bank

Selects the wave bank.

Value

When the wave group is EXP:

When the wave group is SAMP:

When the wave group is MSAM:

A–D

PRST, USER, CARD

USER, CARD

Wave No. L (Mono) (Wave Number L (Mono)

Wave No. R (Wave Number R)

Selects the basic waveform for a tone. Along with the Wave number, the Wave name appears at the lower part of the display.

When in monaural mode, only the left side (L) is specified. When in stereo, the right side (R) is also specified.

Value: —-, 1–1228 (The upper limit will depend on the wave group.)

If you want to select a left/right pair of Waves, select the left (L)

Wave number and then press [F6 (Set Stereo)]; the right (R)

(Wave) will be recalled.

* When using a multisample in stereo, you must specify the same number for L and R.

Fantom-X678_r_e.book 63 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Patch

Wave Gain

1

Sets the gain (amplification) of the waveform. The value changes in 6 dB (decibel) steps—an increase of 6 dB doubles the waveform’s gain.

If you intend to use the Booster to distort the waveform’s sound, set

this parameter to its maximum value (p. 65).

Value: -6, 0, +6, +12

Wave Tempo Sync

When you wish to synchronize a Phrase Loop to the clock (tempo), set this to “ON.” This is valid only when a separately sold wave expansion board is installed, and a waveform that indicates a tempo

(BPM) is selected as the sample for a tone.

Value: OFF, ON

If a waveform from a wave expansion board is selected for the tone, turning the Wave Tempo Sync parameter “ON” will cause

pitch-related settings (p. 67) and FXM-related settings (p. 63) to

be ignored.

• If a sample is selected for a tone, you must first set the BPM

(tempo) parameter of the sample.

• If a sample is selected for a tone, Wave Tempo Sync will require twice the normal number of voices.

• When the Wave Tempo Sync parameter is set to “ON,” set the

Delay Time parameter (p. 79) to “0.” With other settings, a delay

effect will be applied, and you will be not be able to play as you expect.

Phrase Loop

Phrase loop refers to the repeated playback of a phrase that’s been pulled out of a song (e.g., by using a sampler). One technique involving the use of Phrase Loops is the excerpting of a Phrase from a pre-existing song in a certain genre, for example dance music, and then creating a new song with that Phrase used as the basic motif. This is referred to as “Break Beats.”

Realtime Time Stretch

If the wave group is “SAMP” or “MSAM,” and the Wave

Tempo Sync parameter is turned “ON,” you can vary the playback speed of the waveform without affecting the pitch.

FXM Switch

2

This sets whether FXM will be used (ON) or not (OFF).

Value: OFF, ON

FXM

FXM (Frequency Cross Modulation) uses a specified waveform to apply frequency modulation to the currently selected waveform, creating complex overtones. This is useful for creating dramatic sounds or sound effects.

FXM Color

3

Specifies how FXM will perform frequency modulation. Higher settings result in a grainier sound, while lower settings result in a more metallic sound.

Value: 1–4

FXM Depth

★ 4

Specifies the depth of the modulation produced by FXM.

Value: 0–16

Changing How a Tone Is Sounded

(TMT)

You can use the force with which keys are played, or MIDI messages to control the way each Tone is played. This is referred to as the Tone

Mix Table (TMT).

fig.06-013_50

For details on these settings, refer to

“How to Make Patch

Settings” (p. 56).

Structure Type 1 & 2, 3 & 4

Determines how tone 1 and 2, or tone 3 and 4 are connected.

Value: 1–10

The following 10 different Types of combination are available.

fig.06-014

TYPE 1

TONE 1 (3) WG TVF TVA

TONE 2 (4) WG TVF TVA

With this type, tones 1 and 2 (or 3 and 4) are independent. Use this type when you want to preserve PCM sounds or create and combine sounds for each tone.

fig.06-015

TYPE 2

TONE 1 (3) WG TVA TVF

TONE 2 (4) WG TVF TVA

This type stacks the two filters together to intensify the characteristics of the filters. The TVA for tone 1 (or 3) controls the volume balance between the two tones.

63

Fantom-X678_r_e.book 64 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Patch

fig.06-016

TYPE 3

TONE 1 (3) WG TVA TVF

B

TONE 2 (4) WG

TONE 1 (3) WG TVA

TVF TVA

This type mixes the sound of tone 1 (3) and tone 2 (4), applies a filter, and then applies a booster to distort the waveform.

fig.06-017

TYPE 4

TVF

B

TONE 2 (4) WG TVF TVA

This type applies a booster to distort the waveform, and then combines the two filters. The TVA for tone 1 (or 3) controls the volume balance between the two tones and adjusts booster level.

fig.06-018

TYPE 5

TONE 1 (3) WG TVA TVF

R

TONE 2 (4) WG TVF TVA

This type uses a ring modulator to create new overtones, and combines the two filters. The tone 1 (3) TVA will control the volume balance of the two tones, adjusting the depth of ring modulator.

fig.06-019

TYPE 6

TONE 1 (3) WG TVA TVF

R

TONE 2 (4) WG TVF TVA

This type uses a ring modulator to create new overtones, and in addition mixes in the sound of tone 2 (4) and stacks the two filters.

Since the ring-modulated sound can be mixed with tone 2 (4), tone 1

(3) TVA can adjust the amount of the ring-modulated sound.

fig.06-020

TYPE 7

TONE 1 (3) WG TVF TVA

R

TONE 2 (4) WG TVF TVA

This type applies a filter to tone 1 (3) and ring-modulates it with tone

2 (4) to create new overtones.

fig.06-021

TYPE 8

TONE 1 (3) WG TVF TVA

R

TONE 2 (4) WG TVF TVA

This type sends the filtered tone 1 (3) and tone 2 (4) through a ring modulator, and then mixes in the sound of tone 2 (4) and applies a filter to the result.

fig.06-022

TYPE 9

TONE 1 (3) WG TVF TVA

R

TONE 2 (4) WG TVF TVA

This type passes the filtered sound of each tone through a ring modulator to create new overtones. The tone 1 (3) TVA will control the volume balance of the two tones, adjusting the depth of ring modulator.

fig.06-023

TYPE 10

TONE 1 (3) WG TVF TVA

R

TONE 2 (4) WG TVF TVA

This type passes the filtered sound of each tone through a ring modulator to create new overtones, and also mixes in the sound of tone 2 (4). Since the ring-modulated sound can be mixed with tone 2

(4), tone 1 (3) TVA can adjust the amount of the ring-modulated sound.

• When TYPE 2–10 is selected and one tone of a pair is turned off, the other tone will be sounded as TYPE 1 regardless of the displayed setting.

• If you limit the keyboard area in which a tone will sound

(Keyboard Range p. 65) or limit the range of velocities for which

it will sound (Velocity Range p. 66), the result in areas or ranges

where the tone does not sound is just as if the tone had been turned off. This means that if TYPE 2–10 is selected and you create a keyboard area or velocity range in which one tone of a pair does not sound, notes played in that area or range will be sounded by the other tone as TYPE 1 regardless of the displayed setting.

64

Fantom-X678_r_e.book 65 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Patch

Booster 1&2, 3&4 (Booster Gain)

When a Structure Type of TYPE 3 or TYPE 4 is selected, you can adjust the depth of the booster. The booster increases the input signal in order to distort the sound. This creates the distortion effect frequently used with electric guitars. Higher settings will produce more distortion.

Value: 0, +6, +12, +18

Booster

The Booster is used to distort the incoming signal.

fig.06-024.e

Booster level

Ring Modulator

A ring modulator multiplies the waveforms of two tones with each other, generating many new overtones (in harmonic partials) which were not present in either waveform. (Unless one of the waveforms is a sine wave, evenly-spaced frequency components will not usually be generated.)

As the pitch difference between the two waveforms changes the harmonic structure, the result will be an unpitched metallic sound. This function is suitable for creating metallic sounds such as bells.

fig.06-026

In addition to using this to create distortion, you can use the waveform (WG1) of one of the tones as an LFO which shifts the other waveform (WG2) upward or downward to create modulation similar to PWM (pulse width modulation). This parameter works best when you use it in conjunction with the

Wave Gain parameter (p. 63).

fig.06-025.e

Uses WG1 as LFO Adjusts WG1 output

WG1 TVA

Booster

WG2

WG2

Adds to WG1

Distorted area of the

Waveform changes

Shift in waveform by WG1

Key Fade Lower (Keyboard Fade Width

Lower)

This determines what will happen to the tone’s level when a note that’s lower than the tone’s specified keyboard range is played.

Higher settings produce a more gradual change in volume. If you don’t want the tone to sound at all when a note below the keyboard range is played, set this parameter to “0.”

Value: 0–127

Key Range Lower (Keyboard Range Lower)

1

Specifies the lowest note that the tone will sound for each tone.

Value: C-1–UPPER

Key Range Upper (Keyboard Range Upper)

2

Specifies the highest note that the tone will sound for each tone.

Value: LOWER–G9

If you attempt to raise the lower key higher than the upper key, or to lower the upper key below the lower key, the other value will be automatically modified to the same setting.

65

Fantom-X678_r_e.book 66 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Patch

Key Fade Upper

(Keyboard Fade Width Upper)

This determines what will happen to the tone’s level when a note that’s higher than the tone’s specified keyboard range is played.

Higher settings produce a more gradual change in volume. If you don’t want the tone to sound at all when a note below the keyboard range is played, set this parameter to “0.”

Value: 0–127 fig.06-027.e

Level

Pitch

Fade Lower

Range Lower

Fade Upper

Range Upper

TMT Velocity Control

(TMT Velocity Control Switch)

TMT Velocity Control determines whether a different tone is played

(ON) or not (OFF) depending on the force with which the key is played (velocity).

When set to “RANDOM,” the patch’s constituent tones will sound randomly, regardless of any Velocity messages.

When set to “CYCLE,” the patch’s constituent tones will sound consecutively, regardless of any Velocity messages.

Value: OFF, ON, RANDOM, CYCLE

Instead of using Velocity, you can also have tones substituted

using the Matrix Control (p. 66). However, the keyboard

velocity and the Matrix Control cannot be used simultaneously to make different tones to sound. When using the Matrix

Control to switch tones, set the Velocity Control parameter to

“OFF.”

Velo Fade Lower (Velocity Fade Width Lower)

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

Value: 0–127

Velo Range Lower (Velocity Range Lower)

3

This sets the lowest velocity at which the tone will sound. Make these settings when you want different tones to sound in response to notes played at different strengths.

Value: 1–UPPER

Velo Range Upper (Velocity Range Upper)

4

This sets the highest velocity at which the tone will sound. Make these settings when you want different tones to sound in response to notes played at different strengths.

Value: LOWER–127

If you attempt to set the Lower velocity limit above the Upper, or the Upper below the Lower, the other value will automatically be adjusted to the same setting.

When using the Matrix Control to have different tones played, set the lowest value (Lower) and highest value (Upper) of the value of the MIDI message used.

Velo Fade Upper (Velocity Fade Width Upper)

This determines what will happen to the tone’s level when the tone is played at a velocity greater than its specified velocity range.

Higher settings produce a more gradual change in volume. If you want notes played outside the specified key velocity range to not be sounded at all, set this to “0.”

Value: 0–127 fig.06-028.e

Level

Velocity

Fade Lower

Range Lower

Fade Upper

Range Upper

TMT Control Sw (TMT Control Switch)

Use the Matrix Control to enable (ON), or disable (OFF) sounding of different tones.

Value: OFF, ON

You can also cause different tones to sound in response to notes

played at different strengths (velocity) on the keyboard (p. 66).

However, the Matrix Control and the keyboard velocity cannot be used simultaneously to make different tones to sound. When you want to make the different tones to sound, set the Velocity

Control parameter (p. 66) to “OFF.”

66

Fantom-X678_r_e.book 67 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Patch

Modifying Pitch (Pitch/Pitch Env)

fig.06-029_50

For details on these settings, refer to

“How to Make Patch

Settings” (p. 56).

Pitch

Tone Coarse Tune

★ 1

Adjusts the pitch of the tone’s sound up or down in semitone steps

(+/-4 octaves).

Value: -48– +48

Tone Fine Tune

★ 2

Adjusts the pitch of the tone’s sound up or down in 1-cent steps (+/-

50 cents).

Value: -50– +50

One cent is 1/100th of a semitone.

Random Pitch Depth

3

This specifies the width of random pitch deviation that will occur each time a key is pressed. If you do not want the pitch to change randomly, set this to “0.” These values are in units of cents (1/100th of a semitone).

Value: 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 20, 30, 40, 50, 60, 70, 80, 90,

100, 200, 300, 400, 500, 600, 700, 800, 900, 1000, 1100,

1200

Pitch Key follow

4

This specifies the amount of pitch change that will occur when you play a key one octave higher (i.e., 12 keys upward on the keyboard).

If you want the pitch to rise one octave as on a conventional keyboard, set this to “+100.” If you want the pitch to rise two octaves, set this to “+200.” Conversely, set this to a negative value if you want the pitch to fall. With a setting of “0,” all keys will produce the same pitch.

Value: -200, -190, -180, -170, -160, -150, -140, -130, -120, -110,

-100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10,

+20, +30, +40, +50, +60, +70, +80, +90, +100, +110,

+120, +130, +140, +150, +160, +170, +180, +190, +200 fig.06-030.e

Pitch

+200

+100

+50

0

C1

-50

C2 C3 C4 C5

-200

C6

-100

C7

Key

Bend Range Up (Pitch Bend Range Up)

Specifies the degree of pitch change in semitones when the Pitch

Bend lever is all the way right. For example, if this parameter is set to

“12,” the pitch will rise one octave when the pitch bend lever is moved to the right-most position.

Value: 0– +48

Bend Range Down (Pitch Bend Range Down)

Specifies the degree of pitch change in semitones when the Pitch

Bend lever is all the way left. For example if this is set to “-48” and you move the pitch bend lever all the way to the left, the pitch will fall 4 octaves.

Value: -48–0

P-Env V-Sens

(Pitch Envelope Velocity Sensitivity)

Keyboard playing dynamics can be used to control the depth of the pitch envelope. If you want the pitch envelope to have more effect for strongly played notes, set this parameter to a positive (+) value. If you want the pitch envelope to have less effect for strongly played notes, set this to a negative (-) value.

Value: -63– +63

P-Env T1 V-Sens

(Pitch Envelope Time 1 Velocity Sensitivity)

This allows keyboard dynamics to affect the Time 1 of the Pitch envelope. If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

Value: -63– +63

67

Fantom-X678_r_e.book 68 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Patch

P-Env T4 V-Sens (Pitch Envelope Time 4

Velocity Sensitivity)

Use this parameter when you want key release speed to affect the

Time 4 value of the pitch envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

Value: -63– +63

P-Env Time KF (Pitch Envelope Time Key

Follow)

Use this setting if you want the pitch envelope times (Time 2–Time

4) to be affected by the keyboard location. Based on the pitch envelope times for the C4 key, positive (+) settings will cause notes higher than C4 to have increasingly shorter times, and negative (-) settings will cause them to have increasingly longer times. Larger settings will produce greater change.

Value: -100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10,

+20, +30, +40, +50, +60, +70, +80, +90, +100 fig.06-031.e

Time

-100

-50

0

C1 C2 C3 C4 C5 C6

+50

+100

C7

Key

Pitch Env

P-Env Depth (Pitch Envelope Depth)

1

,

2

,

4

Adjusts the effect of the Pitch Envelope. Higher settings will cause the pitch envelope to produce greater change. Negative (-) settings will invert the shape of the envelope.

Value: -12– +12

P-Env Time 1–4 (Pitch Envelope Time 1–4)

3

Specify the pitch envelope times (Time 1–Time 4). Higher settings will result in a longer time until the next pitch is reached. (For example, Time 2 is the time over which the pitch changes from Level

1 to Level 2.)

Value: 0–127 fig.06-032.e

T1 T2 T3 T4

Pitch L0

Note on

L1 L3

Note off

Time

L2 L4

T: Time L: Level

P-Env Level 0–4 (Pitch Envelope Level 0–4)

Specify the pitch envelope levels (Level 0–Level 4). It determines how much the pitch changes from the reference pitch (the value set with Coarse Tune or Fine Tune on the Pitch screen) at each point.

Positive (+) settings will cause the pitch to be higher than the standard pitch, and negative (-) settings will cause it to be lower.

Value: -63– +63

68

Fantom-X678_r_e.book 69 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Patch

Modifying the Brightness of a

Sound with a Filter (TVF/TVF Env)

fig.06-033_50

For details on these settings, refer to

“How to Make Patch

Settings” (p. 56).

TVF

Filter Type

3

Selects the type of filter. A filter cuts or boosts a specific frequency region to change a sound's brightness, thickness, or other qualities.

Value

OFF:

LPF:

BPF:

HPF:

No filter is used.

Low Pass Filter. This reduces the volume of all frequencies above the cutoff frequency (Cutoff Freq) in order to round off, or un-brighten the sound.

This is the most common filter used in synthesizers.

Band Pass Filter. This leaves only the frequencies in the region of the cutoff frequency (Cutoff Freq), and cuts the rest. This can be useful when creating distinctive sounds.

High Pass Filter. This cuts the frequencies in the region below the cutoff frequency (Cutoff Freq). This is suitable for creating percussive sounds emphasizing their higher tones.

PKG:

LPF2:

LPF3:

Peaking Filter. This emphasizes the frequencies in the region of the cutoff frequency (Cutoff Freq). You can use this to create wah-wah effects by employing an LFO to change the cutoff frequency cyclically.

Low Pass Filter 2. Although frequency components above the Cutoff frequency (Cutoff Freq) are cut, the sensitivity of this filter is half that of the LPF. This makes it a comparatively warmer low pass filter.

This filter is good for use with simulated instrument sounds such as the acoustic piano.

Low Pass Filter 3. Although frequency components above the Cutoff frequency (Cutoff Freq) are cut, the sensitivity of this filter changes according to the

Cutoff frequency. While this filter is also good for use with simulated acoustic instrument sounds, the nuance it exhibits differs from that of the LPF2, even with the same TVF Envelope settings.

If you set “LPF2” or “LPF3,” the setting for the Resonance

parameter will be ignored (p. 69).

Cutoff Frequency

★ 1

Selects the frequency at which the filter begins to have an effect on the waveform’s frequency components.

Value: 0–127

With “LPF/LPF2/LPF3” selected for the Filter Type parameter, lower cutoff frequency settings reduce a tone’s upper harmonics for a more rounded, warmer sound. Higher settings make it sound brighter.

If “BPF” is selected, harmonic components will change depending on the TVF Cutoff Frequency setting. This can be useful when creating distinctive sounds.

With “HPF” selected, higher Cutoff Frequency settings will reduce lower harmonics to emphasize just the brighter components of the sound.

With “PKG” selected, the harmonics to be emphasized will vary depending on Cutoff Frequency setting.

To edit the overall patch while preserving the relative differences in the Cutoff Frequency values set for each tone, set

the Cutoff Offset parameter (p. 61).

Resonance

★ 2

Emphasizes the portion of the sound in the region of the cutoff frequency, adding character to the sound. Excessively high settings can produce oscillation, causing the sound to distort.

Value: 0–127

To edit the overall patch while preserving the relative differences in the Resonance values set for each tone, set the

Resonance Offset parameter (p. 62).

fig.06-034.e

High

Level

LPF BPF HPF PKG

Frequency

Cutoff frequency

Low

69

Fantom-X678_r_e.book 70 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Patch

Cutoff Key follow

4

Use this parameter if you want the cutoff frequency to change according to the key that is pressed. Relative to the cutoff frequency at the C4 key (center C), positive (+) settings will cause the cutoff frequency to rise for notes higher than C4, and negative (-) settings will cause the cutoff frequency to fall for notes higher than C4.

Larger settings will produce greater change.

Value: -200, -190, -180, -170, -160, -150, -140, -130, -120, -110,

-100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10,

+20, +30, +40, +50, +60, +70, +80, +90, +100, +110,

+120, +130, +140, +150, +160, +170, +180, +190, +200 fig.06-035.e

Cutoff frequency

(Octave)

+200

+100

+2

+50

+1 o 0

-1

-2

-50

C1 C2 C3 C4 C5

-200

C6

-100

C7

Key

Cutoff V-Curve (Cutoff Frequency Velocity

Curve)

Selects one of the following seven curves that determine how keyboard playing dynamics (velocity) influence the cutoff frequency.

Set this to “FIXED” if you don't want the Cutoff frequency to be affected by the keyboard velocity.

Value: FIXED, 1–7 fig.06-036

1 2 3 4 5 6 7

Cutoff V-Sens (Cutoff Velocity Sensitivity)

Use this parameter when changing the cutoff frequency to be applied as a result of changes in playing velocity. If you want strongly played notes to raise the cutoff frequency, set this parameter to positive (+) settings. If you want strongly played notes to lower the cutoff frequency, use negative (-) settings.

Value: -63– +63

To edit the overall patch while preserving the relative differences in the Cutoff Frequency Velocity Sensitivity values

set for each tone, set the Velocity Sens Offset parameter (p. 62).

However, this setting is shared by the Level V-Sens parameter

(p. 71).

Resonance V-Sens (Resonance Velocity

Sensitivity)

This allows keyboard velocity to modify the amount of Resonance. If you want strongly played notes to have a greater Resonance effect, set this parameter to positive (+) settings. If you want strongly played notes to have less Resonance, use negative (-) settings.

Value: -63– +63

F-Env V-Curve (TVF Envelope Velocity Curve)

Selects one of the following 7 curves that will determine how keyboard playing dynamics will affect the TVF envelope. Set this to

“FIXED” if you don't want the TVF Envelope to be affected by the keyboard velocity.

Value: FIXED, 1–7 fig.06-036

1 2 3 4 5 6 7

F-Env V-Sens (TVF Envelope Velocity

Sensitivity)

Specifies how keyboard playing dynamics will affect the depth of the

TVF envelope. Positive (+) settings will cause the TVF envelope to have a greater effect for strongly played notes, and negative (-) settings will cause the effect to be less.

Value: -63– +63

F-Env T1 V-Sens (TVF Envelope Time 1 Velocity

Sensitivity)

This allows keyboard dynamics to affect the Time 1 of the TVF envelope. If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

Value: -63– +63

F-Env T4 V-Sens (TVF Envelope Time 4 Velocity

Sensitivity)

The parameter to use when you want key release speed to control the Time 4 value of the TVF envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

Value: -63– +63

70

Fantom-X678_r_e.book 71 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Patch

TVF ENV

F-Env Depth (TVF Envelope Depth)

Specifies the depth of the TVF envelope. Higher settings will cause the TVF envelope to produce greater change. Negative (-) settings will invert the shape of the envelope.

Value: -63– +63

F-Env Time KF (TVF Envelope Time Key Follow)

Use this setting if you want the TVA envelope times (Time 2–Time 4) to be affected by the keyboard location. Based on the TVF envelope times for the C4 key (center C), positive (+) settings will cause notes higher than C4 to have increasingly shorter times, and negative (-) settings will cause them to have increasingly longer times. Larger settings will produce greater change.

Value: -100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10,

+20, +30, +40, +50, +60, +70, +80, +90, +100 fig.06-031.e

Time

-100

-50

C1

0

C2 C3 C4 C5 C6

+50

+100

C7

Key

F-Env Time 1–4 (TVF Envelope Time 1–4)

2

,

4

Specify the TVF envelope times (Time 1–Time 4). Higher settings will lengthen the time until the next cutoff frequency level is reached. (For example, Time 2 is the time over which Level 1 will change to Level 2.)

Value: 0–127 fig.06-037.e

T1 T2 T3 T4

Adjusting the Volume (TVA/TVA

Env)

fig.06-038_50

For details on these settings, refer to

“How to Make Patch

Settings” (p. 56).

TVA

Tone Level

★ 1

Sets the volume of the tone. This setting is useful primarily for adjusting the volume balance between tones.

Value: 0–127

Level V-Curve (TVA Level Velocity Curve)

You can select from seven curves that determine how keyboard playing strength will affect the volume. If you do not want the volume of the tone to be affected by the force with which you play the key, set this to “FIXED.”

Value: FIXED, 1–7 fig.06-036

Cutoff

Frequency

L0

Note on

L1 L2 L3

Note off

L4

Time

T: Time L: Level

F-Env Level 0–4 (TVF Envelope Level 0–4)

3

Specify the TVF envelope levels (Level 0–Level 4). These settings specify how the cutoff frequency will change at each point, relative to the standard cutoff frequency (the cutoff frequency value specified in the TVF screen).

Value: 0–127

1 2 3 4 5 6 7

Level V-Sens (TVA Level Velocity Sensitivity)

Set this when you want the volume of the tone to change depending on the force with which you press the keys. Set this to a positive (+) value to have the changes in tone volume increase the more forcefully the keys are played; to make the tone play more softly as you play harder, set this to a negative (-) value.

Value: -63– +63

If you wish to make adjustments to the entire patch while maintaining the relative values of TVA Level Velocity

Sensitivity among tones, adjust the Velocity Sens Offset

parameter (p. 62). However, this setting is shared by the Cutoff

V-Sens parameter (p. 70).

71

Fantom-X678_r_e.book 72 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Patch

Bias

Bias causes the volume to be affected by the keyboard position. This is useful for changing volume through keyboard position (pitch) when playing acoustic instruments.

fig.06-039.e

LOWER

Level +

0

UPPER

Level

0

+

– –

C-1 Bias Position

Key

G9 C-1 Bias Position

Key

G9

LO&UP

Level

+

0

C-1 Bias Position

0

+

ALL

Level

0

+

Key

G9 C-1 Bias Position

0

+

Key

G9

Bias Level

Adjusts the angle of the volume change that will occur in the selected Bias Direction. Larger settings will produce greater change.

Negative (-) values will invert the change direction.

Value: -100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10,

+20, +30, +40, +50, +60, +70, +80, +90, +100

Bias Position

Specifies the key relative to which the volume will be modified.

Value: C-1–G9

Bias Direction

Selects the direction in which change will occur starting from the

Bias Position.

Value

LOWER:

UPPER:

LO&UP:

ALL:

The volume will be modified for the keyboard area below the Bias Point.

The volume will be modified for the keyboard area above the Bias Point.

The volume will be modified symmetrically toward the left and right of the Bias Point.

The volume changes linearly with the bias point at the center.

Tone Pan

★ 2

Sets the pan of the tone. “L64” is far left, “0” is center, and “63R” is far right.

Value: L64–0–63R

Pan Key Follow

3

Use this parameter if you want key position to affect panning.

Positive (+) settings will cause notes higher than C4 key (center C) to be panned increasingly further toward the right, and negative (-) settings will cause notes higher than C4 key (center C) to be panned toward the left. Larger settings will produce greater change.

Value: -100– +100 fig.06-040.e

Pan

+100

R

+50 o 0

L

C1 C2 C3 C4 C5 C6

-50

C7

-100

Key

Random Pan Depth

4

Use this parameter when you want the stereo location to change randomly each time you press a key. Higher settings will produce a greater amount of change.

Value: 0–63

Alter Pan Depth (Alternate Pan Depth)

This setting causes panning to be alternated between left and right each time a key is pressed. Higher settings will produce a greater amount of change. “L” or “R” settings will reverse the order in which the pan will alternate between left and right. For example if two tones are set to “L” and “R” respectively, the panning of the two tones will alternate each time they are played.

Value: L63–0–63R

When any value from Type “2”–”10” is selected for the

Structure parameter in the Pan KF, Rnd Pan Depth, Alter Pan

Depth parameter settings, the output of tones 1 and 2 are joined in tone 2, and the output of tones 3 and 4 are joined in tone 4.

For this reason, tone 1 will follow the settings of tone 2, and

tone 3 will follow the settings of tone 4 (p. 63).

TVA Env

A-Env T1 V-Sens (TVA Envelope Time 1

Velocity Sensitivity)

This allows keyboard dynamics to affect the Time 1 of the TVA envelope. If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

Value: -63– +63

72

Fantom-X678_r_e.book 73 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Patch

A-Env T4 V-Sens (TVA Envelope Time 4

Velocity Sensitivity)

The parameter to use when you want key release speed to control the Time 4 value of the TVA envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

Value: -63– +63

A-Env Time KF (TVA Envelope Time Key

Follow)

Use this setting if you want the TVA envelope times (Time 2–Time 4) to be affected by the keyboard location. Based on the TVA envelope times for the C4 key (center C), positive (+) settings will cause notes higher than C4 to have increasingly shorter times, and negative (-) settings will cause them to have increasingly longer times. Larger settings will produce greater change.

Value: -100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10,

+20, +30, +40, +50, +60, +70, +80, +90, +100 fig.06-031.e

Time

-100

-50

0

C1 C2 C3 C4 C5 C6

+50

+100

C7

Key

A-Env Time 1–4 (TVA Envelope Time 1–4)

1

, ,

Specify the TVA envelope times (Time 1– Time 4). Higher settings will lengthen the time until the next volume level is reached. (For example, Time 2 is the time over which Level 1 will change to Level

2.)

Value: 0–127

A-Env Level 1–3 (TVA Envelope Level 1–3)

3

Specify the TVA envelope levels (Level 1–Level 3). These settings specify how the volume will change at each point, relative to the standard volume (the Tone Level value specified in the TVA screen).

Value: 0–127 fig.06-041.e

T1 T2 T3 T4

Level

Note on

L1 L2

T: Time L: Level

L3

Note off

Time

Output

Patch Out Assign

Specifies how the direct sound of each patch will be output.

Value:

MFX:

A, B:

1–4:

TONE:

Output in stereo through multi-effects. You can also apply chorus or reverb to the sound that passes through multi-effects.

Output to the OUTPUT A (MIX) jack or OUTPUT B jack in stereo without passing through multi-effects.

Output to the INDIVIDUAL 1–4 jacks in mono without passing through multi-effects.

Outputs according to the settings for each tone.

* If you've made settings so that sounds are separately routed to the

INDIVIDUAL 1 jack and INDIVIDUAL 2 jack, but no plug is actually inserted in the INDIVIDUAL 2 jack, the sounds routed to

INDIVIDUAL 1 and INDIVIDUAL 2 will be mixed and output from the INDIVIDUAL 1 jack.

* If the Mix/Parallel parameter ([MENU]/System/General) is set to

“MIX,” all sounds are output from the OUTPUT A (MIX) jacks in

stereo (p. 230).

Tone Out Assign

Specifies how the direct sound of each tone will be output.

Value:

MFX:

A, B:

1–4:

Output in stereo through multi-effects. You can also apply chorus or reverb to the sound that passes through multi-effects.

Output to the OUTPUT A (MIX) jack or OUTPUT B jack in stereo without passing through multi-effects.

Output to the INDIVIDUAL 1–4 jacks in mono without passing through multi-effects.

* If the Patch Output Assign is set to anything other than “TONE,” these settings will be ignored.

* When the Structure Type parameter has a setting of Type “2”–”10,” the outputs of tones 1 and 2 will be combined with tone 2, and the outputs of tones 3 and 4 will be combined with tone 4. For this reason, tone 1 will follow the settings of tone 2, and tone 3 will follow the

settings of tone 4 (p. 63).

* If you've made settings so that sounds are separately routed to the

INDIVIDUAL 1 jack and INDIVIDUAL 2 jack, but no plug is actually inserted in the INDIVIDUAL 2 jack, the sounds routed to

INDIVIDUAL 1 and INDIVIDUAL 2 will be mixed and output from the INDIVIDUAL 1 jack.

* If the Mix/Parallel parameter is set to “MIX,” all sounds are output

from the OUTPUT A (MIX) jacks in stereo (p. 230).

* If you've set Tone Out Assign to “MFX,” set the MFX Output

Assign parameter (p. 208) to specify the output destination of the

sound that has passed through the multi-effects.

* Sounds are output to chorus and reverb in mono at all times.

* The output destination of the signal after passing through the chorus

is set with the Chorus Output Select (p. 209) and the Chorus Output

Assign (p. 209).

* The output destination of the signal after passing through the reverb is

set with the Reverb Output Assign (p. 209).

73

Fantom-X678_r_e.book 74 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Patch

Tone Out Level

Set the level of the signal that is sent to the output destination specified by Tone Output Assign.

Value: 0–127

Tone Chorus Send (Send Level (Output=MFX))

1

Specifies the level of the signal sent to the chorus for each tone if the tone is sent through MFX.

Value: 0–127

Tone Reverb Send (Send Level (Output=MFX))

2

Specifies the level of the signal sent to the reverb for each tone if the tone is sent through MFX.

Value: 0–127

Tone Chorus Send (Send Level (Output=non

MFX))

3

Sets the level of the signal sent to chorus for each tone if the tone is not sent through MFX.

Value: 0–127

Tone Reverb Send (Send Level (Output=non

MFX))

4

Sets the level of the signal sent to reverb for each tone if the tone is not sent through MFX.

Value: 0–127

Modulating Sounds (LFO)

fig.06-042_50

LFO 1/2

Waveform (LFO1/LFO2 Waveform)

Selects the waveform of the LFO.

Value

SIN:

TRI:

SAW-U:

SAW-D:

SQR:

RND:

BND-U:

BND-D:

TRP:

S&H:

CHAOS:

VSIN:

STEP:

Sine wave

Triangle wave

Sawtooth wave

Sawtooth wave (negative polarity)

Square wave

Random wave

Once the attack of the waveform output by the LFO is allowed to develop in standard fashion, the waveform then continues without further change.

Once the decay of the waveform output by the LFO is allowed to develop in standard fashion, the waveform then continues without further change.

Trapezoidal wave

Sample & Hold wave (one time per cycle, LFO value is changed)

Chaos wave

Modified sine wave. The amplitude of a sine wave is randomly varied once each cycle.

A waveform generated by the data specified by LFO

Step 1–16. This produces stepped change with a fixed pattern similar to a step modulator.

If you set this to “BND-U” or “BND-D,” you must turn the Key

Trigger parameter to “ON.” If this is “OFF,” it will have no effect.

LFO Rate (LFO1/LFO2 Rate)

★ 1

Adjusts the modulation rate, or speed, of the LFO.

Value: 0–127, Note

LFO Rate sets the beat length for the synchronized tempo is synchronized with the tempo set in a sequencer.

(Example)

For a tempo of 120 (120 quarter notes occur in 1 minute (60 seconds))

Setting

(half note)

LFO Rate

1 second (60 / 60 =1 (second))

(quarter note) 0.5 seconds (60 / 120= 0.5 (seconds))

(eighth note) 0.25 seconds (60 / 240= 0.25 (seconds))

74

For details on these settings, refer to

“How to Make Patch

Settings” (p. 56).

An LFO (Low Frequency Oscillator) causes change over a cycle in a sound. Each tone has two LFOs (LFO1/LFO2), and these can be used to cyclically change the pitch, cutoff frequency and volume to create modulation-type effects such as vibrato, wah and tremolo. Both LFOs have the same parameters so only one explanation is needed.

This setting will be ignored if the Waveform parameter is set to

“CHAOS.”

Fantom-X678_r_e.book 75 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Patch

Rate Detune (LFO1/LFO2 Rate Detune)

LFO Rate Detune makes subtle changes in the LFO cycle rate (Rate parameter) each time a key is pressed. Higher settings will cause greater change. This parameter is invalid when Rate is set to “note.”

Value: 0–127

Offset (LFO1/LFO2 Offset)

Raises or lowers the LFO waveform relative to the central value

(pitch or cutoff frequency). Positive (+) settings will move the waveform so that modulation will occur from the central value upward. Negative (-) settings will move the waveform so that modulation will occur from the central value downward.

Value: -100, -50, 0, +50, +100

Delay Time (LFO1/LFO2 Delay Time)

2

Delay Time (LFO Delay Time) specifies the time elapsed before the

LFO effect is applied (the effect continues) after the key is pressed (or released).

Value: 0–127

After referring to

“How to Apply the LFO” (p. 76), change the

setting until the desired effect is achieved.

When using violin, wind, or certain other instrument sounds in a performance, rather than having vibrato added immediately after the sounds are played, it can be effective to add the vibrato after the note is drawn out somewhat. If you set the Delay Time in conjunction with the Pitch Depth parameter and Rate parameter, the vibrato will be applied automatically following a certain interval after the key is pressed. This effect is called

Delay Vibrato .

Delay Time KF (LFO1/LFO2 Delay Time Key

Follow)

Adjusts the value for the Delay Time parameter depending on the key position, relative to the C4 key (center C). To decrease the time that elapses before the LFO effect is applied (the effect is continuous) with each higher key that is pressed in the upper registers, select a positive value; to increase the elapsed time, select a negative value.

Larger settings will produce greater change. If you do not want the elapsed time before the LFO effect is applied (the effect is continuous) to change according to the key pressed, set this to “0.”

Value: -100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10,

+20, +30, +40, +50, +60, +70, +80, +90, +100 fig.06-031.e

Time

-100

-50

0

C1 C2 C3 C4 C5 C6

+50

+100

C7

Key

Fade Mode (LFO1/LFO2 Fade Mode)

Specifies how the LFO will be applied.

Value: ON <, ON >, OFF <, OFF >

After referring to

“How to Apply the LFO” (p. 76), change the

setting until the desired effect is achieved.

Fade Time (LFO1/LFO2 Fade Time)

3

Specifies the time over which the LFO amplitude will reach the maximum (minimum).

Value: 0–127

After referring to

“How to Apply the LFO” (p. 76), change the

setting until the desired effect is achieved.

Key Trigger (LFO1/LFO2 Key Trigger)

This specifies whether the LFO cycle will be synchronized to begin when the key is pressed (ON) or not (OFF).

Value: OFF, ON

Pitch Depth (LFO1/LFO2 Pitch Depth)

★ 4

Specifies how deeply the LFO will affect pitch.

Value: -63– +63

TVF Depth (LFO1/LFO2 TVF Depth)

Specifies how deeply the LFO will affect the cutoff frequency.

Value: -63– +63

TVA Depth (LFO1/LFO2 TVA Depth)

Specifies how deeply the LFO will affect the volume.

Value: -63– +63

75

Fantom-X678_r_e.book 76 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Patch

Pan Depth (LFO1/LFO2 Pan Depth)

Specifies how deeply the LFO will affect the pan.

Value: -63– +63

Positive (+) and negative (-) settings for the Depth parameter result in differing kinds of change in pitch and volume. For example, if you set the Depth parameter to a positive (+) value for one tone, and set another tone to the same numerical value, but make it negative (-), the modulation phase for the two tones will be the reverse of each other. This allows you to shift back and forth between two different tones, or combine it with the

Pan setting to cyclically change the location of the sound image.

When the Structure parameter is set to any value from “2” through “10,” the output of tones 1 and 2 will be combined into tone 2, and the output of tones 3 and 4 will be combined into tone 4. This applies to the Pan Depth parameter settings. For this reason, tone 1 will follow the settings of tone 2, and tone 3

will follow the settings of tone 4 (p. 63).

Step LFO

LFO Step Type (LFO Step Type)

When generating an LFO waveform from the data specified in LFO

Step1–16, specify whether the level will change abruptly at each step or will be connected linearly.

Value: TYPE1 (stair-step change), TYPE2 (linear change)

Step 1–16 (LFO Step 1–16)

Specifies the data for the Step LFO. If the LFO Pitch Depth is +63, each +1 unit of the step data corresponds to a pitch of +50 cents.

Value: -36– +36

How to Apply the LFO

Apply the LFO gradually after the key is pressed

fig.06-043.e

high (more)

Delay

Time

Pitch

Cutoff Frequency

Level

Pan

Note on

Fade Time

Depth low (less)

Fade Mode:

Delay Time:

Fade Time:

ON <

The time from when the keyboard is played until the LFO begins to be applied.

The time over which the LFO amplitude will reach the maximum after the Delay Time has elapsed.

Apply the LFO immediately when the key is pressed, and then gradually begin to decrease the effect

fig.06-044.e

high (more)

Pitch

Cutoff Frequency

Level

Pan

Note on

Delay Time Fade Time

Depth low (less)

Fade Mode:

Delay Time:

Fade Time:

ON >

The time that the LFO will continue after the keyboard is played.

The time over which the LFO amplitude will reach the minimum after the Delay Time has elapsed.

Apply the LFO gradually after the key is released

fig.06-045.e

high (more)

Pitch

Cutoff Frequency

Level

Pan

Note on low (less)

Fade Mode:

Delay Time:

Fade Time:

Note off

Delay

Time Fade Time

Depth

OFF <

The time from when the keyboard is released until the LFO begins to be applied.

The time over which the LFO amplitude will reach the maximum after the Delay Time has elapsed.

Apply the LFO from when the key is pressed until it is released, and gradually begin to decrease the effect when the key is released

fig.06-046.e

high (more)

Pitch

Cutoff Frequency

Level

Pan

Delay

Time Fade Time

Depth low (less)

Fade Mode:

Delay Time:

Fade Time:

Note on Note off

OFF >

The time that the LFO will continue after the keyboard is released.

The time over which the LFO amplitude will reach the minimum after the Delay Time has elapsed.

76

Fantom-X678_r_e.book 77 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Patch

Apply Portamento or Legato to the

Sound (Solo/Porta)

Solo/Portamento

fig.06-047_50

For details on these settings, refer to

“How to Make Patch

Settings” (p. 56).

Mono/Poly

Specifies whether the patch will play polyphonically (POLY) or monophonically (MONO). The “MONO” setting is effective when playing a solo instrument patch such as sax or flute.

Value

MONO: Only the last-played note will sound.

POLY: Two or more notes can be played simultaneously.

Legato Switch (Legato Switch)

Legato Switch is valid when the Mono/Poly parameter is set to

“MONO.” This setting specifies whether the Legato Switch will be used (ON) or not (OFF).

With the Legato Switch parameter “ON,” pressing a key while continuing to press a previous key causes the note to change pitch to the pitch of the most recently pressed key, sounding all the while. This creates a smooth transition between notes, which is effective when you wish to simulate the hammering-on and pulling-off techniques used by a guitarist.

Value: OFF, ON

Legato Retrigger (Legato Retrigger Switch)

The Legato Retrigger is valid when the Mono/Poly parameter is set to

“MONO” and the Legato Switch parameter is set to “ON.” The setting determines whether sounds are replayed (ON) or not (OFF) when performing legato. Normally you will leave this parameter “ON.” When

“OFF,” when one key is held down and another key is then pressed, only the pitch changes, without the attack of the latter key being played. Set this to “OFF” when performing wind and string phrases or when using modulation with the mono synth keyboard sound.

Value: OFF, ON

Let’s say you have the Legato Switch set to “ON,” and the

Legato Retrigger set to “OFF.” When you try to sound a legato

(by pressing a higher key while a lower key is held down), the pitch may sometimes not be able to rise all the way to the intended pitch (stopping instead at an intermediate pitch). This can occur because the limit of pitch rise, as determined at the wave level, has been exceeded. Additionally, if differing upper pitch limits are used for the waves of a Patch that uses multiple tones, it may stop being heard in MONO. When making large pitch changes, set the Legato Retrigger to “ON.”

Portamento Switch

Specifies whether the portamento effect will be applied (ON) or not

(OFF).

Value: OFF, ON

Portamento

Portamento is an effect which smoothly changes the pitch from the first-played key to the next-played key. By applying portamento when the Mono/Poly parameter is “MONO,” you can simulate slide performance techniques on a violin or similar instrument.

Portamento Mode

Specifies the performance conditions for which portamento will be applied.

Value

NORMAL:

LEGATO:

Portamento will always be applied.

Portamento will be applied only when you play legato (i.e., when you press the next key before releasing the previous key).

Portamento Type

Specifies the type of portamento effect.

Value

RATE:

TIME:

The time it takes will depend on the distance between the two pitches.

The time it takes will be constant, regardless of how far apart in pitch the notes are.

77

Fantom-X678_r_e.book 78 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Patch

Portamento Start

When another key is pressed during a pitch change produced by portamento, a new pitch change will begin. This setting specifies the pitch at which the change will begin.

Value

PITCH: Starts a new portamento when another key is pressed while the pitch is changing.

fig.06-048.e

Pitch

C5

Miscellaneous Settings (Misc)

fig.06-050_50

D4

C4

NOTE: fig.06-049.e

Pitch

Time press D4 key press C5 key press C4 key

Portamento will begin anew from the pitch where the current change would end.

C5

Tone Delay Mode

Selects the type of tone delay.

Value

NORM: The tone begins to play after the time specified in the

Delay Time parameter has elapsed.

fig.06-051.e

No Tone Delay

D4

C4

Time press D4 key press C5 key press C4 key

Portamento Time

When portamento is used, this specifies the time over which the pitch will change. Higher settings will cause the pitch change to the next note to take more time.

Value: 0–127

Delay time

Note on

HOLD:

Note off

Although the tone begins to play after the time specified in the Delay Time parameter has elapsed, if the key is released before the time specified in the

Delay Time parameter has elapsed, the tone is not played.

fig.06-052.e

No sound played

Note on

Delay time

Note off

78

Fantom-X678_r_e.book 79 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Patch

OFF-N: Rather than being played while the key is pressed, the tone begins to play once the period of time specified in the Delay Time parameter has elapsed after release of the key. This is effective in situations such as when simulating noises from guitars and other instruments.

fig.06-053.e

Delay time

Note on

OFF-D:

Note off

Rather than being played while the key is pressed, the tone begins to play once the period of time specified in the Delay Time parameter has elapsed after release of the key. Here, however, changes in the TVA Envelope begin while the key is pressed, which in many cases means that only the sound from the release portion of the envelope is heard.

fig.06-054.e

Delay time

Note on Note off

If you have selected a waveform that is a decay-type sound (i.e., a sound that fades away naturally even if the key is not released), selecting “OFF-N” or “OFF-D” may result in no sound being heard.

Tone Delay

This produces a time delay between the moment a key is pressed (or released), and the moment the tone actually begins to sound. You can also make settings that shift the timing at which each tone is sounded. This differs from the Delay in the internal effects, in that by changing the sound qualities of the delayed tones and changing the pitch for each tone, you can also perform arpeggio-like passages just by pressing one key.

You can also synchronize the tone delay time to the tempo of the sequencer.

If you are not going to use Tone Delay, set the Delay Mode parameter to “NORM” and Delay Time parameter to “0.”

• If the Structure parameters set in the range of “2”–”10,” the output of tones 1 and 2 will be combined into tone 2, and the output of tones 3 and 4 will be combined into tone 4.

For this reason, tone 1 will follow the settings of tone 2, and

tone 3 will follow the settings of tone 4 (p. 63).

Tone Delay Time

Specifies the time from when the key is pressed (or if the Delay

Mode parameter is set to “OFF-N” or “OFF-D,” the time from when the key is released) until when the tone will sound.

Value: 0–127, Note

Tone Delay Time specifies the beat length for the synchronized tempo when the tempo that specifies the elapsed time until the tone is sounded (Patch Tempo) is synchronized with the tempo set in a sequencer.

(Example)

For a tempo of 120 (120 quarter notes occur in 1 minute (60 seconds))

Setting

(half note)

(quarter note)

(eighth note)

Delay time

1 second (60 / 60 =1 (second))

0.5 seconds (60 / 120= 0.5 (seconds))

0.25 seconds (60 / 240= 0.25 (seconds))

Tone Env Mode (Tone Envelope Mode)

When a loop waveform (p. 59) is selected, the sound will normally

continue as long as the key is pressed. If you want the sound to decay naturally even if the key remains pressed, set this to “NO

SUS.”

Range: NO SUS, SUST

If a one-shot type Wave (p. 58) is selected, it will not sustain

even if this parameter is set to “SUST.”

Tone Rx Bender (Tone Receive Pitch Bend

Switch)

For each tone, specify whether MIDI Pitch Bend messages will be received (ON), or not (OFF).

Value: OFF, ON

Tone Rx Expression (Tone Receive Expression

Switch)

For each tone, specify whether MIDI Expression messages will be received (ON), or not (OFF).

Value: OFF, ON

Tone Rx Hold-1 (Tone Receive Hold Switch)

For each tone, specify whether MIDI Hold-1 messages will be received (ON), or not (OFF).

Value: OFF, ON

If “NO SUS” is selected for Env Mode parameter, this setting will have no effect.

79

Fantom-X678_r_e.book 80 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Patch

Tone Rx Pan Mode

For each tone, specify how pan messages will be received.

Value

CONT:

K-ON:

Whenever Pan messages are received, the stereo position of the tone will be changed.

The pan of the tone will be changed only when the next note is played. If a pan message is received while a note is sounding, the panning will not change until the next key is pressed.

The channels cannot be set so as not to receive Pan messages.

Tone Redamper Sw (Tone Redamper Switch)

You can specify, on an individual tone basis, whether or not the sound will be held when a Hold 1 message is received after a key is released, but before the sound has decayed to silence. If you want to sustain the sound, set this “ON.” When using this function, also set the Rx Hold-1 parameter “ON.” This function is effective for piano sounds.

Value: OFF, ON

Matrix Control Settings (Ctrl1–4)

fig.06-055_50

For details on these settings, refer to

“How to Make Patch

Settings” (p. 56).

Matrix Control

Ordinarily, if you wanted to change tone parameters using an external MIDI device, you would need to send System

Exclusive messages—MIDI messages designed exclusively for the Fantom-X. However, System Exclusive messages tend to be complicated, and the amount of data that needs to be transmitted can get quite large.

For that reason, a number of the more typical of the Fantom-X’s tone parameters have been designed so they accept the use of

Control Change (or other) MIDI messages for the purpose of making changes in their values. This provides you with a variety of means of changing the way patches are played. For example, you can use the Pitch Bend lever to change the LFO cycle rate, or use the keyboard’s touch to open and close a filter.

The function which allows you use MIDI messages to make these changes in realtime to the tone parameters is called the

Matrix Control . Up to four Matrix Controls can be used in a single patch.

To use the Matrix Control, specify which MIDI message (Source parameter) will be used to control which parameter

(Destination parameter), and how greatly (Sns parameter), and the tone to which the effect is applied (Tone parameter).

80

Fantom-X678_r_e.book 81 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Patch

Matrix Control 1–4 Source

Sets the MIDI message used to change the tone parameter with the

Matrix Control.

Value

OFF:

CC01–31, 33–95:

Matrix control will not be used.

Controller numbers 1–31, 33–95

For more information about Control Change messages, please refer to

“MIDI Implementation” (p. 298).

PITCH BEND: Pitch Bend

AFTERTOUCH: Aftertouch

SYS CTRL1–SYS CTRL4: MIDI messages used as common matrix controls.

VELOCITY:

KEY FOLLOW:

Velocity (pressure you press a key with)

Key follow (keyboard position with C4 as 0)

TEMPO:

LFO1:

LFO2:

PITCH ENV:

TVF ENV:

TVA ENV:

The specified tempo (sequencer tempo) or the tempo of an external MIDI sequencer.

LFO 1

LFO 2

Pitch envelope

TVF envelope

TVA envelope

Velocity and Key follow correspond to Note messages.

Although there are no MIDI messages for LFO 1 through TVA

Envelope, they can be used as Matrix Control. In this case, you can change the tone settings in realtime by playing patches.

• If you want to use common controllers for the entire Fantom-X, select “SYS CTRL1”–”SYS CTRL4.” MIDI messages used as

System Control 1–4 are set with the System Ctrl 1–4 Source

parameters (p. 233).

There are parameters that determine whether or not Pitch Bend,

Controller Number 11 (Expression) and Controller Number 64

(Hold 1) are received (p. 79). When these settings are “ON,” and

the MIDI messages are received, then when any change is made in the settings of the desired parameter, the Pitch Bend,

Expression, and Hold 1 settings also change simultaneously. If you want to change the targeted parameters only, then set these to “OFF.”

• There are parameters that let you specify whether specific MIDI

messages will be received for each channel in a performance (p.

112). When a patch with Matrix Control settings is assigned to a

part, confirm that any MIDI messages used for the Matrix

Control will be received. If the Fantom-X is set up such that reception of MIDI messages is disabled, then the Matrix Control will not function.

CTRL Destination 1–4 (Matrix Control

Destination 1–4)

Matrix Control Destination selects the tone parameter that is to be controlled when using the Matrix Control. The following parameters can be controlled. When not controlling parameters with the Matrix

Control, set this to “OFF.” Up to four parameters can be specified for each Matrix Control, and controlled simultaneously.

In this manual, Parameters that can be controlled using the

Matrix Control are marked with a “ ★ .”

Opening and Closing the Filter

CUTOFF:

RESONANCE:

Changes the cutoff frequency.

Emphasizes the overtones in the region of the cutoff frequency, adding character to the sound.

Changing the Volume, Pan, and Pitch

LEVEL:

PAN:

PITCH:

Changes the volume level.

Changes the pan.

Changes the pitch.

Changing How the Effects Are Applied

OUTPUT LEVEL: Changes the volume of output levels.

CHORUS SEND:

REVERB SEND:

Changes the amount of chorus.

Changes the amount of reverb.

Applying LFO to Modulate Sounds

LFO1/LFO2 PCH DEPTH: Changes the vibrato depth.

LFO1/LFO2 TVF DEPTH: Changes the wah depth.

LFO1/LFO2 TVA DEPTH: Changes the tremolo depth.

LFO1/LFO2 PAN DEPTH: Changes the effect that the LFO will have on pan.

LFO1/LFO2 RATE: Changes the LFO cycle rate.

Changes the speed of the LFO cycles.

* The speed will not change if LFO Rate is set to “note.”

Changing the Pitch Envelope

PIT ENV A-TIME: Changes the Env Time 1 parameter of the pitch envelope.

PIT ENV D-TIME: Changes the Env Time 2 and Env Time 3 parameters of the pitch envelope.

PIT ENV R-TIME: Changes the Env Time 4 parameter of the pitch envelope.

Changing the TVF Envelope

TVF ENV A-TIME: Changes the Env Time 1 parameter of the

TVF envelope.

TVF ENV D-TIME: Changes the Env Time 2 and Env Time 3 parameters of the TVF envelope.

TVF ENV R-TIME: Changes the Env Time 4 parameter of the

TVF envelope.

81

Fantom-X678_r_e.book 82 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Patch

Changing the TVF Envelope

TVA ENV A-TIME: Changes the Env Time 1 parameter of the

TVA envelope.

TVA ENV D-TIME: Changes the Env Time 2 and Env Time 3 parameters of the TVA envelope.

TVA ENV R-TIME: Changes the Env Time 4 parameter of the

TVA envelope.

Splitting Tones That Are Played

TMT

If the Matrix Control is used to split tones, set the TMT Vel

Control parameter to “OFF,” and the TMT Control Switch

parameter to “ON” (p. 66, p. 66).

• If the Matrix Control is used to split tones, we recommend setting the Matrix Control Sens to “+63.” Selecting a lower value may prevent switching of the tones. Furthermore, if you want to reverse the effect, set the value to “-63.”

• If you want to use matrix control to switch smoothly between tones, use the Velo Fade Lower and Velo Fade Upper

parameters (p. 66). The higher the values set, the smoother the

switch is between the tones.

Changing the Depth of Frequency

Modulation for FXM

FXM DEPTH

Controlling the amount of realtime stretch/ shrink

TIME

This will have no effect if Realtime Time Stretch (p. 63) is not

selected. If matrix control sensitivity is set to “+” the stretch/ shrink time will become shorter, and if set to “-” the time will become longer.

Changing Specific Multi-Effects Parameters

MFX CTRL1–4: Change the parameter that was specified by

MFX Control 1–4 Assign parameter.

If you have not made the necessary settings for using the multieffect, the multi-effect will not be applied even if you attempt to control it as a Matrix Control destination.

If you’re not using Matrix Control

OFF: Matrix Control will not be used.

CTRL Sens 1–4 (Matrix Control Sens 1–4)

Sets the amount of the Matrix Control’s effect that is applied. If you wish to modify the selected parameter in a positive (+) direction – i.e., a higher value, toward the right, or faster etc. – from its current setting, select a positive (+) value. If you wish to modify the selected parameter in a negative (-) direction – i.e., a lower value, toward the left, or slower etc. – from its current setting, select a negative (-) value. For either positive or negative settings, greater absolute values will allow greater amounts of change. Set this to “0” if you don't want to apply the effect.

Value: -63– +63

CTRL Tone 1–4 (Tone Control Switch 1–4)

Matrix Control Tone selects the tone to which the effect is applied when using the Matrix Control.

Value

OFF:

ON:

REVS:

The effect will not be applied.

The effect will be applied.

The effect will be applied in reverse.

Setting Effects for a Patch (Effects/

MFX/MFX Control/Chorus/Reverb)

For details regarding effect settings, refer to the pages shown below.

“Making Effect Settings” (p. 206)

“Making Multi-Effects Settings (MFX1–3)” (p. 213)

“Making Chorus Settings (Chorus)” (p. 215)

“Making Reverb Settings (Reverb)” (p. 216)

82

Fantom-X678_r_e.book 83 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Rhythm Set

With the Fantom-X, you have total control over a wide variety of settings. Each item that can be set is known as a parameter . When you change the values of parameters, you are doing what is referred to as Editing . This chapter explains the procedures used in creating rhythm sets, and the functions of the rhythm set parameters.

How to make Rhythm Set settings

Start with an existing rhythm set and edit it to create a new rhythm set. Rhythm sets are created from a collection of multiple rhythm tones (percussion instruments). You can change the assignments of the rhythm tones for each key with rhythm set edit.

The rhythm tone assigned to each key consists of up to four waves.

Rhythm tones and waves are related in the same way that patches and tones are related.

1.

Press [PATCH/RHYTHM] to access the Patch Play screen, and select the part (keyboard part or pad part) and rhythm

set whose settings you want to edit (p. 52).

You cannot edit the rhythm sets in the GM group.

If you want to create a rhythm set from scratch (rather than starting from an existing rhythm set), execute the Initialize

operation (p. 84).

2.

Press [PATCH EDIT].

The Rhythm Edit screen appears.

fig.07-001_50

5.

Press [F8 (Wave Sw/Sel)] to select the wave that you want to edit.

The Wave Sw/Select window will appears.

fig.05-011_50

Press any one of the [F5 (Wave Select1)]–[F8 (Wave Select4)] buttons to select the wave that you want to edit.

Simultaneously editing the same parameter of multiple waves

To select the tones you want to edit at the same time, simultaneously press two or more of the [F5 (Wave Select1)]-[F8

(Wave Select4)] buttons, making them light red.

To switch a wave on/off

Press a [F1 (Wave Sw1)]–[F4 (Wave Sw4)] button to switch the corresponding wave on/off.

* You can also select the tone by pressing or .

6.

When you have made your selection, press [EXIT].

7.

Turn the VALUE dial, or Press [INC]/[DEC] to set a value.

To change the part that you want to edit

Press [F7 (Part Select)].

8.

Repeat steps 5–7 to set each parameter you want to edit.

9.

If you wish to save the changes you’ve made, press

[WRITE] to perform the Save operation (p. 86). If you do not

wish to save changes, press [EXIT] to return to the Patch

Play screen.

If you return to the Patch Play screen without saving, an “*” will be displayed at the left of the rhythm set number, indicating that the rhythm set settings have been edited.

If you turn off the power or select a different sound while the display indicates “*,” your edited rhythm set will be lost.

3.

The parameters are organized into several editing groups.

Press [F1 (

)] or [F2 (

)] to select the tab for the editing group that contains the parameter you wish to edit.

For details on how the parameters are grouped, refer to

“Rhythm Set Parameter” (p. 259).

4.

Use or wish to modify.

to move the cursor to the parameter you

83

Fantom-X678_r_e.book 84 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Rhythm Set

Editing in a Graphic Display (Zoom

Edit)

You can edit while viewing a graphic display of the most frequently used important parameters.

Zoom Edit lets you edit the following parameters.

Parameter

Pitch Envelope

TVF

TVF Envelope

TVA Envelope page

p. 91

p. 92

p. 93

p. 94

1.

Press [PATCH/RHYTHM] to access the Patch Play screen, and select the part (keyboard part or pad part) and patch that you want to edit.

2.

Press [PATCH EDIT], and then press [F3 (Zoom Edit)].

The Zoom Edit screen will appear.

fig.07-002_50

3.

The parameters are organized into several edit groups.

Press [F1]–[F4] to select the tab for the parameters that you want to edit.

To select a Wave for editing or switch a Wave on/off

Press [F8 (Wave Sw/Sel)].

To switch to a different part for editing

Press [F7 (Part Select)].

4.

Use [CURSOR] to move the cursor to the parameter that you want to edit.

You can use the realtime control knob to set the value.

5.

Turn the VALUE dial or use [INC][DEC] to modify the value.

6.

When you have finished editing, press [EXIT].

Initializing Rhythm Set Settings

(Init)

“Initialize” means to return the settings of the currently selected sound to a standard set of values or to the factory settings.

The Initialize operation will affect only the currently selected sound; the sounds that are stored in user memory will not be affected. If you wish to restore all of the Fantom’s settings to

their factory values, perform a Factory Reset (p. 235).

84

1.

Press [PATCH/RHYTHM] to access the Patch Play screen, and select the part (keyboard part or pad part) and rhythm

set that you want to initialize (p. 52).

2.

Hold down [SHIFT] and press [F1 (Init)].

A message will ask you for confirmation.

3.

Press [F8 (Exec)].

The initialization will be carried out, and you’ll be returned to the previous screen.

To cancel, press [F7 (Cancel)].

Initializing only a specific key

Here’s how to initialize only a specific key of a Rhythm Set.

1.

Press [PATCH/RHYTHM] to access the Patch Play screen, and select the part (keyboard part or pad part) and rhythm

set that you want to initialize (p. 52).

2.

Press [PATCH EDIT].

Press keys to specify the key (A0–C8) that is to be initialized.

3.

Press [F4 (Init)].

Select the type of initialization.

ALL: All keys of the rhythm set will be initialized. (This is the same as the rhythm set initialize procedure described above.)

KEY: One key will be initialized.

4.

Press [F8 (Select)].

A message will ask for confirmation.

5.

Press [F8 (Exec)].

The initialization will be carried out, and you’ll be returned to the previous screen.

To cancel, press [F7 (Cancel)].

Copying Rhythm Tone Settings

(Copy)

This operation copies the settings of any desired rhythm set to the currently selected rhythm set. You can use this feature to make the editing process faster and easier.

Basic Procedure for Rhythm Tone

Copy

1.

Press [PATCH/RHYTHM] to access the Patch Play screen, and select the part (keyboard part or pad part) that you want

to edit and the copy-destination Rhythm set (p. 52).

2.

Press [PATCH EDIT].

Fantom-X678_r_e.book 85 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Rhythm Set

3.

Press [F5 (Tone Copy)].

The Rhythm Copy window appears.

fig.07-003_50

4.

Using [CURSOR] to move the cursor, select the “Source

(copy-source)” bank and number, and the rhythm tone.

5.

Turn the VALUE dial or use [INC][DEC] to make the setting.

6.

Using [CURSOR] to move the cursor, select the

“Destination (copy-destination)” rhythm tone number.

7.

Turn the VALUE dial or use [INC][DEC] to make the setting.

8.

Press [F8 (Exec)].

A message will ask for confirmation.

9.

Press [F8 (Exec)] to return to the Rhythm Edit screen.

* To cancel, press [F7 (Cancel)].

The Compare Function

For the Rhythm Tone Copy operations, you can use the

Compare function.

If you want to play the copy-source patch, press [F6 (Compare)] to light it into red. Now you can play the copy-source rhythm set from the keyboard or pads.

fig.07-004_50

The rhythm set auditioned using the Compare function may sound slightly different than when it is played normally.

Looped: themselves, such as percussive instrument sounds.

The Fantom-X also contains many other one-shot waveforms that are elements of other sounds. These include attack components such as piano-hammer sounds and guitar fret noises.

These waveforms include sounds with long decays as well as sustained sounds. Loop waveforms repeatedly play back (loop) the portion of the waveform after the sound has reached a relatively steady state. The Fantom-X’s looped waveforms also include components of other sounds, such as pianostring resonant vibrations and the hollow sounds of brass instruments.

Cautions When Using a One-shot

Waveform

It is not possible to use the envelope to modify a one-shot waveform to create a decay that is longer than the original waveform, or to turn it into a sustaining sound. If you were to program such an envelope, you would be attempting to shape a portion of the sound that simply doesn’t exist, and the envelope would have no effect.

Cautions When Using a Loop

Waveform

With many acoustic instruments such as piano and sax, extreme timbral changes occur during the first few moments of each note.

This initial attack is what defines much of the instrument’s character.

For such waveforms, it is best to use the complex tonal changes of the attack portion of the waveform just as they are, and to use the envelope only to modify the decay portion. If you attempt to use the envelope to modify the attack portion as well, the characteristics of the original waveform may prevent you from getting the sound that you intend.

fig.06-006.e

Level

Looped portion

Tone change stored with the wave

Time

Envelope for the TVF filter

Cautions When Selecting a

Waveform

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

The internal waveforms of the Fantom-X fall into the following two groups.

One-shot: These waveforms contain sounds that have short decays. A one-shot waveform records the initial rise and fall of the sound. Some of the Fantom-X’s oneshot waveforms are sounds that are complete in

Resulting

tone change

85

Fantom-X678_r_e.book 86 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Rhythm Set

Saving Rhythm Sets You’ve

Created (Write)

Changes you make to sound settings are temporary, and will be lost if you turn off the power or select another sound. If you want to keep the modified sound, you must save it in the internal user memory or memory card.

When you edit the patch settings, an “*” will appear in the Patch

Play screen.

When you perform the save procedure, the data that previously occupied the save destination will be lost.

1.

Make sure that the Rhythm Set you wish to save is selected.

2.

Press [WRITE].

The WRITE Menu screen appears.

fig.07-005_50

3.

Press [F2 (Patch/Rhythm)].

* Press or to select “Rhythm Edit,” and then press [ENTER].

The Rhythm Set Name screen appears.

fig.07-006_50

6.

Turn the VALUE dial or use [INC][DEC] and [F2 (

)] [F3 (

)] to select the write destination and rhythm set number.

The write destination can be either the Fantom-X’s internal user area (User), or a memory card (Card).

fig.07-007_50

By pressing [F6 (Compare)] you can check the save-destination

Rhythm set (Compare function).

7.

Press [F8 (Write)].

A message will ask you for confirmation.

Never switch off the Fantom-X while data is being saved.

8.

Press [F8 (Exec)] to execute the save operation. To cancel the operation, press [F7 (Cancel)].

* To cancel, press [F7 (Cancel)].

Auditioning the Save-Destination

Rhythm Set (Compare)

Before you save a rhythm set, you can audition the rhythm set which currently occupies the save destination to make sure that it is one you don’t mind overwriting. This can help prevent important rhythm sets from being accidentally overwritten and lost.

1.

Follow the procedure in “Saving Rhythm Sets You’ve

Created (Write)” through step 5 to select the save destination.

2.

Press [F7 (Compare)] to light it into red.

The Rhythm Compare window appears, making it possible to sound the currently selected save destination rhythm set.

fig.07-008.e

Save-destination rhythm set

4.

Assign a name to the rhythm set.

For details on assigning names, refer to

“Assigning a Name”

(p. 36)

5.

When you have finished inputting the name, press [F8

(Write)].

A screen will appear, allowing you to select the writedestination rhythm set.

3.

Play the keyboard or pad to sound the save destination rhythm set, then check whether you really want to overwrite it.

The rhythm set auditioned using the Compare function may sound slightly different than when it is played normally.

86

Fantom-X678_r_e.book 87 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Rhythm Set

4.

If you wish to change the save destination, re-specify the save-destination rhythm set by using or .

5.

Press [F7 (Write)].

6.

Press [F8 (Exec)] once again to execute the Save operation.

Functions of Rhythm Set

Parameters

This section explains the functions the different rhythm set parameters have, as well as the composition of these parameters.

If a number is displayed for the parameter name, (

1

,

2

,

3

4

), you can use the realtime controller knob of the corresponding number (the left most knob is number 1, the right most knob is number 4) to set the value.

When you enter the Rhythm Edit screen, the indicator at the right of the Realtime Control knobs will go out, and the Realtime Control knobs can be used to edit the parameters of the patch or rhythm set.

If you once again press the button located at the right of the Realtime

Control knobs to make the indicator light, the knobs will control their original functions. When you exit the Rhythm Edit screen, the indicator will automatically return to its previous lit state.

fig.06-010

,

1 2 3 4

Making Settings Common to the

Entire Rhythm Set (General)

fig.07-001_50

For details on these settings, refer to

“How to make Rhythm

Set settings” (p. 83).

Rhythm Level applies to the entire rhythm set; the other parameters are set individually for each rhythm tone.

Rhythm Level (Rhythm Set Level)

1

Sets the volume of the rhythm set.

Value: 0–127

The volume levels of the tones from which the rhythm set is

composed is set with the Tone Level parameter (p. 94). The

volume levels of the Waves from which the rhythm tone is

composed is set with the Wave Level parameter (p. 90).

Tone Name (Rhythm Tone Name)

You can assign a name of up to 12 characters to the rhythm tone.

Value: space, A-Z, a-z, 0-9, ! " # $ % & ' ( ) * + , - . / : ; < = > ?

@ [ \ ] ^ _ ` { | }

For details on assigning names, refer to

“Assigning a Name”

(p. 36)

Assign Type

Assign Type sets the way sounds are played when the same key is pressed a number of times.

Value

MULTI:

SINGLE:

Layer the sound of the same keys. Even with continuous sounds where the sound plays for an extended time, such as with crash cymbals, the sounds are layered, without previously played sounds being eliminated.

Only one sound can be played at a time when the same key is pressed. With continuous sounds where the sound plays for an extended time, the previous sound is stopped when the following sound is played.

Mute Group

On an actual acoustic drum set, an open hi-hat and a closed hi-hat sound can never occur simultaneously. To reproduce the reality of this situation, you can set up a Mute Group.

The Mute Group function allows you to designate two or more rhythm tones that are not allowed to sound simultaneously. Up to 31

Mute Groups can be used. rhythm tones that are not belong to any such group should be set to “OFF.”

Value: OFF, 1–31

Tone Env Mode (Rhythm Tone Envelope Mode)

When a loop waveform (p. 85) is selected, the sound will normally

continue as long as the key is pressed. If you want the sound to decay naturally even if the key remains pressed, set this to “NO

SUS.”

Value: NO-SUS, SUSTTAIN

If a one-shot type Wave (p. 85) is selected, it will not sustain

even if this parameter is set to “SUST.”

87

Fantom-X678_r_e.book 88 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Rhythm Set

Tone Pitch Bend Range

(Rhythm Tone Pitch Bend Range)

Specifies the amount of pitch change in semitones (4 octaves) that will occur when the Pitch Bend Lever is moved. The amount of change when the lever is tilted is set to the same value for both left and right sides.

Value: 0–48

Tone Receive Expression

(Rhythm Tone Receive Expression Switch)

For each rhythm tone, specify whether MIDI Expression messages will be received (ON), or not (OFF).

Value: OFF, ON

Tone Receive Hold-1

(Rhythm Tone Receive Hold-1 Switch)

For each rhythm tone, specify whether MIDI Hold-1 messages will be received (ON), or not (OFF).

Value: OFF, ON

If “NO SUS” is selected for Env Mode parameter (p. 87), this

setting will have no effect.

Tone Receive Pan Mode

(Rhythm Tone Receive Pan Mode)

For each rhythm tone, specify how pan messages will be received.

Value

CONTINUOUS: Whenever Pan messages are received, the stereo position of the tone will be changed.

KEY-ON: The pan of the tone will be changed only when the next note is played. If a pan message is received while a note is sounding, the panning will not change until the next key is pressed.

The channels cannot be set so as not to receive Pan messages.

One Shot Mode

The sound will play back until the end of the waveform (or the end of the envelope, whichever comes first). The result will be the same

as when the envelope’s Tone Env Mode parameter (p. 87) is set to

NO-SUS. If you have set Wave Group (p. 88) to Sample, the loop

setting will be forced to ONE SHOT.

Value: OFF, ON

Aftertouch Time Ctrl Sens (Sensitivity)

If Wave Group is set to SAMPLE and Tempo Sync is ON, aftertouch will control the amount of time stretching/shrinking caused by Time

Stretch. If Time Stretch is not being applied, nothing will happen. If the stretch/shrink time will become shorter, and if set to “-” the time will become longer.

Value: -63–+63

Modifying Waveforms (Wave)

fig.07-009_50

For details on these settings, refer to

“How to make Rhythm

Set settings” (p. 83).

With rhythm tones, sounds are created by combining up to four

Waves (eight for stereo).

Tips on Creating a Rhythm Tone

The Waves for the bass drum, snare, hi-hat, toms, and other percussion instruments are each assigned to one rhythm tone.

When adding 3D effects to the sound, make the Pan settings for each rhythm tone individually.

Wave Group

Select the groups containing the Waves comprising the rhythm tone.

Value

INT:

EXP:

SMAP:

MSAM:

Waveforms stored in internal

Waveform stored in a Wave Expansion Board (SRX series) installed in EXP slots.

Sample waveforms

Multisample waveforms

You cannot select a waveform group of a Wave Expansion

Board that is not installed.

Wave Bank

Select the wave bank.

Value

When the wave group is EXP:

When the wave group is SAMP:

When the wave group is MSAM:

A-D

PRST, USER, CARD

USER, CARD

88

Fantom-X678_r_e.book 89 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Rhythm Set

Wave No. L (Mono) (Wave Number L (Mono))

Wave No. R (Wave Number R)

This selects the Waves comprising the rhythm tone. Along with the

Wave number, the Wave name appears at the lower part of the display.

When in monaural mode, only the left side (L) is specified. When in stereo, the right side (R) is also specified.

Value: —-, 1–1228 (The upper limit will depend on the wave group.)

If you want to select a left/right pair of Waves, select the left (L)

Wave number and then press [F6 (Set Stereo)]; the right (R)

(Wave) will be recalled.

* When using a multisample in stereo, you must specify the same number for L and R.

Wave Tempo Sync

1

When you wish to synchronize a Phrase Loop to the clock (tempo), set this to “ON.” This is valid only when a separately sold wave expansion board is installed, and a waveform that indicates a tempo

(BPM) is selected as the sample for a wave.

Value: OFF, ON

If a waveform from a wave expansion board is selected for the tone, turning the Wave Tempo Sync parameter “ON” will cause

pitch-related settings (p. 91) and FXM-related settings (p. 89) to

be ignored.

• If a sample is selected for a tone, you must first set the BPM

(tempo) parameter of the sample.

• If a sample is selected for a tone, Wave Tempo Sync will require twice the normal number of voices.

Phrase Loop

Phrase loop refers to the repeated playback of a phrase that’s been pulled out of a song (e.g., by using a sampler). One technique involving the use of Phrase Loops is the excerpting of a Phrase from a pre-existing song in a certain genre, for example dance music, and then creating a new song with that Phrase used as the basic motif. This is referred to as “Break Beats.”

FXM Switch

2

This sets whether FXM will be used (ON) or not (OFF).

Value: OFF, ON

FXM

FXM (Frequency Cross Modulation) uses a specified waveform to apply frequency modulation to the currently selected waveform, creating complex overtones. This is useful for creating dramatic sounds or sound effects.

FXM Color

3

Specifies how FXM will perform frequency modulation. Higher settings result in a grainier sound, while lower settings result in a more metallic sound.

Value: 1–4

FXM Depth

4

Specifies the depth of the modulation produced by FXM.

Value: 0–16

When the Tempo Sync parameter is set to “ON,” settings

related to Pitch (p. 91) and FXM (p. 89) are disabled.

Changing How a Rhythm Tone Is

Sounded (WMT)

The WMT (Wave Mix Table) uses key velocity to control the four waveforms assigned to the rhythm tone.

fig.07-010_50

Realtime Time Stretch

If the wave group is “SAMP” or “MSAM,” and the Wave

Tempo Sync parameter is turned “ON,” you can vary the playback speed of the waveform without affecting the pitch.

Wave Gain

1

Sets the gain (amplification) of the waveform. The value changes in 6 dB (decibel) steps—an increase of 6 dB doubles the waveform’s gain.

Value: -6, 0, +6, +12

For details on these settings, refer to

“How to make Rhythm

Set settings” (p. 83).

Wave Coarse Tune

1

Adjusts the pitch of the waveform’s sound up or down in semitone steps (+/-4 octaves).

Value: -48– +48

The Coarse Tune of the entire rhythm tone is set by the Tone

Coarse parameter (p. 91).

89

Fantom-X678_r_e.book 90 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Rhythm Set

Wave Fine Tune

2

Adjusts the pitch of the waveform’s sound up or down in 1-cent steps (+/-50 cents).

Value: -50– +50

One cent is 1/100th of a semitone.

The Fine Tune of the entire rhythm tone is set by the Tone Fine

Tune parameter (p. 91).

Wave Level

3

You can set the volume of the waveform.

Value: 0–127

The volume level of each rhythm tone is set with the Tone Level parameter; the volume levels of the entire rhythm set is set with

the Rhythm Level parameter (p. 87).

Wave Pan

4

This specifies the pan of the waveform. “L64” is far left, “0” is center, and “63R” is far right.

Value: L63–0–63R

Wave Rnd Pan Sw

(Wave Random Pan Switch)

Use this setting to cause the waveform’s panning to change randomly each time a key is pressed (ON) or not (OFF).

Value: OFF, ON

* The range of the panning change is set by the Rnd Pan Depth

parameter (p. 94).

WMT Velocity Control (Velocity Control Switch)

WMT Velocity Control determines whether a different rhythm tone is played (ON) or not (OFF) depending on the force with which the key is played (velocity).

When set to “RND,” the rhythm set’s constituent rhythm tones will sound randomly, regardless of any Velocity messages.

Value: OFF, ON, RANDOM

Wave Alter Pan Sw

(Wave Alternate Pan Switch)

This setting causes panning of the waveform to be alternated between left and right each time a key is pressed. Set Alternate Pan

Switch to “ON” to pan the Wave according to the Alter Pan Depth

parameter (p. 94) settings, or to “REV” when you want the panning

reversed. If you do not want the panning to change each time a key is pressed, set this to “OFF.”

Range: OFF, ON, REV

Velo Fade Lower (Velocity Fade Width Lower)

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

Value: 0–127

Velo Range Lower (Velocity Range Lower)

This sets the lowest velocity at which the waveform will sound.

Make these settings when you want different waveforms to sound in response to notes played at different strengths.

Value: 1–UPPER

Velo Range Upper (Velocity Range Upper)

This sets the highest velocity at which the waveform will sound.

Make these settings when you want different waveforms to sound in response to notes played at different strengths.

Value: LOWER–127

If you attempt to set the Lower velocity limit above the Upper, or the Upper below the Lower, the other value will automatically be adjusted to the same setting.

Velo Fade Upper (Velocity Fade Width Upper)

This determines what will happen to the tone’s level when the tone is played at a velocity greater than its specified velocity range.

Higher settings produce a more gradual change in volume. If you want notes played outside the specified key velocity range to not be sounded at all, set this to “0.”

Value: 0–127 fig.06-028.e

Level

Velocity

Fade Lower

Range Lower

Fade Upper

Range Upper

Modifying Pitch (Pitch/Pitch Env)

fig.07-011_50

For details on these settings, refer to

“How to make Rhythm

Set settings” (p. 83).

90

Fantom-X678_r_e.book 91 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Rhythm Set

Pitch

Tone Coarse Tune (Rhythm Tone Coarse Tune)

1

Selects the pitch at which a rhythm tone sounds.

Value: C-1– G9

Set the coarse tuning for Waves comprising the rhythm tones

with the Wave Coarse Tune parameter (p. 89).

Tone Fine Tune (Rhythm Tone Fine Tune)

2

Adjusts the pitch of the rhythm tone’s sound up or down in 1-cent steps (+/-50 cents).

Value: -50– +50

One cent is 1/100th of a semitone.

Set the fine tuning for Waves comprising the rhythm tones with

the Wave Fine Tune parameter (p. 90).

Tone Random Pitch Depth

3

This specifies the width of random pitch deviation that will occur each time a key is pressed. If you do not want the pitch to change randomly, set this to “0.” These values are in units of cents (1/100th of a semitone).

Value: 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 20, 30, 40, 50, 60, 70, 80, 90,

100, 200, 300, 400, 500, 600, 700, 800, 900, 1000, 1100,

1200

Pitch Env

P-Env Depth (Envelope Depth)

Adjusts the effect of the Pitch Envelope. Higher settings will cause the pitch envelope to produce greater change. Negative (-) settings will invert the shape of the envelope.

Value: -12– +12

P-Env V-Sens (Pitch Envelope Velocity

Sensitivity)

Keyboard playing dynamics can be used to control the depth of the pitch envelope. If you want the pitch envelope to have more effect for strongly played notes, set this parameter to a positive (+) value. If you want the pitch envelope to have less effect for strongly played notes, set this to a negative (-) value.

Value: -63– +63

P-Env T1 V-Sens (Pitch Envelope Time 1

Velocity Sensitivity)

This allows keyboard dynamics to affect the Time 1 of the Pitch envelope. If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

Value: -63– +63

P-Env T4 V-Sens (Pitch Envelope Time 4

Velocity Sensitivity)

Use this parameter when you want key release speed to affect the

Time 4 value of the pitch envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

Value: -63– +63

P-Env Time 1–4 (Pitch Envelope Time 1–4)

1

,

2

,

4

Specify the pitch envelope times (Time 1–Time 4). Higher settings will result in a longer time until the next pitch is reached. (For example, Time 2 is the time over which the pitch changes from Level

1 to Level 2.)

Value: 0–127

P-Env Level 0–4 (Pitch Envelope Level 0–4)

3

Specify the pitch envelope levels (Level 0–Level 4). It determines how much the pitch changes from the reference pitch (the value set with Coarse Tune or Fine Tune on the Pitch screen) at each point.

Positive (+) settings will cause the pitch to be higher than the standard pitch, and negative (-) settings will cause it to be lower.

Value: -63– +63 fig.06-032.e

T1 T2 T3 T4

Pitch L0

Note on

L1

T: Time L: Level

L2

L3

Note off

L4

Time

91

Fantom-X678_r_e.book 92 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Rhythm Set

Modifying the Brightness of a

Sound with a Filter (TVF/TVF Env)

fig.07-012_50

For details on these settings, refer to

“How to make Rhythm

Set settings” (p. 83).

TVF

Filter Type

3

Selects the type of filter. A filter cuts or boosts a specific frequency region to change a sound's brightness, thickness, or other qualities.

Value

OFF:

LPF:

BPF:

No filter is used.

Low Pass Filter. This reduces the volume of all frequencies above the cutoff frequency (Cutoff Freq) in order to round off, or un-brighten the sound. This is the most common filter used in synthesizers.

Band Pass Filter. This leaves only the frequencies in the region of the cutoff frequency (Cutoff

Frequency), and cuts the rest. This can be useful when creating distinctive sounds.

HPF:

PKG:

LPF2:

LPF3:

High Pass Filter. This cuts the frequencies in the region below the cutoff frequency (Cutoff

Frequency). This is suitable for creating percussive sounds emphasizing their higher ones.

Peaking Filter. This emphasizes the frequencies in the region of the cutoff frequency (Cutoff

Frequency). You can use this to create wah-wah effects by employing an LFO to change the cutoff frequency cyclically.

Low Pass Filter 2. Although frequency components above the Cutoff frequency (Cutoff Frequency) are cut, the sensitivity of this filter is half that of the LPF.

This makes it a comparatively warmer low pass filter. This filter is good for use with simulated instrument sounds such as the acoustic piano.

Low Pass Filter 3. Although frequency components above the Cutoff frequency (Cutoff Frequency) are cut, the sensitivity of this filter changes according to the Cutoff frequency. While this filter is also good for use with simulated acoustic instrument sounds, the nuance it exhibits differs from that of the LPF2, even with the same TVF Envelope settings.

92

If you set “LPF2” or “LPF3,” the setting for the Resonance parameter will be ignored.

Cutoff Frequency

1

Selects the frequency at which the filter begins to have an effect on the waveform’s frequency components.

Value: 0–127

With “LPF/LPF2/LPF3” selected for the Filter Type parameter, lower cutoff frequency settings reduce a tone’s upper harmonics for a more rounded, warmer sound. Higher settings make it sound brighter.

If “BPF” is selected, harmonic components will change depending on the TVF Cutoff Frequency setting. This can be useful when creating distinctive sounds.

With “HPF” selected, higher Cutoff Frequency settings will reduce lower harmonics to emphasize just the brighter components of the sound.

With “PKG” selected, the harmonics to be emphasized will vary depending on Cutoff Frequency setting.

Resonance

2

Emphasizes the portion of the sound in the region of the cutoff frequency, adding character to the sound. Excessively high settings can produce oscillation, causing the sound to distort.

Value: 0–127 fig.06-034.e

High

Level

LPF BPF HPF PKG

Frequency

Cutoff frequency

Low

Cutoff V-Curve (Cutoff Frequency Velocity

Curve)

Selects one of the following seven curves that determine how keyboard playing dynamics (velocity) influence the cutoff frequency.

Set this to “FIXED” if you don't want the Cutoff frequency to be affected by the keyboard velocity.

Value: FIXED, 1–7 fig.06-036

1 2 3 4 5 6 7

Fantom-X678_r_e.book 93 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Rhythm Set

Cutoff V-Sens (Cutoff Velocity Sensitivity)

Use this parameter when changing the cutoff frequency to be applied as a result of changes in playing velocity. If you want strongly played notes to raise the cutoff frequency, set this parameter to positive (+) settings. If you want strongly played notes to lower the cutoff frequency, use negative (-) settings.

Value: -63– +63

Resonance V-Sens

(Resonance Velocity Sensitivity)

This allows keyboard velocity to modify the amount of Resonance. If you want strongly played notes to have a greater Resonance effect, set this parameter to positive (+) settings. If you want strongly played notes to have less Resonance, use negative (-) settings.

Value: -63– +63

TVF Env

F-Env Depth (TVF Envelope Depth)

Specifies the depth of the TVF envelope. Higher settings will cause the TVF envelope to produce greater change. Negative (-) settings will invert the shape of the envelope.

Value: -63– +63

F-Env V-Curve (TVF Envelope Velocity Curve)

Selects one of the following 7 curves that will determine how keyboard playing dynamics will affect the TVF envelope. Set this to

“FIXED” if you don't want the TVF Envelope to be affected by the keyboard velocity.

Value: FIX, 1–7 fig.06-036

F-Env T4 V-Sens

(TVF Envelope Time 4 Velocity Sensitivity)

The parameter to use when you want key release speed to control the Time 4 value of the TVF envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

Value: -63– +63

F-Env Time 1–4 (TVF Envelope Time 1–4)

1

, ,

Specify the TVF envelope times (Time 1– Time 4). Higher settings will lengthen the time until the next cutoff frequency level is reached. (For example, Time 2 is the time over which Level 1 will change to Level 2.)

Value: 0–127

F-Env Level 0–4 (TVF Envelope Level 0–4)

3

Specify the TVF envelope levels (Level 0–Level 4). These settings specify how the cutoff frequency will change at each point, relative to the standard cutoff frequency (the cutoff frequency value specified in the TVF screen).

Value: 0–127 fig.06-037.e

T1 T2 T3 T4

Cutoff

Frequency

L0

Note on

L1 L2 L3

Note off

L4

Time

1 2 3 4 5 6 7

F-Env V-Sens

(TVF Envelope Velocity Sensitivity)

Specifies how keyboard playing dynamics will affect the depth of the

TVF envelope. Positive (+) settings will cause the TVF envelope to have a greater effect for strongly played notes, and negative (-) settings will cause the effect to be less.

Value: -63– +63

F-Env T1 V-Sens

(TVF Envelope Time 1 Velocity Sensitivity)

This allows keyboard dynamics to affect the Time 1 of the TVF envelope. If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

Value: -63– +63

T: Time L: Level

93

Fantom-X678_r_e.book 94 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Rhythm Set

Adjusting the Volume (TVA/TVA

Env)

fig.07-013_50

For details on these settings, refer to

“How to make Rhythm

Set settings” (p. 83).

TVA

Tone Level (Rhythm Tone level)

1

Sets the volume of the rhythm tone. Use this parameter to adjust the volume balance between rhythm tones.

Value: 0–127

The volume levels of the Waves from which the rhythm tone is

composed is set with the WMT1–4 Wave Level parameter (p.

90).

Level V-Curve (Level Velocity Curve)

You can select from seven curves that determine how keyboard playing strength will affect the volume. If you do not want the volume of the rhythm tone to be affected by the force with which you press the key, select “FIXED.”

Value: FIXED, 1–7 fig.06-036

1 2 3 4 5 6 7

Level V-Sens (Level Velocity Sensitivity)

Set this when you want the volume of the rhythm tone to change depending on the force with which you press the keys. Set this to a positive (+) value to have the changes in rhythm tone volume increase the more forcefully the keys are played; to make the tone play more softly as you play harder, set this to a negative (-) value.

Value: -63– +63

Tone Pan (Rhythm Tone Pan)

2

Sets the pan for the rhythm tone. “L64” is far left, “0” is center, and

“63R” is far right.

Value: L64–0–63R

94

Set the Pan for Waves comprising the rhythm tones with the

Wave Pan parameter (p. 90).

Random Pan Depth

3

Use this parameter when you want the stereo location to change randomly each time you press a key. Higher settings will produce a greater amount of change.

Value: 0–63

This will affect only waves whose Wave Rnd Pan Sw parameter

(p. 90) is ON.

Alternate Pan Depth

4

This setting causes panning to be alternated between left and right each time a key is pressed. Higher settings will produce a greater amount of change. “L” or “R” settings will reverse the order in which the pan will alternate between left and right. For example if two rhythm tones are set to “L” and “R” respectively, the panning of the two rhythm tones will alternate each time they are played.

Value: L63–0–63R

This will affect only waves whose Wave Alter Pan Sw

parameter (p. 90) is ON or REV.

TVA Env

A-Env T1 V-Sens (TVA Envelope Time 1

Velocity Sensitivity)

This allows keyboard dynamics to affect the Time 1 of the TVA envelope. If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

Value: -63– +63

A-Env T4 V-Sens (TVA Envelope Time 4

Velocity Sensitivity)

The parameter to use when you want key release speed to control the Time 4 value of the TVA envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

Value: -63– +63

A-Env Time 1–4 (TVA Envelope Time 1–4)

1

,

2

,

4

Specify the TVA envelope times (Time 1– Time 4). Higher settings will lengthen the time until the next volume level is reached. (For example, Time 2 is the time over which Level 1 will change to Level

2.)

Value: 0–127

Fantom-X678_r_e.book 95 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Rhythm Set

A-Env Level 1–3 (TVA Envelope Level 1–3)

3

Specify the TVA envelope levels (Level 1–Level 3). These settings specify how the volume will change at each point, relative to the standard volume (the Rhythm Tone Level value specified in the TVA screen).

Value: 0–127 fig.06-041.e

T1 T2 T3 T4

Level

Note on

L1 L2

T: Time L: Level

L3

Note off

Output Settings (Output)

fig.07-014_50

Time

For details on these settings, refer to

“How to make Rhythm

Set settings” (p. 83).

Rhythm Out Assign

Specifies for each rhythm set how the direct sound will be output.

Value:

MFX:

A, B:

1–4:

Output in stereo through multi-effects. You can also apply chorus or reverb to the sound that passes through multi-effects.

Output to the OUTPUT A (MIX) jack or OUTPUT B jack in stereo without passing through multi-effects.

Output to the INDIVIDUAL 1–4 jacks in mono without passing through multi-effects.

If you've made settings so that sounds are separately routed to the INDIVIDUAL 1 jack and INDIVIDUAL 2 jack, but no plug is actually inserted in the INDIVIDUAL 2 jack, the sounds routed to INDIVIDUAL 1 and INDIVIDUAL 2 will be mixed and output from the INDIVIDUAL 1 jack.

If the Mix/Parallel parameter is set to “MIX,” all sounds are

output from the OUTPUT A (MIX) jacks in stereo (p. 230).

Tone Out Assign

Specifies how the direct sound of each tone will be output.

Value:

MFX:

A, B:

1–4:

Output in stereo through multi-effects. You can also apply chorus or reverb to the sound that passes through multi-effects.

Output to the OUTPUT A (MIX) jack or OUTPUT B jack in stereo without passing through multi-effects.

Output to the INDIVIDUAL 1–4 jacks in mono without passing through multi-effects.

If the Rhythm Output Assign is set to anything other than

“TONE,” these settings will be ignored.

If you've made settings so that sounds are separately routed to the INDIVIDUAL 1 jack and INDIVIDUAL 2 jack, but no plug is actually inserted in the INDIVIDUAL 2 jack, the sounds routed to INDIVIDUAL 1 and INDIVIDUAL 2 will be mixed and output from the INDIVIDUAL 1 jack.

* If the Mix/Parallel parameter is set to “MIX,” all sounds are output

from the OUTPUT A (MIX) jacks in stereo (p. 230).

* If you've set Tone Out Assign to “MFX,” set the MFX Output

Assign parameter (p. 208) to specify the output destination of the

sound that has passed through the multi-effects.

* Chorus and reverb are output in mono at all times.

* The output destination of the signal after passing through the chorus

is set with the Chorus Output Select (p. 209) and the Chorus Output

Assign (p. 209).

* The output destination of the signal after passing through the reverb is

set with the Reverb Output Assign (p. 212).

Tone Out Level

Set the level of the signal that is sent to the output destination specified by Patch/Tone Output Assign.

Value: 0–127

Tone Chorus Send (Send Level (Output=MFX))

1

Specifies the level of the signal sent to the chorus for each tone if the tone is sent through MFX.

Value: 0–127

Tone Reverb Send (Send Level (Output=MFX))

2

Specifies the level of the signal sent to the reverb for each tone if the tone is sent through MFX.

Value: 0–127

95

Fantom-X678_r_e.book 96 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Rhythm Set

Tone Chorus Send (Send Level (Output=non

MFX))

3

Sets the level of the signal sent to chorus for each tone if the tone is not sent through MFX.

Value: 0–127

Tone Reverb Send (Send Level (Output=non

MFX))

4

Sets the level of the signal sent to reverb for each tone if the tone is not sent through MFX.

Value: 0–127

Setting Effects for a Rhythm Set

(Effects/MFX/MFX Control/Chorus/

Reverb)

For details regarding effect settings, refer to the pages shown below.

“Applying Effects in Patch Mode” (p. 207)

“Making Multi-Effects Settings (MFX1–3)” (p. 213)

“Making Chorus Settings (Chorus)” (p. 215)

“Making Reverb Settings (Reverb)” (p. 216)

96

Fantom-X678_r_e.book 97 ページ 2007年3月20日 火曜日 午前10時20分

Playing in Performance Mode

A performance contains settings that apply to each individual part, such as the patch (rhythm set) assigned to each part, and its volume and pan.

Broadly speaking, Performance mode consists of two screens: Layer screen and Mixer screen.

Use the Layer screen when you want to combine multiple sounds

(patches or rhythm sets) to create complex sounds. This lets you play patches together (“layer”) or play different patches in separate areas of the keyboard (“split”).

Use the Mixer screen when you want to mix the sounds by adjusting the level and pan for each of 16 parts.

When you play the keyboard, you will hear the current part and the parts whose keyboard switch has a check mark.

In addition to the settings of each part, the following settings can also be stored for each performance.

• Controller settings such as the D Beam, realtime control knobs, assignable switches, and pads

• Arpeggio and chord memory settings

• Rhythm group number

Displaying Performance

Layer Screen

To access the Performance Layer screen, use the following procedure.

1.

Press PERFORMANCE [LAYER/SPLIT].

You will enter Performance mode, and the Layer screen appears.

fig.04-015_50

Displaying Performance

Mixer Screen

To access the Performance Mixer screen, use the following procedure.

1.

Press PERFORMANCE [MIXER].

You will enter Performance mode, and the Mixer screen appears.

fig.04-016_50

2.

Press [F6] to switch the page.

fig.08-001_50

97

Fantom-X678_r_e.book 98 ページ 2007年3月20日 火曜日 午前10時20分

Playing in Performance Mode

Functions in the PERFORMANCE Layer/Mixer Screen

fig.08-002.e

MIXER1 screen

4 2

LAYER screen

1 4 2

3

8 7

5 3

6

7

11

5

9

17

15

10 16

11 12 13 11 14

MIXER2 screen

18

11 12 13

3

4

1

2

5

6

7

8

Indicates the current sound generating mode.

Indicates the name of the currently selected song, the measure location, the time signature, and the sequencer status.

Indicates the Octave Shift (Oct) and the Transpose (Trans).

Indicates multi-effects (MFX), chorus (CHO), reverb (REV) and mastering (MASTER) on and off.

Indicates the tempo at which the song,

Arpeggio or rhythm pattern is played.

Indicates the Loop Play on/off (LOOP).

MIXER screen: Indicates the group, number, and name of the selected performance.

LAYER screen: Selects the group, number of the selected performance.

LAYER screen: Displays the patches assigned to the parts.

When you switch the current part, the part number will also change.

Current Indicates the part.

9

10

11

12

Set the volume (LEVEL), pan (PAN), reverb (REV), chorus (CHO), Mute Sw (M), Solo Sw (S) of the part.

The setting screen is divided into two screens, and you can press function button [F6] to switch between them.

Indicates the keyboard switch on/off.

Jumps to the setting screen of the displayed parameter.

Switches the MIXER screen 1 and 2.

13

These select the four parts that are controlled by the knobs.

The currently selected parts are enclosed by a light green border.

Use [CURSOR] ( or ) to select what is to be controlled.

14

15

Scrolls the settings through parts 1-16.

Indicates the functions that are assigned to each realtime controller knob (

) and assignable switch (

).

16

17

18

This indicates the function that is assigned to the D Beam controller, and the response status of the D Beam controller.

Indicates the key range in which you can play the keyboard or play rhythm sets.

Set the Part Course Tune (Key), Output Assign, Keyboard Sw (K) reverb (REV), Arpeggio Part (A), Pad Part (P) of the part.

The setting screen is divided into two screens, and you can press function button [F6] to switch between them.

98

Fantom-X678_r_e.book 99 ページ 2007年3月20日 火曜日 午前10時20分

Playing in Performance Mode

Selecting a Performance

The Fantom-X has two performance groups, including the User group and Preset groups, with each group storing 64 performances, for a total of 128 performances.

USER

This is the group inside the Fantom-X which can be rewritten.

Performances you yourself create can be stored in this group. The

Fantom-X contains 64 preset performances.

PRST (Preset)

This is the group inside the Fantom-X which cannot be rewritten.

However you may modify the settings of the currently selected performance, and then store the modified performance in User memory. The Fantom-X contains 64 preset performances.

CARD (Memory Card)

This group lets you use patches stored on a memory card inserted in the rear panel PC card slot. Since the data in this group can be rewritten, you can use this group to store patches that you create.

1.

Press [LAYER/SPLIT].

2.

Press [CURSOR] to move the cursor to the performance group.

fig.08-003.e

Performance group

Performance number

3.

Turn the VALUE dial, or press [INC]/[DEC] to select a performance group.

USER:

PRST:

User

Preset

CARD: Memory Card

4.

Press [CURSOR] to move the cursor to the performance number.

5.

Turn the VALUE dial or press [INC]/[DEC] to select the performance number.

Selecting Performances from the

List

You can display a list of performances and select a performance from that list.

1.

Press [LAYER/SPLIT] or [MIXER].

2.

Press [F5 (Perf List)].

The Performance List screen appears.

fig.08-004_50

3.

To switch the performance group, press [F1(

)] [F2 (

)] to move the cursor to the performance group tab, and press

or to select the performance.

4.

Press [F8 (Select)] to close the Performance List screen.

Creating a list of frequently used Patches and

Performances (the Live

Setting function)

You can create a list of frequently used sounds, and recall them instantly. Since you can register Patches, Rhythm Sets, or

Performances, any type of sound you need can be recalled instantly regardless of the mode.

For details, refer to p. 42.

99

Fantom-X678_r_e.book 100 ページ 2007年3月20日 火曜日 午前10時20分

Playing in Performance Mode

Selecting Favorite

Performances

You can bring together your favorite and most frequently used performances in one place by registering them in the Favorite

Performance. By using this function you can quickly select your favorite performances.

For instructions on how to register to the Favorite Performance, refer to

“Registering a Favorite Performance” (p. 100).

1.

Press [LAYER/SPLIT] or [MIXER].

2.

Press [F5 (Perf List)] and then press [F3 (Favorite)].

The Favorite List screen appears.

fig.08-005_50

3.

Press [F3 (Favorite)].

The Favorite List screen appears.

fig.08-006_50

3.

Press or to select a performance number.

To switch banks, press [F1 ( ⇑ )] [F2 ( ⇓ )].

4.

Press [F8 (Select)] to select the patch.

Registering a Favorite

Performance

You can bring together your favorite and most frequently used

Performances in one place by registering them in the Favorite

Performance. By using this function you can rapidly select favorite

Performances from Preset/User/Card area or a Wave Expansion

Board. You can register a total of 64 Performances (8 sounds x 8 banks) as favorite Performance.

For details on selecting a favorite performance, refer to

“Selecting Favorite Performances” (p. 100).

1.

Select the Performance that you wish to register (p. 99).

2.

Press [F5 (Perf List)].

4.

Press [F1 ( ⇑ )] [F2 ( ⇓ )] to select the bank in which you wish to register the Performance.

5.

Press or to select the number to which you wish to register. The number you select here corresponds to [F1]–

[F8].

6.

Press [F6 (Regist)] to execute the registration.

* To cancel, press [EXIT].

By pressing [F5 (Remove)] you can cancel the Performance registration that is selected in the Favorite List screen.

Using the Layer Screen

Selecting a Part

The currently selected part is called the “current part.”

1.

From the Layer screen, Use

The selected part is indicated by “ fig.08-007_50

or

.”

to select the part.

100

Fantom-X678_r_e.book 101 ページ 2007年3月20日 火曜日 午前10時20分

Playing in Performance Mode

Selecting the Part that You want to

Sound (Keyboard Switch)

Here's how to select the parts whose patch or rhythm set will sound.

For each part, use the check box to specify whether that part will be played from the keyboard; this is called the “keyboard switch.”

1.

From the Layer screen, Use [CURSOR] to move the cursor to “KBD,” and press [INC] to add a check mark ( ✔ ) to

“KBD.”

When you play the keyboard, you will hear the current part and the parts that have a check mark.

fig.08-008_50

Selecting the Sound for a Part

If you don’t like the patch that is assigned to a part, it’s easy to switch the patch.

Selecting from a list display

1.

Select the part whose sound you want to switch.

2.

Press [F1 (Patch List)].

The Patch List screen will appear.

fig.05-008_50

About the keyboard switch

Use the keyboard switch when you want to play multiple sounds layered together (Layer) or assign different sounds to different regions of the keyboard (Split). Conversely, you can turn off all keyboard switches when you are creating data, etc.

* To cancel, press [EXIT].

3.

Use or to select a patch.

If you press [F4 (Patch Categ)], the list will show the categories.

If you press [F5 (Patch)] or [F6 (Rhythm)], the list will show the patch groups.

fig.05-009_50

To switch groups, press [F1 ( ⇑ )] [F2 ( ⇓ )].

By pressing [F7 (Preview)] you can audition a patch using a preselected phrase appropriate for that type (category) of patch

(Phrase Preview).

4.

Press [F8 (Select)] to select the patch.

101

Fantom-X678_r_e.book 102 ページ 2007年3月20日 火曜日 午前10時20分

Playing in Performance Mode

Combining and Playing Sounds

Together (Layer)

In Performance mode you can play the sounds of all parts whose

Internal Switch is on, and all connected parts. Combining the parts will produce, thicker, fatter sounds.

fig.08-009.e

Part 1

(Rx ch.1)

Part 2

(Rx ch.2)

Part 15

(Rx ch.15)

Part 16

(Rx ch.16)

KBD Switch:

On

1 (Tx ch.1)

2 (Tx ch.2)

15 (Tx ch.15)

16(Tx ch.16)

Rx ch.: Receive Channel

Tx ch.: Transmit Channel

1.

Press [LAYER/SPLIT] to access the Layer screen.

2.

Press or to select the part you want to play.

The Performance Edit screen appears.

3.

Press [INC] to add a check mark to the part that you want to sound.

Pressing [DEC] will remove the check mark.

The bar shown above the keyboard indicates the range of keys that will sound.

When you play the keyboard, you will hear the current part and the parts whose keyboard switch has a check mark.

4.

Repeat steps 2. 3. to turn the Internal Switch on for all parts that are connected to the parts you want to play.

Playing Different Sounds in

Different Areas of the Keyboard

(Split)

In Performance mode you can divide the keyboard and play a different patch in each area (this is called “split”). As the note range that plays each part can be specified individually, you can split the keyboard into a maximum of 16 sections.

For instance, you can play strings in the lower range, piano in the upper range, and both sounds in the middle range.

fig.08-010.e

A split performance is one application of a layer. Changing the key range of each part in the layer results in a split.

1.

Press [LAYER/SPLIT] to access the Layer screen.

2.

Press or to select the part you want to play.

3.

Press [F3 (Key Range)].

4.

Press [F3 (KBD)], move the cursor to the keyboard switch, and press [INC] to turn on the keyboard switch that is connected to the part you want to sound.

5.

To set the lower limit of the range, use [F4 (Lower)] to move the cursor to “Key Range Lower.” To set the lower limit of the range, use [F5 (Upper)] to move the cursor to “Key

Range Upper.”

Turn the VALUE dial or press [INC]/[DEC] to specify the range.

The bar shown above the keyboard indicates the range of keys that will sound.

If you attempt to set the lower limit higher than the upper limit, or attempt to set the upper limit below the lower limit, the other setting will change with the same value.

fig.08-011_50

Value: Key Range Lower: C-1–UPPER

Key Range Upper: LOWER–G9

By specifying sections for different parts so that they overlap each other, you can combine two or more parts only in a specific section.

6.

When you are finished making settings, press [F8 (Close)] to return to the Performance Layer screen, and begin playing.

Part 1: Strings

102

Part 1 + Part 2:

(Strings + Piano)

Part 2: Piano

Fantom-X678_r_e.book 103 ページ 2007年3月20日 火曜日 午前10時20分

Playing in Performance Mode

Using the Mixer Screen

Selecting Parts for a Layer or Split

The currently selected part is called the “current part.”

1.

In the Mixer 2 screen, use or to select the part.

fig.08-012

Current Part

Selecting the Sound for a Part

You can switch the patch that is assigned to a part.

Selecting from a list display

1.

Select the part whose sound you want to switch.

2.

Press [F1 (Patch List)].

The Patch List screen will appear.

fig.05-008_50

* Use [CURSOR] to move the “Part,” and turn VALUE dial or press

[INC] [DEC] to select the part.

You can also select multiple parts in the Mixer screen.

2.

In the Mixer 2 screen, press bottom of the screen.

to move the cursor to the

3.

Press [INC] to display “KBD,” and select the part that you want to sound.

When you play the keyboard, you will hear the current part and the parts whose keyboard switch has a check mark.

fig.08-013_50

* To cancel, press [EXIT].

3.

Use or to select a patch.

If you press [F4 (Patch Categ)], the list will show the categories.

If you press [F5 (Patch)] or [F6 (Rhythm)], the list will show the patch groups.

fig.05-009_50

About the keyboard switch

Use the keyboard switch when you want to play multiple sounds layered together (Layer) or assign different sounds to different regions of the keyboard (Split). Conversely, you can turn off all keyboard switches when you are creating data, etc.

To switch groups, press [F1 ( ⇑ )] [F2 ( ⇓ )].

By pressing [F7 (Preview)] you can audition a patch using a preselected phrase appropriate for that type (category) of patch

(Phrase Preview).

4.

Press [F8 (Select)] to select the patch.

103

Fantom-X678_r_e.book 104 ページ 2007年3月20日 火曜日 午前10時20分

Playing in Performance Mode

Selecting in the Mixer Screen

1.

Press [MIXER] to access the MIXER screen.

2.

Use or to select a part.

3.

Use fig.08-014

to move the cursor to the patch number.

4.

Turn the VALUE dial or use [INC] [DEC] to select a patch.

Selecting the Rhythm Set

1.

Press [MIXER] to access the MIXER screen.

2.

Use or to select a part.

3.

Use fig.08-015

to move the cursor to the following location.

Editing the Part Settings

In the Mixer screen you can set the following parameters for each part.

Performance Mixer1 screen

Parameter

Part Level (p. 108)

Part Pan (p. 108)

Part Reverb Send (p. 108)

Part Chorus Send (p. 108)

Solo Switch (p. 105)

Mute Switch (p. 105)

Shown in the Mixer screen as

Level

Pan

Rev

Cho

S

M

Performance Mixer2 screen

Parameter

Keyboard Switch (p. 110)

Arpeggio Part (p. 130)

Pad Part (p. 161)

Part Coarse Tune (p. 109)

Output Assign (p. 108)

Shown in the Mixer screen as

K

A

P

Key

Output Assign

1.

Press [MIXER].

The Performance Mixer 1 screen will appear.

* If you want to edit the parameters of the Performance Mixer 2 screen, press [F6] to switch screens.

fig.04-016_50

4.

Turn the VALUE dial or press [INC] [DEC] to select “R.”

The rhythm set will be selected.

2.

Use or want to edit.

to move the cursor to the parameter you

3.

Use or to move the cursor to the part that you want to edit.

4.

Turn the VALUE dial or use [INC] [DEC] to set the desired value.

The green border enclosing four parts corresponds to the four

REALTIME CONTROL knobs.

104

Fantom-X678_r_e.book 105 ページ 2007年3月20日 火曜日 午前10時20分

Playing in Performance Mode

Selecting a Part to Play

Individually (Solo)

When playing back a song, you can choose to hear just a specific part play by itself.

1.

Press [MIXER] to access the Mixer screen.

2.

Use to move the cursor to the solo switch.

3.

Turn the VALUE dial or press [INC] or [DEC] to turn the

SOLO switch on/off.

fig.08-016_50

Silencing the Playback of a Specific

Part (Mute)

When playing along with a song, you can turn off (i.e., mute) parts you don't want to hear. This allows you to turn off the melody part for karaoke applications or for practicing the muted part.

1.

Press [MIXER] to access the Mixer screen.

2.

Use to move the cursor to the mute switch.

3.

Turn the VALUE dial or press [INC] or [DEC] to turn the

MUTE switch on/off.

fig.08-016a_50

This setting is linked with the Solo Part Select parameter (Part

View screen), and can be saved as a performance setting.

Part Mute does not turn off the MIDI receive switch; rather, it sets the volume to the minimum setting to silence the sound.

Therefore, MIDI messages are still received.

Part Mute does not turn off the MIDI receive switch; rather, it sets the volume to the minimum setting to silence the sound.

Therefore, MIDI messages are still received.

Using pads to mute Parts

You can use the pads to switch part muting on/off. Pad numbers 1–

16 correspond to part numbers 1–16.

1.

Press [MIXER] to access the Mixer screen.

2.

Press [F3 (Mute)].

The Muting Parts with Dynamic Pads screen will appear.

At this time, the pads will function as mute on/off buttons; each time you press a pad, muting will be switched on or off.

• Pad lit: muted

• Pad unlit: not muted

Pressing [F6 (All Mute)] will mute all parts. Pressing [F7 (All

Play)] will un-mute all parts.

105

Fantom-X678_r_e.book 106 ページ 2007年3月20日 火曜日 午前10時20分

Playing in Performance Mode

Viewing the Part Settings as a

List (Performance Part View)

In Performance mode you can view the part settings as a list. This is called the “Part View” screen. In this screen you can view a list that shows settings for all parts at once, such as the patch assigned to each part, and its volume and pan settings. You can also edit these settings here, and make detailed settings that cannot be made in the

Layer screen or Mixer screen.

1.

Access the Performance Layer or Mixer screen.

2.

Press [F2 (Part View)].

The Part View screen will appear.

For details on the setting, refer to “Viewing the Part Settings as a List (Performance Part View)” (p. 107).

fig.08-017_50

Viewing MIDI messages for each Part (Part Information)

In Performance mode, the reception status of MIDI messages that control various things can be viewed for each part. This is useful when you want to check whether the sound generator is responding correctly to the keyboard, or to operations from an external MIDI controller.

1.

Access the Performance Layer or Mixer screen (p. 97).

2.

Hold down [SHIFT] and press [F2 (Part Info)].

The Part Information window appears.

fig.08-018_50

3.

Press [F1 (Level/Pan)]–[F8 (MIDI Filter)] to select the screen.

4.

Press [EXIT] to return to the Layer or Mixer screen.

Performing with the

Arpeggio/Rhythm function

For details on using the Arpeggio and Rhythm functions, refer to

“Playing Arpeggios” (p. 128) ,”

and

“Playing Rhythms” (p. 135).

Performing with the

Realtime Controllers and D

Beam Controller

For details on the setting, refer to

“Make Settings for the Realtime

Controllers and D Beam Controller (Ctrl)” (p. 114).

3.

Turn VALUE dial or press [INC][DEC] to select the message that you want to check.

Modulation:

Breath:

Modulation messages

Breath messages

Foot Type:

Volume:

Panpot:

Expression:

Foot type messages

Volume messages

Panpot messages

Expression messages

Hold 1:

Pitch Bend:

Aftertouch:

Voices:

Hold 1 messages

Pitch Bend messages

Aftertouch messages

Voice messages (The number of voices used)

4.

Press [F8 (Close)] to close the window.

Viewing the number of voices used by the sound generator (Voice Monitor)

For details, refer to

“Viewing the number of voices used by the sound generator (Voice Monitor)” (p. 37).

Adjusting the Master Level

For details, refer to

“How Do I Adjust the Volume?” (p. 229)

106

Fantom-X678_r_e.book 107 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Performance

With the Fantom-X, you have total control over a wide variety of settings. Each item that can be set is known as a parameter . When you change the values of parameters, you are doing what is referred to as Editing . This chapter explains the procedures used in creating

Performances, and the functions of the Performance parameters.

Viewing the Part Settings as a

List (Performance Part View)

In Performance mode you can view the part settings as a list. This is called the “Part View” screen. In this screen you can view a list that shows settings for all parts at once, such as the patch assigned to each part, and its volume and pan settings. You can also edit these settings here, and make detailed settings that cannot be made in the

Layer screen, or Mixer screen.

1.

Access the Performance Layer or Mixer screen.

2.

Press [F2 (Part View)].

The Part View screen will appear.

fig.08-017_50

3.

When you have finished making settings, press [EXIT] to return to the LAYER/SPLIT or Mixer screen.

When the cursor is at a patch group or patch number, you can press [ENTER] to open the Patch List screen and choose a patch

from the list (p. 41).

Adjusting the Parameters of Each

Part

1.

Access the Part View screen.

2.

Press [F1 (Level/Pan]–[F8 (MIDI Filter)] to select the parameter.

fig.09-001_50

3.

Use [CURSOR] to move the cursor to the parameter you want to change.

4.

Turn the VALUE dial or press [INC]/[DEC], set the value.

* The name of the parameter at the cursor location is displayed in the bottom line of the Part View screen.

[F1 (Level/Pan)]

Patch Type

Sets the assignment of a patch (Patch) or rhythm set (Rhythm) to each of the parts.

Patch Bank

Selects the group to which the desired patch or rhythm set belongs.

Value

USER:

PRA–H:

GM:

CARD:

XP-A–D:

User

Preset A–H

GM (GM2)

Card

Wave Expansion Boards installed in EXP-A–D Slots

Patch Number

Selects the desired patch or rhythm set by its number.

Value: 001–

Keyboard Switch

Specifies, for each part, whether or not the keyboard controller section will be connected to the internal sound generator.

Value: OFF, ON (

)

Solo Switch

Check “

” this setting if you want to hear the part by itself; this is called “soloing” the part.

Value: OFF, ON (

)

Mute Switch

Mutes (

) or un-mutes (OFF) each part.

Use this setting when, for example, you want to use the instrument for karaoke by muting the part playing the melody, or when you want to play something using a separate sound module.

Value: OFF, ON (

)

The Mute Switch parameter does not turn the part off, but sets the volume to minimum so that no sound is heard. Therefore,

MIDI messages are still received.

107

Fantom-X678_r_e.book 108 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Performance

Part Level

Adjust the volume of each part. This setting’s main purpose is to adjust the volume balance between parts.

Value: 0–127

Part Pan

Adjust the pan of each part. “L64” is far left, “0” is center, and “63R” is far right.

Value: L64–0–63R

[F2 (Output Effect)]

fig.09-002_50

For details on these settings, refer to

“Adjusting the

Parameters of Each Part” (p. 107).

Part Output Assign

Specifies for each part how the direct sound will be output.

Value

MFX:

A, B:

1–4:

PAT:

Output in stereo through multi-effects. You can also apply chorus or reverb to the sound that passes through multi-effects.

Output to the OUTPUT A (MIX) jack or OUTPUT B jack in stereo without passing through multi-effects.

Output to the INDIVIDUAL 1–4 jacks in mono without passing through multi-effects.

The part’s output destination is determined by the settings of the patch or rhythm set assigned to the part.

If you've made settings so that sounds are separately routed to the INDIVIDUAL 1 jack and INDIVIDUAL 2 jack, but no plug is actually inserted in the INDIVIDUAL 2 jack, the sounds routed to INDIVIDUAL 1 and INDIVIDUAL 2 will be mixed and output from the INDIVIDUAL 1 jack.

If the Mix/Parallel parameter is set to “MIX,” all sounds are

output from the OUTPUT A (MIX) jacks in stereo (p. 230).

If you've set Tone Out Assign to “MFX,” set the MFX Output

Assign parameter to specify the output destination of the sound that has passed through the multi-effects.

• Chorus and reverb are output in mono at all times.

• The output destination of the signal after passing through the

chorus is set with the Chorus Output Select (p. 209) and the

Chorus Output Assign (p. 209).

• The output destination of the signal after passing through the

reverb is set with the Reverb Output Assign (p. 209).

Part Output MFX Select (Part Output Multi-

Effects Select)

Of the three types of multi-effects that can be used simultaneously, specify which multi-effects will be used.

Value: 1–3 (MFX-1–MFX-3)

Part Output Level

Set the level of the signal that is sent to the output destination specified by Part Output Assign.

Value: 0–127

Part Chorus Send Level

Sets the level of the signal sent to chorus for each part.

Value: 0–127

Part Reverb Send Level

Sets the level of the signal sent to reverb for each part.

Value: 0–127

MFX1–3 Source

Chorus Source

Reverb Source

The settings of a specific patch can be used as the settings for MFX1

(1)–MFX3 (3), chorus (C), and reverb (R). This setting specifies the part to which this patch has been assigned.

If no part is selected, the settings of the Performance will be used.

For the following parameters, settings can be made individually for each multi-effects (MFX1–MFX3) selected in Part Output

MFX Select.

108

Fantom-X678_r_e.book 109 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Performance

[F3 (Pitch)]

fig.09-003_50

For details on these settings, refer to

“Adjusting the

Parameters of Each Part” (p. 107).

Part Octave Shift

Adjusts the pitch of the part’s sound up or down in units of an octave (+/-3 octaves).

Value: -3– +3

Note that when a rhythm set is assigned to a part, you cannot modify the Octave Shift parameter.

Part Coarse Tune

Adjusts the pitch of the part’s sound up or down in semitone steps

(+/-4 octaves).

Value: -48– +48

Coarse Tune and Octave Shift

The Coarse Tune and Fine Tune parameters, along with the

Octave Shift parameter, can all be seen as doing the same thing to the sound, i.e., changing the pitch of the sound. For example, if C4 (Middle C) is played with the Coarse Tune parameter set to “+12,” the note produced is C5 (one octave above C4). For example, if C4 (Middle C) is played with the Octave Shift parameter set to “+1,” the note produced is C5 (one octave above C4).

However, internally these function very differently. When the

Coarse Tune parameter is set to “+12,” the pitch itself is raised one octave. On the other hand, when the Octave Shift parameter is set to “+1,” it is the same as pressing the keys one octave up.

In other words, use the Coarse Tune parameter when changing the pitch, and the Octave Shift parameter when you want to shift the entire keyboard, for example, when the number of keys is insufficient.

Part Fine Tune

Adjusts the pitch of the part’s sound up or down in 1-cent steps (+/-

50 cents).

Value: -50– +50

One cent is 1/100th of a semitone.

Part Mono/Poly

Set this parameter to “MONO” when the patch assigned to the part is to be played monophonically, or to “POLY” when the patch is to be played polyphonically. If you want to use the Mono/Poly setting

of the patch assigned to the part (p. 77), set this to “PAT.”

Value: MONO, POLY, PAT

This setting is ignored for parts to which a rhythm set is assigned.

Part Legato Switch

You can add legato when performing monophonically. The term

“legato” refers to a playing style in which notes are smoothly connected to create a flowing feel. This creates a smooth transition between notes, which is effective when you wish to simulate the hammering-on and pulling-off techniques used by a guitarist.

Turn this parameter “ON” when you want to use the Legato feature and “OFF” when you don’t. If you want to use the Legato Switch

setting of the patch assigned to the part (p. 77), set this to “PAT.”

Value: OFF, ON, PAT

This setting is ignored for parts to which a rhythm set is assigned.

Part Pitch Bend Range

Specifies the amount of pitch change in semitones (2 octaves) that will occur when the Pitch Bend Lever is moved. The amount of change when the lever is tilted is set to the same value for both left and right sides. If you want to use the Pitch Bend Range setting of

the patch assigned to the part (p. 67), set this to “PAT.”

Value: 0–24, PAT

Part Portamento Switch

Specify whether portamento will be applied. Turn this parameter

“ON” when you want to apply Portamento and “OFF” when you don’t. If you want to use the Portamento Switch setting of the patch

assigned to the part (p. 77), set this to “PAT.”

Value: OFF, ON, PAT

Part Portamento Time

When portamento is used, this specifies the time over which the pitch will change. Higher settings will cause the pitch change to the next note to take more time. If you want to use the Portamento Time

setting of the patch assigned to the part (p. 78), set this to “PAT.”

Value: 0–127, PAT

This setting is ignored for parts to which a rhythm set is assigned.

109

Fantom-X678_r_e.book 110 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Performance

[F4 (Offset)]

fig.09-004_50

For details on these settings, refer to

“Adjusting the

Parameters of Each Part” (p. 107).

Part Cutoff Offset

Adjusts the cutoff frequency for the patch or rhythm set assigned to a part.

Value: -64– +63

Patches also have a Cutoff Offset setting (p. 61). The final Cutoff

frequency value is the sum of the tone Cutoff Frequency value and the patch and part Cutoff Offset values. If the tone’s cutoff frequency is already set to “127” (maximum), there will be no change produced by setting the Cutoff Offset to a positive value.

Part Resonance Offset

Adjusts the Resonance for the patch or rhythm set assigned to a part.

Value: -64– +63

Patches also have a Resonance Offset setting (p. 62). The final

Resonance value is the sum of the tone Resonance value and the patch and part Resonance Offset values. If the tone’s resonance is already set to “127” (maximum), there will be no change produced by setting the resonance offset to a positive value.

Part Attack Time Offset

Adjusts the TVA/TVF Envelope Attack Time for the patch or rhythm set assigned to a part.

Value: -64– +63

Patches also contain the Attack Time Offset setting (p. 62). The

final TVA Envelope attack time value is therefore the sum of the tone’s TVA Envelope Time 1 setting, the patch’s Attack Time

Offset, and the part’s Attack Time Offset. If the tone’s Time 1 parameter is already set to “127” (maximum), there will be no change produced by setting the Attack Time Offset to a positive value.The same applies to the TVF envelope.

Part Release Time Offset

Adjusts the TVA/TVF Envelope Release Time for the patch or rhythm set assigned to a part.

Value: -64– +63

Patches also contain a Release Time Offset setting (p. 62). The

final TVA Envelope release time value is therefore the sum of the tone’s TVA Envelope Time 4 setting, the patch’s Release

Time Offset, and the part’s Release Time Offset. If the tone’s

Time 4 parameter is set to “127” (maximum), there will be no change in the Release Time Offset, even when this is set to a positive value.The same applies to the TVF envelope.

Part Decay Time Offset

Adjusts the TVA/TVF Envelope Decay Time for the patch or rhythm set assigned to a part.

Value: -64– +63

[F5 (Key Range)]

fig.09-005_50

For details on these settings, refer to

“Adjusting the

Parameters of Each Part” (p. 107).

Specifies whether the controller (keyboard) section will be connected to the internal sound generator and MIDI OUT regardless of the current part. Normally, you will leave this off, but you can turn it on if you want to layer sounds.

Value: ON, OFF

Keyboard Switch

Specifies, for each part, whether or not the keyboard controller section will be connected to the internal sound generator.

Value: On, OFF

Keyboard Range Lower (Part Keyboard Range

Lower)

Specifies the lowest note that the tone will sound for each part.

Value: C-1–UPPER

110

Fantom-X678_r_e.book 111 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Performance

Keyboard Range Upper

(Part Keyboard Range Upper)

Specifies the highest note that the tone will sound for each part.

Value: LOWER–G9

When the Key Range (p. 65) is set for each individual tone in a

patch, sounds are produced in the range where the Key Range of each tone and the Key Range for the part overlap.

fig.09-006.e

Key range specified for Performance

Key range specified for Patch

The range in which notes will play

If you attempt to raise the lower key higher than the upper key, or to lower the upper key below the lower key, the other value will be automatically modified to the same setting.

Part Velocity Sensitivity Offset

This changes the volume and cutoff frequency for each part according to the velocity with which the keys are pressed. If you want strongly played notes to raise the volume/cutoff frequency, set this parameter to positive (+) settings. If you want strongly played notes to lower the volume/cutoff frequency, use negative (-) settings. Set Velocity Sensitivity to “0” when you want sounds played at a fixed volume and cutoff frequency, regardless of the force with which the keys are played.

Value: -63– +63

Patches also contain a Velocity Sensitivity Offset setting (p. 62).

The ultimate Velocity Sensitivity Offset value is the sum of the part’s and the patch’s Velocity Sensitivity Offsets. Accordingly, if the patch’s Velocity Sensitivity Offset parameter is set to

“127” (maximum), there will be no change in the part’s Velocity

Sensitivity Offset, even when this is set to a positive value.

Part Vibrato Rate

For each part, adjust the vibrato speed (the rate at which the pitch is modulated). The pitch will be modulated more rapidly for higher settings, and more slowly with lower settings.

Value: -64– +63

Part Vibrato Depth

For each part, this adjusts the depth of the vibrato effect (the depth at which the pitch is modulated). The pitch will be modulated more greatly for higher settings, and less with lower settings.

Value: -64– +63

Part Vibrato Delay

For each part, this adjusts the time delay until the vibrato (pitch modulation) effect begins. Higher settings will produce a longer delay time before vibrato begins, while lower settings produce a shorter time.

Value: -64– +63

Voice Reserve

This setting specifies the number of voices that will be reserved for each part when more than 128 voices are played simultaneously.

Value: 0–63, FUL

It is not possible for the settings of all parts to total an amount greater than 128. The remaining number of available voices will be displayed at (rest=). Pay attention to this readout as you make Voice Reserve settings.

Calculating the Number of Voices Being Used

The Fantom-X is able to play up to 128 notes simultaneously.

The polyphony, or the number of voices (sounds) does not refer only to the number of sounds actually being played, but changes according to the number of tones used in the patches, and the number of Waves used in the tones. The following method is used to calculate the number of sounds used for one patch being played.

(Number of Sounds Being Played) x (Number of Tones Used by

Patches Being Played) x (Number of Waves Used in the Tones)

Realtime Stretch requires twice the normal polyphony.

[F6 (Scale Tune)]

fig.09-007_50

For details on these settings, refer to

“Adjusting the

Parameters of Each Part” (p. 107).

Part Scale Tune C–B

Make scale tune settings for each part.

Value: -64– +63

Scale Tune is switched on/off by means of the Scale Tune

Switch parameter (p. 232).

111

Fantom-X678_r_e.book 112 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Performance

Equal Temperament

This tuning divides the octave into 12 equal parts, and is the most widely used method of temperament used in Western music. The Fantom-X employs equal temperament when the

Scale Tune Switch is set to “OFF.”

Just Temperament (Tonic of C)

Compared with equal temperament, the principle triads sound pure in this tuning. However, this effect is achieved only in one key, and the triads will become ambiguous if you transpose.

Arabian Scale

In this scale, E and B are a quarter note lower and C#, F# and G# are a quarter-note higher compared to equal temperament. The intervals between G and B, C and E, F and G#, Bb and C#, and

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

<Example>

E

F

F#

G

C

C#

D

Eb

G#

A

Bb

B

Note name

0

0

0

0

0

0

0

0

0

0

0

0

Equal temperament

-14

-2

-10

+2

+14

-16

+14

-12

Just Temperament

(tonic C)

0

-8

+4

+16

Arabian

Scale

-6

+45

-2

-12

-51

-8

+43

-4

+47

0

-10

-49

[F7 (External)]

fig.09-008_50

Receive Switch

For each part, specify whether MIDI messages will be received (ON), or not (OFF).

If this is “OFF,” the part will not respond. Normally, you should leave this “ON,” but you can turn it “OFF” when you do not want a specific part to be playing during song playback.

Value: OFF, ON

Receive Channel

Specifies the MIDI receive channel for each part

Value: 1–16

Ext Bank Select MSB (External Bank Select

MSB)

If you want a Bank Select number MSB (controller number 0) to also be transmitted when you switch Performances, specify the value that you want to transmit (0–127) for each part. If you do not want this message to be transmitted, set this to “OFF.”

Value: 0–127, OFF

The data of the part for which the Keyboard Switch is turned off will not be transmitted.

Ext Bank Select LSB (External Bank Select LSB)

If you want a Bank Select number LSB (controller number 32) to also be transmitted when you switch Performances, specify the value that you want to transmit (0–127) for each part.

Value: 0–127

The data of the part for which the Keyboard Switch is turned off will not be transmitted.

Ext Program Number (External Program

Change Number)

If you want a Program Change number to also be transmitted when you switch Performances, specify the value that you want to transmit (0–128) for each part. If you do not want this message to be transmitted, set this to “OFF.”

Value: 1–128, OFF

The data of the part for which the Keyboard Switch is turned off will not be transmitted.

Ext Level (External Level)

If you want Volume messages to also be transmitted when you select a Performance, specify the desired value (0–127) for the part. If you do not want this message to be transmitted, set this to “OFF.”

Value: 0–127, OFF

The data of the part for which the Keyboard Switch is turned off will not be transmitted.

For details on these settings, refer to

“Adjusting the

Parameters of Each Part” (p. 107).

112

Fantom-X678_r_e.book 113 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Performance

Ext Pan (External Pan)

If you want Pan messages to also be transmitted when you select a

Performance, specify the desired value (L64–0–63R) for the part. If you do not want this message to be transmitted, set this to “OFF.”

Value: L64–0–63R, OFF

These messages will not be transmitted by parts whose

Keyboard Switch is turned off.

[F8 (MIDI Filter)]

fig.09-009_50

For details on these settings, refer to

“Adjusting the

Parameters of Each Part” (p. 107).

MIDI Filter

Program Change (Receive Program Change

Switch)

For each MIDI channel, specify whether MIDI Program Change messages will be received (ON), or not (OFF). Assigning a check mark (

) will enable reception, and removing the check mark will disable reception.

Bank Select (Receive Bank Select Switch)

For each MIDI channel, specify whether MIDI Bank Select messages will be received (ON), or not (OFF). Assigning a check mark ( ✔ ) will enable reception, and removing the check mark will disable reception.

Pitch Bend (Receive Pitch Bend Switch)

For each MIDI channel, specify whether MIDI Pitch Bend messages will be received (ON), or not (OFF). Assigning a check mark (

) will enable reception, and removing the check mark will disable reception.

Channel Pressure (Receive Channel Pressure

Switch)

For each MIDI channel, specify whether MIDI Channel Pressure messages will be received (ON), or not (OFF). Assigning a check mark ( ✔ ) will enable reception, and removing the check mark will disable reception.

Polyphonic Key Pressure (Receive Polyphonic

Key Pressure Switch)

For each MIDI channel, specify whether MIDI polyphonic key pressure messages will be received (ON), or not (OFF). Assigning a check mark ( ✔ ) will enable reception, and removing the check mark will disable reception.

Modulation (Receive Modulation Switch)

For each MIDI channel, specify whether MIDI Modulation messages will be received (ON), or not (OFF). Assigning a check mark (

) will enable reception, and removing the check mark will disable reception.

Volume (Receive Volume Switch)

For each MIDI channel, specify whether MIDI Volume messages will be received (ON), or not (OFF). Assigning a check mark ( ✔ ) will enable reception, and removing the check mark will disable reception.

Pan (Receive Pan Switch)

For each MIDI channel, specify whether MIDI Pan messages will be received (ON), or not (OFF). Assigning a check mark (

) will enable reception, and removing the check mark will disable reception.

Expression (Receive Expression Switch)

For each MIDI channel, specify whether MIDI Expression messages will be received (ON), or not (OFF). Assigning a check mark (

) will enable reception, and removing the check mark will disable reception.

Hold-1 (Receive Hold 1 Switch)

For each MIDI channel, specify whether MIDI Hold 1 messages will be received (ON), or not (OFF). Assigning a check mark (

) will enable reception, and removing the check mark will disable reception.

Phase Lock (Phase Lock Switch)

Set Phase Lock to “

” (ON) when you want to suppress discrepancies in timing of parts played on the same MIDI channel.

When the Phase Lock parameter is set to “ON,” parts on the same MIDI channel are put in a condition in which their timing is matched, enabling them to be played at the same time.

Accordingly, a certain amount of time may elapse between reception of the Note messages and playing of the sounds. Turn this setting to “ON” only as needed.

Velocity Curve

Velocity Curve selects for each MIDI channel one of the four following Velocity Curve types that best matches the touch of the connected MIDI keyboard. Set this to “OFF” if you are using the

MIDI keyboard’s own velocity curve.

Value: OFF, 1–4 fig.09-010

1 2 3 4

113

Fantom-X678_r_e.book 114 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Performance

Selecting the Parameter

Controlled by the Realtime

Controllers or D Beam

Controller (Control Setting)

The Fantom-X lets you assign the parameters that will be affected when you operate the realtime control knobs, assignable switches, D

Beam, pitch bend, or modulation lever. This lets you modify the sound in a variety of ways by operating the controllers.

1.

Access the Performance Layer or Mixer screen, and select

the Performance whose settings you wish to modify (p. 99).

If you want to create a performance from scratch (rather than starting from an existing performance), execute the Initialize

operation (p. 119).

2.

Press [F4 (Ctrl Setting)].

The Control Setting (Performance) screen appears.

fig.09-011_50

Make Settings for the Realtime

Controllers and D Beam Controller

(Ctrl)

fig.09-013_50

3.

The parameters are organized into several editing groups.

Press [F1 (

)] [F2 (

)] to select the tab for the editing group that contains the parameter you wish to edit.

4.

Use [CURSOR] to move the cursor to the parameter you wish to modify.

5.

Turn the VALUE dial or press [INC]/[DEC] to get the value you want.

6.

Repeat steps 3-5 to set each parameter you want to edit.

7.

The settings for the Solo Synth are saved for the system settings. Press [F8 (System Write)] to execute the write operation.

8.

The settings in the Control Setting screen are saved independently for each performance. If you wish to save the changes you’ve made, press [WRITE] to perform the Save

operation (p. 120). If you do not wish to save changes,

press [EXIT] to return to the Performance Layer or Mixer screen.

If you return to the Performance PLAY screen without saving, the display will indicate “*,” reminding you that the

Performance settings have been modified.

If you turn off the power or select a different sound while the display indicates “*,” your edited Performance will be lost.

114

For details on these settings, refer to

“Selecting the Parameter

Controlled by the Realtime Controllers or D Beam

Controller (Control Setting)” (p. 114).

D Beam (Pad Trigger)

Instead of striking the pads themselves, you can also use the D Beam controller to control the sounding of the pads.

PAD trigger settings are saved independently for each performance as part of the performance settings. This lets you create performances that make effective use of controller settings.

Pad Number

Specifies the pad number affected by the D Beam.

Value: 1–16

Pad Velocity

Specifies the strength of the pad sound played by the D Beam controller.

Value: 1–127

Pad Control Mode

This specifies how the D Beam will behave when it is obstructed. If this is set to MOMENTARY, the parameter will be on only while the

D Beam is obstructed, and will turn off when you stop obstructing it.

If this is set to LATCH, the parameter will alternately be switched on/off each time you obstruct the D Beam.

Value: MOMENTARY, LATCH

Fantom-X678_r_e.book 115 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Performance

D Beam (Solo Synth)

You can use the D Beam controller to perform in a way similar to on a mono synth.

fig.09-014_50

For details on these settings, refer to “Selecting the Parameter

Controlled by the Realtime Controllers or D Beam

Controller (Control Setting)” (p. 114).

When you press [F7 (Panel View)], the Panel View screen will appear, which displays the above parameters in graphical fashion, simulating an analog synthesizer. From the Panel View screen, you can press [F2 (Image View)] to open the Image View screen, where you can see a graphical indication of the D Beam output value. Press [EXIT] to leave this screen.To exit from this screen, press [EXIT].

Settings for the Solo Synth are saved for system settings.

OSC 1/2 Waveform

Select the waveform. SAW is a sawtooth wave, and SQR is a square wave.

OSC 1/2 Pulse Width

Specifies the pulse width of the waveform. By cyclically modifying the pulse width you can create subtle changes in the tone.

* The Pulse Width is activated when “SQR” is selected with OSC1/2 waveform.

Value: 0–127

OSC 1/2 Coarse Tune

Adjusts the pitch of the tone’s sound up or down in semitone steps

(+/-4 octaves).

Value: -48–+48

OSC 1/2 Fine Tune

Adjusts the pitch of the tone’s sound up or down in 1-cent steps (+/-

50 cents).

Value: -50–+50

OSC2 Level

Adjust the level.

Value: 0–127

OSC1 Sync Switch

Turning this switch on produces a complex sound with many harmonics. This is effective when the OSC1 pitch is higher than the

OSC2 pitch.

Value: OFF, ON

Filter Type

Selects the type of filter.

OFF:

LPF:

No filter is used.

Low Pass Filter. This reduces the volume of all frequencies above the cutoff frequency (Cutoff Freq) in order to round off, or un-brighten the sound. This is the most common filter used in synthesizers.

BPF:

HPF:

PKG:

Band Pass Filter. This leaves only the frequencies in the region of the cutoff frequency, and cuts the rest. This can be useful when creating distinctive sounds.

High Pass Filter. This cuts the frequencies in the region below the cutoff frequency. This is suitable for creating percussive sounds emphasizing their higher tones.

Peaking Filter. This emphasizes the frequencies in the region of the cutoff frequency. You can use this to create wah-wah effects by employing an LFO to change the cutoff frequency cyclically.

Cutoff

Selects the frequency at which the filter begins to have an effect on the waveform’s frequency components.

Value: 0–127

Resonance

Emphasizes the portion of the sound in the region of the cutoff frequency, adding character to the sound. Excessively high settings can produce oscillation, causing the sound to distort.

Value: 0–127

Level

Sets the volume.

Value: 0–127

Chorus Send Level

Sets the level of the signal sent to chorus.

Value: 0–127

Reverb Send Level

Sets the level of the signal sent to reverb.

Value: 0–127

LFO Rate

Adjusts the modulation rate, or speed, of the LFO.

Value: 0–127

LFO Osc 1 Pitch Depth

Specifies the depth to which the LFO will modulate the OSC1 pitch.

Value: -63–+63

115

Fantom-X678_r_e.book 116 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Performance

LFO Osc 2 Pitch Depth

Specifies the depth to which the LFO will modulate the OSC2 pitch.

Value: -63–+63

LFO Osc 1 Pulse Width Depth

Specifies the depth to which the LFO will modulate the pulse width of the OSC1 waveform.

* The Pulse Width is activated when “SQR” is selected with OSC1/2 waveform.

Value: -63–+63

LFO Osc 2 Pulse Width Depth

Specifies the depth to which the LFO will modulate the pulse width of the OSC2 waveform.

* The Pulse Width is activated when “SQR” is selected with OSC1/2 waveform.

Value: -63–+63

Range (Solo synth range)

Specifies the range in which the pitch of the solo synth will vary.

Value: 2 OCTAVES, 4 OCTAVES, 8 OCTAVES

D Beam (Assignable)

By assigning a variety of functions to the D Beam controller you can apply different effects to the sound in real time.

fig.09-015_50

Type (Assignable Type)

Specifies the function controlled by the D Beam controller.

Value

CC01–31, 33–95: Controller numbers 1–31, 33–95

For more information about Control Change messages, please refer to

“MIDI Implementation” (p. 298).

Bend Up:

Bend Down:

Controls the pitch as specified by the “Pitch

Bend Range Up” setting (p. 67).

Controls the pitch as specified by the “Pitch

Bend Range Down” setting (p. 67).

Start/Stop:

TAP Tempo:

Starts/Stops the sequencer.

Tap tempo (a tempo specified by the interval at which you move your hand over the D Beam controller).

Arp Grid:

Arp Duration:

Arp Motif:

Arp Oct Up:

Arp Oct Down:

Arpeggio Grid

Adjusts the duration of each arpeggiated note

Arpeggio Motif

The range in which the arpeggio is sounded will rise in steps of an octave (maximum 3 octaves).

The range in which the arpeggio is sounded will lower in steps of an octave (maximum 3 octaves).

Range Min (D Beam Range Lower)

Specify the lower limit of the range of the D Beam controller.

Value: 0–127

Range Max (D Beam Range Upper)

Specify the upper limit of the range of the D Beam controller. By setting Range Max below Range Min you can invert the range of change.

Value: 0–127

For details on these settings, refer to “Selecting the Parameter

Controlled by the Realtime Controllers or D Beam

Controller (Control Setting)” (p. 114).

The settings for the ASSIGNABLE are saved independently for each performance as part of the performance settings. This lets you create performances that make effective use of controller settings.

116

Fantom-X678_r_e.book 117 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Performance

Knob

fig.09-016_50

Switch

fig.09-017_50

For details on these settings, refer to “Selecting the Parameter

Controlled by the Realtime Controllers or D Beam

Controller (Control Setting)” (p. 114).

Knob parameters are valid only when the REALTIME

CONTROL button is set to “ASSIGNABLE.”

Knob Assign 1–4

(Realtime Control Knob Assign 1–4)

Specify the functions that will be controlled by the [

Value

CC01–31, 33–95: Controller numbers 1–31, 33–95

] knobs.

For more information about Control Change messages, please refer to

“MIDI Implementation” (p. 298).

Pitch Bend:

Aftertouch:

Pitch Bend

Aftertouch

Arp Style:

Arp Grid:

Arp Duration:

Arp Motif:

Arpeggio Style

Arpeggio Grid

Adjusts the duration of each arpeggiated note

Arpeggio Motif

Chord Form:

Master Level:

Chord form of the Chord Memory function

The volume of the entire Fantom-X

* Master Level adjusts the volume both of the OUTPUT A jacks and the

DIGITAL OUT jack. The panel VOLUME knob only adjusts the volume of the OUTPUT A jacks.

Arp Step: Controls the playback position of the arpeggio pattern.

Digital In: Input level from DIGITAL IN.

For details on these settings, refer to

“Selecting the Parameter

Controlled by the Realtime Controllers or D Beam

Controller (Control Setting)” (p. 114).

Switch 1/2 (Assignable Switch 1–2)

Specify the functions that will be controlled by the [ buttons.

Value

Transpose Down:

Transpose Up:

Tap Tempo:

Mono/poly:

]/[ ]

Lowers the key range in semitone steps (up to 5 semitones lower).

Raises the key range in semitone steps (up to 6 semitones higher).

Tap tempo (a tempo specified by the interval at which you press the button).

Pressed to toggle between polyphonic (POLY) and monophonic (MONO) play of a patch.

Portamento:

Hold:

MFX1–3 Sw:

Chorus Sw:

Reverb Sw:

Mastering Sw:

Loop:

Rhythm Start/Stop:

Portamento On/Off

Hold play On/Off

Multi-effect 1–3 switch

Chorus switch

Reverb switch

Mastering switch

Loop play On/Off

Rhythm pattern playback On/Off

117

Fantom-X678_r_e.book 118 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Performance

Tempo

fig.09-018_50

Control Switch Settings (Ctrl Switch)

You can change controller switch on/off settings for each patch in the performance.

1.

In the Control Setting (Performance) screen, press [F7 (Ctrl

Switch)].

fig.09-012_50

For details on these settings, refer to “Selecting the Parameter

Controlled by the Realtime Controllers or D Beam

Controller (Control Setting)” (p. 114).

Recommended Tempo

If you want the sequencer tempo to change when you switch

Performances, specify the tempo that will follow this change. This setting is valid when the Seq Tempo Override parameter is “ON.” In order to enable this setting, turn on the Tempo Override parameter

(p. 227).

Value: 20–250

* This value is specified independently for each performance. This means that when you switch performances, the tempo setting of the Fantom-

X will change.

* The sequencer tempo will be overwritten to the new tempo when you switch performances.

MFX Ctrl Ch

fig.09-019_50

For details on these settings, refer to “Selecting the Parameter

Controlled by the Realtime Controllers or D Beam

Controller (Control Setting)” (p. 114).

MFX 1–3 Control Channel

Select the channel to which the multi-effect will be applied. Control to modify multi-effects parameters in realtime, when MFX1–3 Source parameter is set to “Prf.” Set to “OFF” when the Multi-effects

Control is not being used.

Value: 1–16, OFF

2.

Use [CURSOR] to move the cursor to the parameter you wish to modify.

3.

Turn the VALUE dial or press [INC]/[DEC] to get the value you want.

4.

Repeat steps 2-3 to set each parameter you want to edit.

5.

Press [F8 (EXIT)] to return to the previous screen.

Control Bender (Control Pitch Bend Switch)

For each part, specify whether MIDI Pitch Bend messages will be transmitted (ON), or not (OFF).

Value: OFF, ON

Control Aftertouch (Control Aftertouch Switch)

For each part, specify whether MIDI Aftertouch messages will be transmitted (ON), or not (OFF).

Value: OFF, ON

Control Modulation (Control Modulation

Switch)

For each part, specify whether MIDI Modulation messages will be transmitted (ON), or not (OFF).

Value: OFF, ON

Control Hold Pedal (Control Hold Pedal Switch)

For each part, you can specify whether control messages from a pedal connected to the HOLD PEDAL jacks will be transmitted

(ON), or not (OFF).

Value: OFF, ON

Control Pedal (Control Pedal Switch)

For each part, you can specify whether control messages from a pedal connected to the CONTROL PEDAL jacks will be transmitted

(ON), or not (OFF).

Value: OFF, ON

118

Fantom-X678_r_e.book 119 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Performance

Control D Beam (Control D Beam Switch)

Specifies whether each part will be controlled by the D Beam.

Value: OFF, ON

Control Knob (Control Knob Switch)

Specifies whether each part will be controlled by the control knob.

Value: OFF, ON

Changing the Settings of the

Patch Assigned to a Part

When using patches in Performance mode, some settings such as effects settings will be affected by Performance settings. If you wish to edit a patch while hearing how it will sound in the Performance, use this procedure:

* Here we explain how to change the setting of a patch assigned to a part. The procedure for changing the settings of rhythm sets is the same. Substitute “rhythm set” wherever “patch” appears in a sentence.

1.

Make sure the Performance mode is selected.

2.

Press [PATCH EDIT].

The patch assigned to the part is displayed in the Patch Edit screen.

fig.09-020_50

Initializing Performance

Settings (Init)

“Initialize” means to return the settings of the currently selected sound to a standard set of values.

The Initialize operation will affect only the currently selected sound; the sounds that are stored in user memory will not be affected. If you wish to restore all of the Fantom-X’s settings to

their factory values, perform a Factory Reset (p. 235).

1.

Select the Performance that you wish to initialize (p. 99).

2.

Hold down [SHIFT] and press [F1 (Init)].

The Performance Initialize window will appear.

3.

Turn the VALUE dial or press initialization type.

DEFAULT:

or to select the

Resets the currently selected performance in the Temporary memory to the standard values. Use this setting when you wish to create a sound from scratch.

SOUND CONTROL: Initializes the values of the following part parameters. Cutoff Offset, Resonance

Offset, Attack Time Offset, Release Time

Offset, Decay Time Offset, Vibrato Rate,

Vibrato, Depth, Vibrato Delay

4.

Press [F8 (Select)].

A message will ask you for confirmation.

5.

Press [F8 (Exec)].

The initialization will be carried out, and you’ll be returned to the previous screen.

To cancel, press [F7 (Cancel)].

3.

The rest of the procedure is the same as when making

changes in Patch mode (p. 56).

119

Fantom-X678_r_e.book 120 ページ 2007年3月20日 火曜日 午前10時20分

Creating a Performance

Saving a Performance

You’ve Created (Write)

Changes you make to sound settings are temporary, and will be lost if you turn off the power or select another sound. If you want to keep the modified sound, you must save it in the User area or a memory card.

When you modify the settings of a Performance, the Performance

Layer screen will indicate “*.” Once you save the Performance into user area, the “*” indication goes away.

When you perform the save procedure, the data that previously occupied the save destination will be lost.

1.

Make sure that the performance you wish to save is selected.

2.

Press [WRITE].

The Write Menu screen appears.

fig.09-021_50

3.

Press [F1 (Perf)].

* Alternatively, you can use CURSOR

“Performance,” and then press [ENTER].

or

The Performance Write screen appears.

fig.09-022_50

to select

5.

When you have finished inputting the name, press [F8

(Write)].

A screen will appear, allowing you to select the writedestination performance.

fig.09-023_50

6.

Press [F1 ( ⇑ )] or [F2 ( ⇓ )] to select the write destination. Then the VALUE dial or use [INC] [DEC] to select the performance number.

The write destination can be either the Fantom-X’s internal user area (User), or a memory card (Card).

7.

Press [F8 (Write)].

A message will ask you for confirmation.

Never switch off the Fantom-X while data is being saved.

8.

Press [F8 (Exec)] to execute the save operation.

* To cancel the operation, press [F7 (Cancel)].

When Changing the Settings for the

Patch or Rhythm Set Assigned to a

Part in a Performance

If you've edited a patch or rhythm set assigned to a part in a performance and then try to save the performance without first saving the edited patch or rhythm set, the following message appears.

fig.09-024_50

In such cases, first save the patches and rhythm sets, and then save the performance.

4.

Assign a name to the performance.

For details on assigning names, refer to

“Assigning a Name”

(p. 36)

120

Fantom-X678_r_e.book 121 ページ 2007年3月20日 火曜日 午前10時20分

Modifying the Sound in Real Time

You can use the D Beam controller, realtime controllers, assignable switches or a pedal to modify the sound while you perform.

Here we will explain the procedures and settings for using these functions in Patch mode. The operations are the same in

Performance mode.

Waving Your Hand Over the D Beam to Modify the

Sound (D Beam Controller)

The D Beam controller can be used simply by waving your hand over it. It can be used to apply various effects, depending on the function that is assigned to it. You can also create effects in which the sound changes instantaneously, in a way that would not be possible by operating a knob or the bender lever. On the Fantom-X, the D

Beam controller can be used not only to modify the sounds assigned to the Keyboard part or Pad part, but also to control the pitch of a monophonic (solo) synthesizer sound.

1.

Access the Patch Play screen (p. 38).

The following area of the screen is the D Beam controller display area.

fig.10-001

4.

To turn off the D Beam controller, once again press the button you pressed in step 2 so the indicator goes out.

If Performance mode is selected, the D Beam controller on/off setting is saved for each performance as part of the performance settings.

The usable range of the D Beam controller

fig.10-003

The following diagram shows the usable range of the D Beam controller. Waving your hand outside this range will produce no effect.

The response of the D Beam Controller can also be checked in the “D Beam” area of the display. This is displayed graphically as a bar that lengthens as you move your hand closer, and shortens as you move your hand away.

fig.10-002

The usable range of the D Beam controller will become extremely small when used under strong direct sunlight.

Please be aware of this when using the D Beam controller outside.

The sensitivity of the D Beam controller will change depending on the amount of light in the vicinity of the unit. If it does not function as you expect, adjust the sensitivity as appropriate for the brightness of your location. Increase this value will raise the

sensitivity (p. 226).

2.

Press either the D BEAM [PAD TRIGGER], [SOLO SYNTH], or [ASSIGNABLE] button to turn on the D Beam controller.

fig.10-002

ASSIGNABLE button: Operates the function assigned to the D

Beam controller.

PAD TRIGGER button: Use the D Beam controller to play sounds instead of striking the pads.

SOLO SYNTH button: Lets you use the D Beam as a monophonic synthesizer.

3.

While you play the keyboard or pads to produce sound, place your hand above the D Beam controller and move it slowly up and down.

An effect will be applied to the sound, depending on the function that is assigned to the D Beam controller.

121

Fantom-X678_r_e.book 122 ページ 2007年3月20日 火曜日 午前10時20分

Modifying the Sound in Real Time

Making Settings for the D Beam

Controller

Assignable

You can assign various functions to the D Beam controller and apply a wide range of effects to the sound in real time.

1.

Hold down [SHIFT] and press D BEAM [ASSIGNABLE].

The Assignable screen appears.

fig.10-004_50

Range Min (D Beam Range Lower)

Specify the lower limit of the range of the D Beam controller.

Value: 0–127

Range Max (D Beam Range Upper)

Specify the upper limit of the range of the D Beam controller.By setting Range Max below Range Min you can invert the range of change.

Value: 0–127

The settings for the ASSIGNABLE are saved independently for each performance as part of the performance settings. This lets you create performances that make effective use of controller settings.

If Patch mode is selected, this is saved as part of the system settings. If you want to save the settings, press [F8 (System

Write)].

Pad Trigger (Pad-related settings)

You can use the D Beam controller to control the pads as an alternative to striking the pads themselves.

1.

Hold down [SHIFT] and press D BEAM [PAD TRIGGER].

The Pad Trigger Screen appears.

fig.10-005_50

2.

Move the cursor to the parameter that you want to set, and turn the VALUE dial or press [INC]/[DEC] to make the setting.

3.

Press [EXIT] the Assignable screen will close.

Type

Specifies the function controlled by the D Beam controller.

Value

CC01–31, 33–95: Controller numbers 1–31, 33–95

For more information about Control Change messages, please refer to

“MIDI Implementation” (p. 298).

Bend Up: Controls the pitch as specified by the “Pitch

Bend Range Up” setting (p. 67).

Bend Down:

Start/stop:

TAP Tempo:

Controls the pitch as specified by the “Pitch

Bend Range Down” setting (p. 67).

Starts/Stops the sequencer.

Arp Grid:

Arp Duration:

Tap tempo (a tempo specified by the interval at which you move your hand over the D

Beam controller).

Arpeggio Grid

Arp Motif:

Arp Oct Up:

Adjusts the duration of each arpeggiated note

Arpeggio Motif

Arp Oct Down:

The range in which the arpeggio is sounded will rise in steps of an octave (maximum 3 octaves).

The range in which the arpeggio is sounded will lower in steps of an octave (maximum 3 octaves).

Arp Step:

Aftertouch:

Controls the playback position of the arpeggio pattern.

Aftertouch

122

2.

Move the cursor to the parameter that you want to set, and turn the VALUE dial or press [INC]/[DEC] to make the setting.

3.

Press [EXIT] the Pad Trigger screen will close.

Pad Number

Specifies the pad number affected by the D Beam.

When the cursor is located at this parameter, you can also make this setting by striking the desired pad.

Value: 0–16

Pad Velocity

Specifies the strength of the pad sound played by the D Beam controller.

Value: 1–127

Fantom-X678_r_e.book 123 ページ 2007年3月20日 火曜日 午前10時20分

Modifying the Sound in Real Time

Pad Control Mode

This specifies how the D Beam will behave when it is obstructed. If this is set to MOMENTARY, the parameter will be on only while the

D Beam is obstructed, and will turn off when you stop obstructing it.

If this is set to LATCH, the parameter will alternately be switched on/off each time you obstruct the D Beam.

Value: MOMENTARY, LATCH

PAD trigger settings are saved independently for each performance as part of the performance settings. This lets you create performances that make effective use of controller settings.

If Patch mode is selected, this is saved as part of the system settings. If you want to save the settings, press [F8 (System

Write)].

Solo Synth

On the Fantom-X you can play a monophonic synthesizer whose pitch is controlled by the D Beam.

1.

Hold down [SHIFT] and press D BEAM [SOLO SYNTH].

The Solo Synth screen appears.

fig.10-006_50

When you press [F6 (Panel View)], the Panel View screen will appear, which displays the above parameters in graphical fashion, simulating an analog synthesizer. From the Panel View screen, you can press [F2 (Image View)] to open the Image View screen, where you can see a graphical indication of the D Beam output value. Press [EXIT] to return to the Control Setting screen.

2.

Move the cursor to the parameter that you want to set, and turn the VALUE dial or press [INC]/[DEC] to make the setting.

3.

If you want to save the settings, press [F8 (System Write)].

If you press [EXIT] the Assignable screen will close.

Setting for the Solo Synth are saved for system settings.

OSC 1/2 Waveform

Select the waveform. SAW is a sawtooth wave, and SQR is a square wave.

Value: SAW, SQR

OSC 1/2 Pulse Width

Specifies the pulse width of the waveform. By cyclically modifying the pulse width you can create subtle changes in the tone.

* The Pulse Width is activated when “SQR” is selected with OSC1/2 waveform.

Value: 0–127

OSC 1/2 Coarse Tune

Adjusts the pitch of the tone’s sound up or down in semitone steps

(+/-4 octaves).

Value: -48–+48

OSC 1/2 Fine Tune

Adjusts the pitch of the tone’s sound up or down in 1-cent steps (+/-

50 cents).

Value: -50–+50

OSC2 Level

Adjust the OSC2 level.

Value: 0–127

OSC1 Sync Switch

Turning this switch on produces a complex sound with many harmonics. This is effective when the OSC1 pitch is higher than the

OSC2 pitch.

Value: OFF, ON

Filter Type

Selects the type of filter.

OFF: No filter is used.

LPF:

BPF:

Low Pass Filter. This reduces the volume of all frequencies above the cutoff frequency (Cutoff Freq) in order to round off, or un-brighten the sound. This is the most common filter used in synthesizers.

Band Pass Filter. This leaves only the frequencies in the region of the cutoff frequency, and cuts the rest.

This can be useful when creating distinctive sounds.

HPF:

PKG:

High Pass Filter. This cuts the frequencies in the region below the cutoff frequency. This is suitable for creating percussive sounds emphasizing their higher tones.

Peaking Filter. This emphasizes the frequencies in the region of the cutoff frequency. You can use this to create wah-wah effects by employing an LFO to change the cutoff frequency cyclically.

Cutoff

Selects the frequency at which the filter begins to have an effect on the waveform’s frequency components.

Value: 0–127

123

Fantom-X678_r_e.book 124 ページ 2007年3月20日 火曜日 午前10時20分

Modifying the Sound in Real Time

Resonance

Emphasizes the portion of the sound in the region of the cutoff frequency, adding character to the sound. Excessively high settings can produce oscillation, causing the sound to distort.

Value: 0–127

Level

Sets the volume.

Value: 0–127

Chorus Send Level

Sets the level of the signal sent to chorus.

Value: 0–127

Reverb Send Level

Sets the level of the signal sent to reverb.

Value: 0–127

LFO Rate

Adjusts the modulation rate, or speed, of the LFO.

Value: 0–127

LFO Osc 1 Pitch Depth

Specifies the depth to which the LFO will modulate the OSC1 pitch.

Value: -63–+63

LFO Osc 2 Pitch Depth

Specifies the depth to which the LFO will modulate the OSC2 pitch.

Value: -63–+63

LFO Osc 1 Pulse Width Depth

Specifies the depth to which the LFO will modulate the pulse width of the OSC1 waveform.

* The Pulse Width is activated when “SQR” is selected with OSC1/2 waveform.

Value: -63–+63

LFO Osc 2 Pulse Width Depth

Specifies the depth to which the LFO will modulate the pulse width of the OSC2 waveform.

* The Pulse Width is activated when “SQR” is selected with OSC1/2 waveform.

Value: -63–+63

Range (Solo synth range)

Specifies the range in which the pitch of the solo synth will vary.

Value: 2 OCTAVES, 4 OCTAVES, 8 OCTAVES

Using Knobs or Buttons to

Modify the Sound (Realtime

Controller)

You can use the REALTIME CONTROL knobs and ASSIGNABLE

SW buttons to modify the sound in real time.

1.

Access the Patch Play screen (p. 38).

The “Realtime Control” area shows the function that is assigned to each realtime controller knob and button. [ four knobs, and [ fig.10-007.e

], [

] indicate the

] indicate the two buttons.

State of the controller settings

The controller applies to the part whose display is visible

Parameters that will change when you turn a realtime controller knob

Parameters that will change when you press an assignable switch

2.

You can select the function of the knobs by pressing the button located at the right of the realtime control knobs.

The parameter display at the bottom of the screen will also change.

If the FILTER/ENV indicator is lit

Turning the knobs will control Cutoff, Resonance, Attack, and

Release.

If the ARP/RHY indicator is lit

Turning the knobs will control the arpeggio parameters Range and Accent, and the rhythm parameters Accent Rate and

Tempo.

If the ASSIGNABLE indicator is lit

Turning the knobs will control the assigned parameters. You can freely assign parameters.

* If the indicators are unlit, turning the knobs will not control any parameters.

3.

While playing the keyboard or pressing the pads to produce sound, operate the REALTIME CONTROL knobs and

ASSIGNABLE SW buttons.

The sound will change according to the function assigned to each knob or button.

124

Fantom-X678_r_e.book 125 ページ 2007年3月20日 火曜日 午前10時20分

Modifying the Sound in Real Time

Changing Realtime Controller Settings

Realtime Controller Knob Settings

1.

Hold down [SHIFT] and rotate one of the REALTIME

CONTROL knobs.

The Knob screen appears.

fig.10-008_50

Assignable Switch Settings

1.

Hold down [SHIFT] and press one of the ASSIGNABLE SW button.

The Switch screen appears.

fig.10-009_50

2.

Move the cursor to the parameter that you want to set, and turn the VALUE dial or press [INC]/[DEC] to set it.

3.

If you want to save your settings, press [F8 (System Write)].

Press [Exit] to return to the previous screen.

Realtime controller settings are saved independently for each performance as part of the performance settings. This lets you create performances that make effective use of controller settings.

Knob Assign 1–4 (Realtime Control Knob

Assign 1–4)

Specify the functions that will be controlled by the [

Value

CC01–31, 33–95: Controller numbers 1–31, 33–95

] knobs.

For more information about Control Change messages, please refer to

“MIDI Implementation” (p. 298).

PITCH BEND:

AFTERTOUCH:

Pitch Bend

Aftertouch

ARP STYLE:

ARP GRID:

ARP DURATION:

ARP MOTIF:

Arpeggio Style

Arpeggio Grid

Adjusts the duration of each arpeggiated note

Arpeggio Motif

CHORD FORM:

MASTER LEVEL:

Chord form of the Chord Memory function

The volume of the entire Fantom-X

* Master Level adjusts the volume both of the OUTPUT A jacks and the

DIGITAL OUT jack. The panel VOLUME knob only adjusts the volume of the OUTPUT A jacks.

ARP STEP: Controls the playback position of the arpeggio pattern.

DIGITAL IN: Input level from DIGITAL IN.

2.

Move the cursor to the parameter that you want to set, and turn the VALUE dial or press [INC]/[DEC] to make the setting.

3.

If you want to save your settings, press [F8 (System Write)].

Press [Exit] to return to the previous screen.

Realtime controller settings are saved independently for each performance as part of the performance settings. This lets you create performances that make effective use of controller settings.

Switch Assign

Specify the function that will be controlled by the assignable switch.

Value

TRANSPOSE DOWN :

TRANSPOSE UP:

TAP TEMPO:

MONO/POLY:

Lowers the key range in semitone steps (up to 5 semitones lower).

Raises the key range in semitone steps (up to

6 semitones higher).

Tap tempo (a tempo specified by the interval at which you press the button).

Pressed to toggle between polyphonic

(POLY) and monophonic (MONO) play of a patch.

PORTAMENTO:

HOLD:

MFX1–3 SW:

CHORUS SW:

REVERB SW:

MASTERING SW:

LOOP:

RHY START/STOP:

Portamento On/Off

Hold play On/Off

Multi-effect 1–3 switch

Chorus switch

Reverb switch

Mastering switch

Loop play On/Off

Rhythm pattern playback On/Off

If Patch mode is selected, assignable switches are available when the keyboard part is selected.

125

Fantom-X678_r_e.book 126 ページ 2007年3月20日 火曜日 午前10時20分

Modifying the Sound in Real Time

Using a Pedal to Modify the

Sound (Control Pedal)

You can modify the sound by pressing a pedal that is connected to the rear panel PEDAL HOLD jack or PEDAL CONTROL jack.

Pedal such as expression pedals (DP-8; available separately), pedal switches (DP series; available separately), or foot switches (BOSS FS-

U; available separately) can be connected to the Fantom-X.

1.

Access the Patch Play screen (p. 38).

2.

While playing the keyboard to produce sound, operate a pedal.

The sound will change according to the function that is assigned to the control pedal.

Making Control Pedal Settings

1.

Press [MENU].

2.

Use

[ENTER].

or to select “System,” and then press

The System Setup screen appears.

3.

Press [F1 (

)] or [F2 (

)] to select “Pedal/D Beam.”

A screen like the following appears.

fig.10-010_50

4.

Turn the VALUE dial or press [INC]/[DEC] to make the setting.

5.

If you want to save your settings, press [F8 (System Write)].

Press [Exit] to return to the Patch Play screen.

Control Pedal Assign

This specifies the function of each pedal connected to the PEDAL

CONTROL jacks.

Value

CC01–31, 33–95: Controller numbers 1–31, 33–95

For details on control change messages, refer to

“MIDI

Implementation” (p. 298).

BEND UP:

BEND DOWN:

AFTERTOUCH:

OCT UP:

OCT DOWN:

START/STOP:

PUNCH IN/OUT:

TAP TEMPO:

PROG UP:

PROG DOWN:

Controls the pitch as specified by the “Pitch

Bend Range Up” setting (p. 67).

Controls the pitch as specified by the “Pitch

Bend Range Down” setting (p. 67).

Aftertouch

Each pedal press raises the key range in octave steps (up to 3 octaves higher).

Each pedal press lowers the key range in octave steps (up to 3 octaves lower).

The sequencer will start/stop.

Manual punch-in/out recording will start/ stop.

Tap tempo (a tempo specified by the interval at which you press the pedal).

The next sound number will be selected.

The previous sound number will be selected.

FAVORITE UP:

FAVORITE DOWN:

The favorite patch/performance of the next number or bank will be selected.

The favorite patch/performance of the previous number or bank will be selected.

ARP SW: Switches the Arpeggio/Rhythm function on/off.

RHY START/STOP: Switch Rhythm pattern playback on/off.

CHORD SW:

LIVE SET UP:

LIVE SET DOWN:

LOOP:

Switches the Chord function on/off.

Switches to the next step within a Live

Setting list.

Switches to the previous step within a Live

Setting list.

Loop play On/Off

Control Pedal Polarity

Selects the polarity of the pedal. On some pedals, the electrical signal output by the pedal when it is pressed or released is the opposite of other pedals. If your pedal has an effect opposite of what you expect, set this parameter to “REVERSE.” If you are using a Roland pedal

(that has no polarity switch), set this parameter to “STANDARD.”

Value: STANDARD, REVERSE

Hold Pedal Polarity

Select the polarity of the Hold pedal. On some pedals, the electrical signal output by the pedal when it is pressed or released is the opposite of other pedals. If your pedal has an effect opposite of what you expect, set this parameter to “REVERSE.” If you are using a

Roland pedal (that has no polarity switch), set this parameter to

“STANDARD.”

Range: STANDARD, REVERSE

Continuous Hold Pedal

This setting determines whether the HOLD PEDAL jack will provide support for half-pedaling (ON), or not (OFF). When this is set to support use of half-pedaling techniques, you can then connect an optional expression pedal (DP-8, etc.), and employ pedal work to achieve even finer control in performances in which piano tones are used.

Value: OFF, ON

126

Fantom-X678_r_e.book 127 ページ 2007年3月20日 火曜日 午前10時20分

Modifying the Sound in Real Time

127

Fantom-X678_r_e.book 128 ページ 2007年3月20日 火曜日 午前10時20分

Playing Arpeggios

About Arpeggio

The Fantom-X’s Arpeggio function lets you produce arpeggios automatically; simply hold down some keys, and a corresponding arpeggio will be played automatically.

Not only can you use the factory-set Arpeggio Styles , which determine the way the arpeggio is played, but you can also freely rewrite Styles and enjoy performing your own original arpeggios.

An Arpeggio Style is not part of any Performance, but rather independent data; you can store up to 128 Arpeggio Styles.

Therefore you can use a single Arpeggio Style in different Patches and Performances. Arpeggio settings can be saved independently for each performance. However, they cannot be saved as part of a patch.

What’s more, you can perform in ensemble using these arpeggios

and rhythm patterns (p. 135).

* You cannot play the arpeggio from the pads.

Playing Arpeggios

Turning Arpeggio On and Off

1.

Press [ARPEGGIO] to turn it on.

The button will light.

fig.11-001

Determining the Tempo for

Arpeggio Performances

This sets the arpeggio tempo. You can save the arpeggio tempo settings individually in each Patch, Rhythm Set, or Performance.

1.

Press [TEMPO].

The current tempo value appears in the display.

fig.11-002_50

2.

Press VALUE dial or [INC], [DEC] to set the tempo value (5–

300), or set the value by tapping [F6 (Tap)] a number of times with the same rhythm (Tap Tempo).

* If you press [F7 (Click)] to light it in red, the click will sound.

3.

When you have made the setting, press [F8 (Close)].

Using a controller to adjust the playback tempo

Since tempo control is assigned to one of the Fantom-X’s realtime control knobs, it’s easy to adjust the tempo while playing arpeggios.

fig.11-003

2.

Play a chord on the keyboard.

The Fantom-X will play an arpeggio, according to the notes forming the chord you have just voiced.

3.

To finish playing arpeggios, press [ARPEGGIO] again to turn it off.

In arpeggio settings, the Style (Arpeggio Style)

(p. 129) is

particularly important. The playback pattern of the arpeggio is determined mainly by this selection.

For details regarding each parameter, refer to

“Arpeggio

Settings” (p. 129).

Using in Combination with the Chord

Memory Function

When performing with the Arpeggio, you can also use it along

with the Chord Memory function (p. 133). After first storing

complex Chord Forms in memory, you can then call them up when Arpeggio function is on, and you can easily play complex arpeggio sounds just by pressing a single key.

Tempo

1.

Press the REALTIME CONTROL button so the ARP/

RHY indicator lights.

2.

Play an arpeggio, and turn the realtime control knob.

Holding an Arpeggio

By using the following procedure, you can produce arpeggios even without continuing to press the keyboard.

1.

Press [ARP HOLD].

The indicator will begin blinking.

2.

Play a chord on the keyboard.

3.

If you play a different chord or notes while the arpeggio is being held, the arpeggio will change accordingly.

4.

To cancel Arpeggio Hold, press [ARP HOLD] once again.

When Using a Hold Pedal

If you play an arpeggio while pressing the hold pedal, the arpeggio will continue to be played even if you release the chord.

128

Fantom-X678_r_e.book 129 ページ 2007年3月20日 火曜日 午前10時20分

Playing Arpeggios

1.

Connect an optional pedal switch (DP series etc.) to the

HOLD PEDAL jack.

2.

Press [ARPEGGIO] to turn on the arpeggio.

3.

Play a chord while pressing the hold pedal.

4.

If you play a different chord or notes while the arpeggio is being held, the arpeggio will change accordingly.

Playing Arpeggios Along with the Sequencer

When using arpeggios while the sequencer is playing, or when you want to record arpeggios into the sequencer in real time, you can synchronize the arpeggio with the start/stop timing of the sequencer.

For details, refer to

“Arpeggio/Rhythm Sync Switch” (p. 227).

Arpeggio Settings

1.

Hold down [SHIFT] and press [ARPEGGIO].

A screen like the one below appears.

If Performance mode is selected, (Performance) will appear at the right of “Arpeggio.” fig.11-004_50

About Arpeggio Styles

An Arpeggio Style is a series of data for basic arpeggio patterns and chord styles recorded in the form of a grid consisting of a maximum of 32 steps x 16 pitches.

fig.11-005

Note 16

HIGH

Note 06

Note 05

Note 04

Note 03

Note 02

Note 01

STEP

1 2 3 4 5 6 7 8 9 10 11 .... 32

Each grid contains one of the following kinds of data.

• ON:

• TIE:

Note On (with Velocity data)

Tie (hold of the previous note)

• REST: Rest (no sound played)

The keys that are pressed along with the sequence in which they are pressed is referenced to the “lowest-pitched key during input.” Thus, you can use a single Arpeggio Style in different

Patches and Performances at the same time.

A Arpeggio Style is not part of any patch or Performance, but rather independent data; you can store up to 64 Arpeggio

Styles.

2.

Press [CURSOR] to move the cursor to each parameter, and either turn the VALUE dial or press [INC] or [DEC] to make the setting.

3.

When you have made the setting, press [EXIT].

Selecting Styles for Arpeggio

Performances (Arpeggio Style)

This selects the arpeggio’s basic performance Style. The arpeggio styles are kept in preset memory and user memory.

Value: U001–128 (User), P001–128 (Preset)

Changing the Beat and Shuffle

(Arp/Rhythm Grid)

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

* Grid settings are shared with the rhythm pattern.

Value:

1/4:

1/8:

1/8L:

Quarter note (one grid section = one beat)

Eighth note (two grid sections = one beat)

Eighth note shuffle Light (two grid sections = one beat, with a light shuffle)

1/8H:

1/12:

1/16:

1/16L:

1/16H:

1/24:

Eighth note shuffle Heavy (two grid sections = one beat, with a heavy shuffle)

Eighth note triplet (three grid sections = one beat)

Sixteenth note (four grid sections = one beat)

Sixteenth note shuffle Light (four grid sections = one beat, with a light shuffle)

Sixteenth note shuffle Heavy (four grid sections = one beat, with a heavy shuffle)

Sixteenth note triplet (six grid sections = one beat)

129

Fantom-X678_r_e.book 130 ページ 2007年3月20日 火曜日 午前10時20分

Playing Arpeggios

Applying Staccato and Tenuto

(Arp/Rhythm Duration)

This setting (duration) determines whether the sounds are played staccato (short and clipped), or tenuto (fully drawn out).

* Grid settings are shared with the rhythm pattern.

Value:

30–120:

30, 40, 50, 60, 70, 80, 90, 100, 120, Full

For example, when set to “30,” the length of the note in a grid (or when a series of grids is connected with ties, the final grid) is 30% of the full length of the note set in the grid type.

FUL (Full): Even if the linked grid is not connected with a tie, the same note continues to sound until the point at which the next new sound is specified.

Selecting Ascending/Descending

Variations (Different Ways of

Playing the Sounds) (Arp Motif)

This selects the method used to play sounds (motif) when you have a greater number of notes than programmed for the Arpeggio Style.

When the number of keys played is less than the number of notes in the Style, the highest-pitched of the pressed keys is played by default.

Value:

UP (L):

UP (L&H):

UP (_):

Only the lowest of the keys pressed is sounded each time, and the notes play in order from the lowest of the pressed keys.

Notes from both the lowest and highest pressed keys are sounded each time, and the notes play in order from the lowest of the pressed keys.

The notes play in order from the lowest of the pressed keys. No one note is played every time.

DOWN (L):

DOWN (L&H):

DOWN (_):

UP&DOWN (L):

Only the lowest of the keys pressed is sounded each time, and the notes play in order from the highest of the pressed keys.

Notes from both the lowest and highest pressed keys are sounded each time, and the notes play in order from the highest of the pressed keys.

The notes play in order from the highest of the pressed keys. No note is played every time.

Notes will be sounded from the lowest to the highest key you press and then back down to the lowest key, with only the lowest key sounded each time.

UP&DOWN (L&H): Notes from both the lowest and highest pressed keys are sounded each time, and the notes play in order from the lowest of the pressed keys and then back again in the reverse order.

UP&DOWN (_): The notes play in order from the lowest of the pressed keys, and then back again in the reverse order. No note is played every time.

RANDOM (L):

RANDOM (_):

Notes will be sounded randomly for the keys you press, with only the lowest key sounded each time.

Only the lowest of the keys pressed is sounded each time, the notes you press will be sounded randomly. No note will sound each time.

PHRASE: Pressing just one key will play a phrase based on the pitch of that key. If you press more than one key, the key you press last will be used.

<Example>

Action of a Style starting from the lowest note, “1-2-3-2” when the keys “C-D-E-F-G” are played

When “UP (L)” is selected as the motif:

C-D-E-D -> C-E-F-E -> C-F-G-F (-> repeated)

When “UP (_)” is selected as the motif:

C-D-E-D -> D-E-F-E -> E-F-G-F (-> repeated)

When “UP&DOWN (L&H)” is selected as the motif:

C-D-G-D -> C-E-G-E -> C-F-G-F -> C-E-G-E (-> repeated)

Adjusting the Velocity of the

Arpeggio (Arp Velocity)

Specifies the loudness of the notes that you play.

If you want the velocity value of each note to depend on how strongly you play the keyboard, set this parameter to REAL. If you want each note to have a fixed velocity regardless of how strongly you play the keyboard, set this parameter to the desired value (1–

127).

Value: REAL, 1–127

Selecting the Part that Will Play

Arpeggios in Performance Mode

(Arp Part)

Here’s how to specify the part that will use the arpeggio in

Performance mode. You can specify only one part for playing arpeggios.

If a rhythm set is assigned to a part in Performance mode, you can play a rhythm pattern along with the arpeggios.

The part you select here functions for both the arpeggio and the chord memory functions.

Value: Part1–16

Changing the Accent Strength (Arp

Accent)

When you play arpeggios, the velocity of each arpeggiated note is determined by the velocity of the notes programmed within the arpeggio style. You can adjust the amount (“spread”) of this dynamic variation. With a setting of 100%, the arpeggiated notes will have the velocities that are programmed by the arpeggio style. With a setting of 0%, all arpeggiated notes will be sounded at a fixed velocity.

Value: 0-100%

You can also use a REALTIME CONTROL knob to control this.

130

Fantom-X678_r_e.book 131 ページ 2007年3月20日 火曜日 午前10時20分

Playing Arpeggios

Hanging the Range of the Arpeggio

(Oct Range)

This adds an effect that shifts arpeggios one cycle at a time in octave units (octave range). You can set the shift range upwards or downwards (up to three octaves up or down).

Value: -3–0–+3

You can also use a REALTIME CONTROL knob to control this.

Using the Realtime Control Knobs to Edit the Arpeggio Settings

You can use the realtime control knobs to change the arpeggio settings by editing the parameters in real time.

1.

Play arpeggios.

2.

Press the REALTIME CONTROL button to select “ARP/

RHY.”

The “ARP/RHY” indicator will light.

fig.11-006

Octave Range

Accent Rate

Tempo

3.

Turn the REALTIME CONTROL knobs.

While arpeggios are playing, you can use the knobs to control the following parameters.

“Hanging the Range of the Arpeggio (Oct Range)” (p. 131)

“Changing the Accent Strength (Arp Accent)” (p. 130)

Creating an Arpeggio Style

(Arpeggio Style Edit)

In addition to using the built-in arpeggio styles, you are free to create your own. After creating an original arpeggio style, you can store it in the internal user memory.

Broadly speaking, there are two ways to create an arpeggio style.

fig.11-007_50

Step-recording

In this method, you use the keyboard and pads to step-record your arpeggio. Each time you input a note, you will advance to the next step. This method is convenient when you want to create an arpeggio from scratch using a Style that contains no data.

If you want to create “from scratch,” you’ll need to initialize the

Style. In the Arpeggio Style Edit screen, hold down [SHIFT] and press [F1 (Init)]. A message will ask whether you want to initialize; press [F8 (Exec)] to execute initialization.

1.

Hold down [SHIFT] and press [ARPEGGIO].

2.

Press [F7 (Edit)].

The Arpeggio Style Edit screen will appear.

3.

Press [F1 (Arp Setup)].

The Arpeggio Setup screen will appear.

4.

Move the cursor to “End Step,” and specify the number of steps for the arpeggio style you want to create.

5.

Move the cursor to “Input Velocity,” and specify the velocity setting for the data you will input.

• With the “Real” setting, the velocity will depend on the strength with which you actually strike the keyboard or pads.

• With a numerical setting of “1–127,” the data will always be input with the specified velocity, regardless of how strongly you strike the keyboard or pads.

Make the desired setting, and then press [F8 (Close)] to close the

Arpeggio Setup screen.

6.

Press [F8 (Step Rec)] so it lights red.

Now you’re ready to step-record. Play the keyboard or pads to input notes.

* To input a tie, press [F2 (TIE)].

* To input a rest, press [F3 (Rest (Clear))].

* You can use [F4 (Zoom In)]/[F5 (Zoom Out)] to zoom the display in or out.

* You can press [F6 (Preview)] to audition the style you’ve input.

131

Fantom-X678_r_e.book 132 ページ 2007年3月20日 火曜日 午前10時20分

Playing Arpeggios

Using the Dial or [INC][DEC] to

Input Values

In this method, you’ll use the cursor to specify the step or pitch that you want to input, and use the dial or [INC][DEC] to input values.

This method is convenient when you want to edit or modify previously input data.

1.

Hold down [SHIFT] and press [ARPEGGIO].

2.

Press [F7 (Edit)].

The Arpeggio Style Edit screen will appear.

3.

Press [F1 (Arp Setup)].

The Arpeggio Setup screen will appear.

4.

Move the cursor to “End Step,” and specify the number of steps for the arpeggio style you want to create.

Make the desired setting, and then press [F8 (Close)] to close the

Arpeggio Setup screen.

5.

Use [CURSOR] to specify the step or pitch you want to input.

* When using this method of input, you can use the keyboard to specify the pitch of the note. (Unlike when step-recording, pressing the keyboard will not actually input the note.)

6.

Input the velocity value, using either the VALUE dial or

[INC][DEC].

You can input a tie by turning VALUE all the way to the right

(or using [INC] to raise the value all the way).

* You can also input a tie by pressing [F2 (TIE)].

* To input a rest, press [F3 (Rest (Clear))].

* You can use [F4 (Zoom In)]/[F5 (Zoom Out)] to zoom the display in or out.

* You can press [F6 (Preview)] to audition the style you’ve input.

* When using this method of input, you can use the pads to specify the velocity and finalize your input; after you’ve specified the step and pitch to be input, strike a pad to input it.

(Higher-numbered pads produce higher velocity values; for example, striking pad 1 specifies a velocity value of 8, while striking pad 16 specifies a velocity value of 127.)

A maximum of sixteen note numbers (pitches) can be used in a single style.

Saving the Styles You Have

Created (Write)

The Styles you create are temporary; they are deleted as soon as you turn off the power or select some other Style. You can store 128 arpeggio styles in the User memory.

Arpeggio style settings are saved as independent data, not as part of the data for each patch.

The settings in Patch mode, it is not possible to save arpeggio parameters (e.g., arpeggio style, grid type, motif, duration, octave range).

It can be saved to individual in Performance mode.

If you want to save your settings, press [WRITE] and save the performance.

1.

Confirm that the current Style is the one you want to save.

2.

Press [F3 (Arp)].

3.

Press [F8 (Write)].

The Arpeggio name entry screen will appear (p. 36).

4.

When you have finished entering the name, press [F8

(Write)].

A screen in which you can select the destination for the write will appear.

fig.11-008_50

5.

Turn the VALUE dial or use [INC] [DEC] to select the write destination.

6.

Press [F8 (Write)].

A message will ask you for confirmation.

7.

To write the data, press [F8 (Exec)].

Never switch off the Fantom-X while data is being saved.

* To cancel, press [F7 (Cancel)].

132

Fantom-X678_r_e.book 133 ページ 2007年3月20日 火曜日 午前10時20分

Using the Chord Memory Function (Chord Memory)

About the Chord Memory

Function

Chord Memory is a function that allows you to play chords based on pre-programmed Chord Forms , just by pressing a single key on the keyboard. The Fantom-X can store 64 preset chord forms and 64 user chord forms. If you wish, you can overwrite any of the 64 user

(factory set) chord forms.

The chord memory function operates on the arpeggio part in

Performance mode. If a rhythm set is selected for that part, you can also use this to play rhythms.

* You cannot use the chord memory function with the pads.

When you use the Chord Memory function with a tone for

which the Mono/Poly Parameters (p. 77) is Mono, only one

sound in the chord is played. When using the Chord Memory function to turn Poly the Mono/Poly Parameters.

Using in Combination with the Arpeggio

Function

When performing with the Chord Form function, you can also

use it along with the Arpeggio function (p. 128). After first

storing complex Chord Forms in memory, you can then call them up when Arpeggio is on, and you can easily create complex arpeggio sounds just by pressing a single key.

Performing with the Chord

Memory Function

Turning Chord Memory Function

On and Off

1.

Press [CHORD MEMORY] to turn it on.

The button will light.

fig.11-001

2.

Play the keyboard.

A chord will sound according to the currently selected chord form.

When you press the C4 key (Middle C), the chord is played using the exact chord structure recorded in the Chord Form.

This is referenced to the C4 key; parallel chords are played by pressing other keys.

3.

To finish playing arpeggios, press [CHORD MEMORY] again to turn it off.

Selecting Chord Forms

Changing the chord form will change the notes in the chord.

1.

Hold down [SHIFT] and press [CHORD MEMORY].

The following screen appears.

If Performance mode is selected, (Performance) will appear at the right of “Chord Form.” fig.12-001_50

2.

Either turn the VALUE dial or use [INC]/[DEC] to select a

Chord Form number.

The notes of the chord will be displayed.

3.

When you have finished selecting a Chord Form, press [Exit].

133

Fantom-X678_r_e.book 134 ページ 2007年3月20日 火曜日 午前10時20分

Using the Chord Memory Function (Chord Memory)

Sounding a chord in the order of its notes (Rolled Chord)

This causes the notes within a chord to be sounded consecutively, rather than simultaneously. Since the playback speed will change according to the force with which you play the keyboard, you can vary your playing dynamics to create a realistic simulation of playing a guitar.

1.

Hold down [SHIFT] and press [CHORD MEMORY].

The chord memory screen appears.

2.

Press [F1 (Rolled Chord)] so it lights red.

With this setting, the notes of the chord will be sounded consecutively when you play the keyboard.

Changing the order in which notes are sounded

You can change the order in which the notes of a chord are sounded.

1.

Hold down [SHIFT] and press [CHORD MEMORY].

The chord memory screen appears.

2.

3.

Use or to select “Rolled Chord Type.”

Either turn the VALUE dial or use [INC]/[DEC] to change a value.

Value

UP:

DOWN:

ALTERNATE:

Notes will be sounded in order from bottom to top.

Notes will be sounded in order from top to bottom.

The order in which the notes are sounded will change each time you play the keyboard.

Creating Your Own Chord

Forms

Not only can you use the prepared internal Chord Forms, which determine the constituent notes of chords played using the Chord

Memory function, but you can also freely create and rewrite them as well.

1.

Hold down [SHIFT] and press [CHORD MEMORY].

2.

Turn the VALUE dial to select a chord form.

3.

Press [F7 (Edit)].

The Chord Form Edit screen appears.

fig.12-002_50

4.

Use the keyboard to input the chord that you want to play.

When you press a key, the note will be added in the screen.

If you input a note by mistake, press [F5 (Del Note)].

You can also erase a note you input by pressing the same key.

You can press [F6 (Preview)] to hear the chord that you are inputting.

5.

If you want to save the chord form you created, proceed to step 3 of “Saving the Chord Forms You Have Created.” If you don’t want to save it, press [F7 (Exit)].

Saving the Chord Forms You

Have Created

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

A chord form is not part of any patch or performance, but rather independent data. Therefore you can use a single chord form in different Patches and Performances. In Performance mode you can save these settings individually for each performance. These settings cannot be saved in a patch.

If you want to save your settings, press [WRITE] and save the performance.

1.

Hold down [SHIFT] and press [CHORD MEMORY].

Confirm that the chord form the one you want to save.

2.

Press [F8 (Write)].

The Chord Form name entry screen will appear (p. 36).

3.

When you have finished entering the name, press [F8

(Write)].

A screen will appear, allowing you to select the write destination.

fig.12-003_50

4.

Use or to select the write destination.

5.

Press [F8 (Write)].

A message will ask you confirm.

6.

To save the chord form, press [F8 (Exec)].

Never switch off the Fantom-X while data is being saved.

* To cancel, press [F7 (Cancel)].

134

Fantom-X678_r_e.book 135 ページ 2007年3月20日 火曜日 午前10時20分

Playing Rhythms

About Rhythm Patterns

The Fantom-X contains 256 preset rhythm patterns. You can play a variety of rhythm patterns simply by pressing the pads. In addition to using these built-in rhythm patterns, you can also create your own.

The 256 rhythm patterns are maintained as independent data; they are not part of a performance’s data. This means that any one rhythm pattern can be shared by various rhythm sets or performances. In Performance mode, a number by which a rhythm pattern is recalled can be stored as one of the performance parameters. This number cannot be stored in Patch mode.

Rhythm Patterns and Rhythm Groups

On the Fantom-X, a set of rhythm pattern numbers, percussion instrument sounds and a rhythm set assigned to the sixteen pads is stored as a Rhythm Group.

Playing Rhythm

Turning Rhythm On and Off

1.

Press [RHYTHM] to turn it on.

The button will light.

fig.11-001

2.

Play a pad (9-16).

According to the pad you pressed, the assigned rhythm pattern will begin playing.

The volume of the rhythm pattern will also change according to how strongly you strike the pad.

fig.13-001.e

Using Rhythm Groups

A “group” consists of settings for each of the sixteen pads, specifying the pattern that each pad will play. The rhythm set used by that group is also stored as part of the settings.

fig.13-001.e

Rhythm pattern number

Rhythm Tone

* You are free to change how rhythm pattern numbers and rhythm sounds are assigned.

Rhythm group data is not part of a rhythm set or performance; the

32 rhythm groups are stored as independent data. This means that any one rhythm group can be shared by various patches or performances. In addition to using the built-in rhythm groups, you can also create your own.

Rhythm Group settings can be saved independently for each performance. However, they cannot be saved as part of a patch.

Rhythm pattern number

Rhythm Tone

A pattern will begin playing when you press any pad from 9–16 that isn’t illuminated. A rhythm tone will sound when you press a pad that is blink. The pattern or rhythm tone that is

sounded by each pad can be specified in Rhythm Group Edit (p.

139).

* You can stop playback by pressing a blinking pad.

* To stop rhythm pattern playback, press [RHYTHM] once again so the indicator goes out.

Determining the Tempo for Rhythm

Pattern Performances

This sets the Rhythm Pattern tempo.

Specify the tempo of the rhythm pattern.

1.

Play a rhythm pattern (p. 135).

2.

Press [TEMPO].

The current tempo value appears in the display.

fig.11-002_50

3.

Press VALUE dial or [INC], [DEC] to set the tempo value (5–

300), or set the value by tapping [F6 (Tap)] a number of times with the same rhythm (Tap Tempo).

* When you press [F7 (Click)] to light it in red, the click will sound.

135

Fantom-X678_r_e.book 136 ページ 2007年3月20日 火曜日 午前10時20分

Playing Rhythms

4.

When you have made the setting, press [F8 (Close)].

Using a controller to adjust the playback tempo

Since tempo control is assigned to one of the Fantom-X’s realtime control knobs, it’s easy to adjust the tempo at which the rhythm pattern will play back.

fig.11-003

Rhythm Pattern Settings

1.

Hold down [SHIFT] and press [RHYTHM].

2.

Press [F2 (Rhythm)].

A screen like the one below appears.

If Performance mode is selected, (PERFORMANCE) will appear at the right of “Rhythm Pattern.” fig.13-003_50

Tempo

1.

Press the REALTIME CONTROL button so the ARP/

RHY indicator lights.

2.

Play an Rhythm Pattern, and turn the realtime control knob.

Select the Rhythm Group

1.

Hold down [SHIFT] and press [RHYTHM].

2.

Press [F1 (Rhythm Group)].

A screen like the one below appears.

If Performance mode is selected, (Performance) will appear at the right of “Rhythm Group.” fig.13-002_50

3.

Press or to move the cursor to each parameter, and either turn the VALUE dial or press [INC] or [DEC] to make the setting.

You can audition the rhythm pattern by pressing [F6 (Preview)] so it lights in red. When you’ve finished auditioning the pattern, press [F6 (Preview)] once again to stop.

4.

When you have made the setting, press [EXIT].

Selecting Rhythm Patterns

Select the basic playing style of the rhythm.

This selects the rhythm’s basic performance Style.

Value: P001–256 (Preset), U001–256 (User)

* When you select the Rhythm group, the most suitable rhythm set is assigned to the Pad part. (In the screen, this is indicated by

“Recommended Rhy (Recommended Rhythm set).”)

3.

Turn the VALUE dial or press [INC] or [DEC] to make the setting.

This selects the Rhythm group’s basic performance Style.

Value: P01–32 (Preset), U01–32 (User)

4.

When you have made the setting, press [EXIT].

136

Fantom-X678_r_e.book 137 ページ 2007年3月20日 火曜日 午前10時20分

Playing Rhythms

Changing the Beat and Shuffle

(Grid)

This sets the particular note division and resolution in a “single grid” used in creating the pattern in an Rhythm Pattern, and how much of a “shuffle” syncopation is to be to applied (none/weak/ strong) to it (grid type).

* Grid settings are shared with the arpeggio.

Value:

1/4:

1/8:

1/8L:

Quarter note (one grid section = one beat)

Eighth note (two grid sections = one beat)

Eighth note shuffle Light (two grid sections = one beat, with a light shuffle)

1/8H:

1/12:

1/16:

1/16L:

1/16H:

1/24:

Eighth note shuffle Heavy (two grid sections = one beat, with a heavy shuffle)

Eighth note triplet (three grid sections = one beat)

Sixteenth note (four grid sections = one beat)

Sixteenth note shuffle Light (four grid sections = one beat, with a light shuffle)

Sixteenth note shuffle Heavy (four grid sections = one beat, with a heavy shuffle)

Sixteenth note triplet (six grid sections = one beat)

Applying Staccato and Tenuity

(Duration)

This setting (duration) determines whether the sounds are played staccato (short and clipped), or tenuity (fully drawn out).

* Grid settings are shared with the arpeggio.

Value:

30–120:

30, 40, 50, 60, 70, 80, 90, 100, 120, Full

For example, when set to “30,” the length of the note in a grid (or when a series of grids is connected with ties, the final grid) is 30% of the full length of the note set in the grid type.

FUL (Full): Even if the linked grid is not connected with a tie, the same note continues to sound until the point at which the next new sound is specified.

This has no effect if the Tone Env Mode parameter (p. 87) is set

to “No Sus.”

Changing the velocity of Rhythm

Pattern (Rhythm Pattern Velocity)

This specifies the strength with which the Pads you press will be sounded. If you want the velocity to change according to the force with which you press the Pads, set this to “REAL.” If you want the velocity to be a fixed value regardless of the force with which you press the Pads, specify the desired value (1–127).

Value: REAL, 1–127

Changing the Accent Strength

(Rhythm Accent)

When you play rhythm patterns, the velocity of each note is determined by the velocity of the notes programmed within the arpeggio style. You can adjust the amount (“spread”) of this dynamic variation. With a setting of 100%, the notes will have the velocities that are programmed by the rhythm pattern. With a setting of 0%, all notes will be sounded at a fixed velocity.

Value: 0–100%

You can also use a REALTIME CONTROL knob to control this.

Using the Realtime Control Knobs to Control the Rhythm

Here’s how you can use the realtime control knobs to control the rhythm in real time by adjusting the rhythm parameters.

1.

Play rhythm.

2.

Press the REALTIME CONTROL button to select “ARP/

RHY.”

The “ARP/RHY” indicator will light.

fig.13-004

Tempo

Rhythm Accent

3.

Turn the REALTIME CONTROL knobs.

While Rhythm Pattern are playing, you can use the knobs to control the following parameters.

• Rhythm Accent Rate -> p. 137

• TEMPO -> p. 135

137

Fantom-X678_r_e.book 138 ページ 2007年3月20日 火曜日 午前10時20分

Playing Rhythms

Creating an Rhythm Pattern

(Rhythm Pattern Edit)

In addition to using the built-in Rhythm Patterns, you are free to create your own. After creating an original Rhythm Pattern, you can store it in the internal user memory.

Broadly speaking, there are two ways to create an Rhythm Pattern.

fig.11-007_50

Step-recording

In this method, you use the keyboard and pads to step-record your

Rhythm pattern. Each time you input a note, you will advance to the next step. This method is convenient when you want to create a

Rhythm pattern from scratch using a Style that contains no data.

If you want to create “from scratch,” you’ll need to initialize the

Style. In the Rhythm Pattern Edit screen, hold down [SHIFT] and press [F1 (Init)]. A message will ask whether you want to initialize; press [F8 (Exec)] to execute initialization.

1.

Hold down [SHIFT] and press [RHYTHM].

2.

Press [F2 (Rhythm)].

3.

Press [F7 (Edit)].

The Rhythm Pattern Edit screen will appear.

4.

Press [F1 (Rhythm Setup)].

The Rhythm Setup screen will appear.

5.

Move the cursor to “End Step,” and specify the number of steps for the Rhythm Pattern you want to create.

6.

Move the cursor to “Input Velocity,” and specify the velocity setting for the data you will input.

• With the “Real” setting, the velocity will depend on the strength with which you actually strike the keyboard or pads.

• With a numerical setting of “1–127,” the data will always be input with the specified velocity, regardless of how strongly you strike the keyboard or pads.

Make the desired setting, and then press [F8 (Close)] to close the

Rhythm Setup screen.

7.

Press [F8 (Step Rec)] so it lights red.

Now you’re ready to step-record. Play the keyboard or pads to input notes.

138

* To input a tie, press [F2 (TIE)].

* To input a rest, press [F3 (Rest (Clear))].

* You can use [F4 (Zoom In)]/[F5 (Zoom Out)] to zoom the display in or out.

* You can press [F6 (Preview)] to audition the style you’ve input.

Using the Dial or [INC][DEC] to

Input Values

In this method, you’ll use the cursor to specify the step or pitch that you want to input, and use the dial or [INC][DEC] to input values.

This method is convenient when you want to edit or modify previously input data.

1.

Hold down [SHIFT] and press [RHYTHM].

2.

Press [F7 (Edit)].

The Rhythm Pattern Edit screen will appear.

3.

Press [F1 (Rhythm Setup)].

The Rhythm Setup screen will appear.

4.

Move the cursor to “End Step,” and specify the number of steps for the Rhythm Pattern you want to create.

Make the desired setting, and then press [F8 (Close)] to close the

Rhythm Setup screen.

5.

Use [CURSOR] to specify the step or pitch you want to input.

* When using this method of input, you can use the keyboard to specify the pitch of the note. (Unlike when step-recording, pressing the keyboard will not actually input the note.)

6.

Input the velocity value, using either the VALUE dial or

[INC][DEC].

You can input a tie by turning VALUE all the way to the right

(or using [INC] to raise the value all the way).

* You can also input a tie by pressing [F2 (TIE)].

* To input a rest, press [F3 (Rest (Clear))].

* You can use [F4 (Zoom In)]/[F5 (Zoom Out)] to zoom the display in or out.

* You can press [F6 (Preview)] to audition the style you’ve input.

* When using this method of input, you can use the pads to specify the velocity and finalize your input; after you’ve specified the step and pitch to be input, strike a pad to input it.

(Higher-numbered pads produce higher velocity values; for example, striking pad 1 specifies a velocity value of 8, while striking pad 16 specifies a velocity value of 127.)

A maximum of sixteen note numbers (pitches) can be used in a single style.

Fantom-X678_r_e.book 139 ページ 2007年3月20日 火曜日 午前10時20分

Playing Rhythms

Saving the Patterns You

Have Created (Write)

The rhythm patterns you create are temporary; they are deleted as soon as you turn off the power or select some other rhythm patterns.

You can store 256 rhythm patterns in the User memory.

Rhythm pattern settings are saved as independent data, not as part of the data for each patch.

The settings in Patch mode, it is not possible to save rhythm pattern parameters (e.g., pattern, grid type).

It can be saved to individual in Performance mode.

If you want to save your settings, press [WRITE] and save the performance.

1.

Confirm that the current Pattern is the one you want to save.

2.

In the Rhythm Pattern screen, press [F2 (Rhythm)].

3.

Press [F8 (Write)].

The name entry screen will appear (p. 36).

4.

When you have finished entering the name, press [F8

(Write)].

A screen in which you can select the destination for the write will appear.

fig.13-006_50

5.

Turn the VALUE dial or use destination.

, to select the write

6.

Press [F8 (Write)].

A message will ask you for confirmation.

7.

To write the data, press [F8 (Exec)].

Never switch off the Fantom-X while data is being saved.

* To cancel, press [F7 (Cancel)].

Creating Your Own Styles

(Rhythm Group Edit)

Not only can you use the prepared internal Rhythm Groups that determine how rhythm are played, but you can also create them as well. This way, you can enjoy performing your own original rhythm group.

1.

Hold down [SHIFT] and press [RHYTHM].

2.

Press [F1 (Rhythm Group)].

Turn the VALUE dial, or press [INC][DEC] to select a rhythm group you want to edit.

3.

Press [F7 (Edit)].

The Rhythm Group edit screen will appear.

fig.13-007_50

4.

Use [CURSOR] to select a parameter, and turn the VALUE dial or use [INC][DEC] to set the value.

• PAD

Select the pad for which you want to make settings.

* You can also choose the pad that you want to set by pressing that pad.

• Recommended Rhy (Recommended Rhythm Set)

Specifies which rhythm set will be used.

• Pad Mode

Specifies whether a rhythm tone or a rhythm pattern number will be assigned to the pad.

Range: Pattern, Note, Off

Rhythm Pattern (Rhythm Pattern Number)

If Pad Mode is set to Pattern, specifies the pattern number that will sound when you press the pad.

Range: U001–256, P001–256

Rhythm Pattern Velocity

Specifies the velocity of the rhythm pattern when the pad mode is set to “Pattern.”

Range: REAL, 1–127

Pad Note

If Pad Mode is set to Note, specifies the note number that will sound when you press the pad.

Range: C-1 –G9

Pad Velocity

Specifies the strength of the sound heard when you strike the pad. If this is set to REAL, you can add dynamics by varying the strength of your strike.

Range: REAL, 1–127

5.

If you want to save the rhythm group you created, proceed

to step 4 of “Saving the Rhythm Group You Have Created

(Write)” (p. 140). If you don’t want to save it, press [F7

(Exit)].

139

Fantom-X678_r_e.book 140 ページ 2007年3月20日 火曜日 午前10時20分

Playing Rhythms

Saving the Rhythm Group

You Have Created (Write)

The Rhythm Group you create are temporary; they are deleted as soon as you turn off the power or select some other Style. You can store 32 Rhythm Groups in the User memory.

Rhythm group settings are saved as independent data, not as part of the data for each patch.

The settings in Patch mode, it is not possible to save rhythm group settings.

It can be saved to individual in Performance mode.

If you want to save your settings, press [WRITE] and save the performance.

1.

Confirm that the current Rhythm Group is the one you want to save.

2.

Hold down [SHIFT] and press [RHYTHM].

3.

Press [F1 (Rhythm Group)].

4.

Press [F8 (WRITE)].

The name entry screen will appear (p. 36).

5.

When you have finished entering the name, press [WRITE].

A screen in which you can select the destination for the write will appear.

fig.13-008_50

6.

Turn the VALUE dial or use destination.

, to select the write

7.

Press [F8 (Write)].

A message will ask you for confirmation.

8.

To write the data, press [F8 (Exec)].

Never switch off the Fantom-X while data is being saved.

* To cancel, press [F7 (CANCEL)].

140

Fantom-X678_r_e.book 141 ページ 2007年3月20日 火曜日 午前10時20分

Sampling

The Fantom-X lets you sample audio sources, such as an audio device, mic, or CD.

This section explains the sampling procedure and what the parameters do.

Switching external input on/off

1.

Press [MIX IN] to turn it on.

The button will light.

fig.11-000

2.

To turn it off, press [MIX IN] again.

Making Input Source

Settings (Input Setting)

1.

Connect your CD player, mic, or other audio source to the

AUDIO INPUT jacks or to the DIGITAL IN connector located on the rear panel of the Fantom-X.

Cautions when using a microphone

Howling could be produced depending on the location of microphones relative to speakers. This can be remedied by:

1.

Changing the orientation of the microphone(s).

2.

Relocating microphone(s) at a greater distance from speakers.

3.

Lowering volume levels.

2.

Hold down [SHIFT] and press [MIX IN].

fig.14-001_50

• Input Select

Specifies the input source of the sound to be sampled.

Value

DIGITAL IN:

LINE IN L/R:

LINE IN L:

DIGITAL IN connector

INPUT jacks L/R (stereo)

INPUT jack L (mono)

MICROPHONE:

Digital Input Level

INPUT jack L (mono, mic level)

If you’ve set Input Select to DIGITAL IN, this adjusts the input level from the DIGITAL IN connector.

Value: 0–127

You can also control the Digital Input Level using an assignable

knob (p. 125).

• Input Effect Type

Selects the type of effect that will be applied to the external input source.

Value: EQ, ENHANCER, COMPRESSOR, LIMITER, NOISE

SUP, C CANCELLER

When you press [F8 (In FX Setup)], the parameter setting screen

for the currently selected input effect will be displayed “Making

Input Source Settings (Input Setting)” (p. 141).

• Mix In Output Asgn (Mix In Output Assign)

Output destination of the external input sound that is mixed in

Value

DRY: Output to OUTPUT (A) jacks without passing through effects

MFX: Output through multi-effects

When you select “MFX,” selects which of the three multi-effects

(1–3) will be used.

Mix In Output Level

Volume level of the external input sound.

Value: 0–127

Mix In Chorus Send Level

Adjusts the depth of chorus that will be applied to the external input source. Set this to “0” if you do not want to apply chorus.

Value: 0–127

Mix In Reverb Send Level

Depth of reverb applied to the external input sound. Set this to 0 if you don’t want to apply reverb.

Value: 0–127

Input Effect SW

Specifies whether the external input sound will be sent through the effects processor (Input Effect). You can switch this on by pressing [F7 (In FX Sw)] so it lights red. Press it once again to turn it off.

Value: ON, OFF

5.

Play back the external input source.

3.

Press set.

or to select the parameter that you want to

4.

Turn the VALUE dial or press [INC]/[DEC] to set the value.

141

Fantom-X678_r_e.book 142 ページ 2007年3月20日 火曜日 午前10時20分

Sampling

6.

If you use AUDIO INPUT, turn the EXT SOURCE LEVEL knob to adjust the volume.

* If you’re using DIGITAL IN, this adjustment is not necessary.

fig.14-002

* If the volume of the external source is too high, the PEAK indicator will light. If this occurs, turn down the LEVEL knob until the PEAK indicator no longer lights.

7.

Press [EXIT] to return to the previous screen.

Input Effect Setup Settings

1.

Hold down [SHIFT] and press [MIX IN].

2.

Press [F8 (In FX Setup)].

The Input Effect Setup screen appears.

fig.14-003_50

When you enter the Input Effect Setup screen, the indicator at the right of the Realtime Control knobs will go out, and the

Realtime Control knobs can be used to edit the MFX parameters. If you once again press the button located at the right of the Realtime Control knobs so the indicator is lit, the knobs will control their original functions. When you exit the

Input Effect Setup screen, the indicator will automatically return to its previous lit state.

5.

Press [EXIT] to return to the previous screen.

For details on the parameters that can be edited, refer to the section

“Input Effect Parameters” (p. 294)

Sampling Procedure

1.

Press [SAMPLING] to access the Sampling Menu screen.

fig.14-004 fig.14-005_50

3.

Press or to move the cursor.

4.

Turn the VALUE dial, or press [INC] /[DEC] to set the value.

Type (Input Effect Type)

Selects the input effect type.

Parameter

1: Equalizer

2: Enhancer

3: Compressor

4: Limiter

5: Noise Suppressor

6: Center Canceler

Explanation

Adjusts the tone of the low-frequency and high-frequency ranges.

Modifies the harmonic content of the high-frequency range to add sparkle to the sound.

Restrains high levels and boosts low levels to make the overall volume more consistent.

Compresses the sound when it exceeds a specified volume, to keep distortion from occurring.

Suppresses noise during periods of silence.

Removes the sounds that are localized at the center of the stereo input. This is a convenient way to eliminate a vocal.

In this settings screen, you can edit parameters for the type of input effect you selected.

142

The upper part of the screen will show the amount of free memory. If the free memory reaches 0%, no further sampling is possible.

2.

Press [F1 (Sampling)]–[F5 (SOLO)] to select the sampling mode. The sampling-standby screen will appear.

To cancel, press [F8 (Exit)].

* You cannot sample the sound that is output from the OUTPUT B jacks. You’ll need to set things up so that the sound you want to sample is output from the OUTPUT A (MIX) jacks.

Sampling mode

• Sampling:[F1 (Sampling)]

Sample a sound from an external input source.

* Operating the keyboards, pads, sequencer will not play the internal sound generator.

Fantom-X678_r_e.book 143 ページ 2007年3月20日 火曜日 午前10時20分

Sampling

• Re-Sampling: [F2 (Re-Sampl)]

Resample the sound of the internal sound generator. The sound of the external input will not be heard.

* The volume of a phrase that you resample may be less than the volume of the original phrase. If necessary, execute the Normalize command

(p. 156) to raise the volume.

• Mix Sampling: [F3 (Mix)]

Sample the combined sounds of the internal sound generator and an external input source.

Auto divide sampling: [F4 (Auto Divide)]

Sample an extended source, and automatically divide it into several samples at silent regions. If the sample contains silence, it will be divided at that point, and the subsequent portion will be assigned to the next sample number.

* Operating the keyboards, pads or D Beam controllers will not play the internal sound generator.

• Solo sampling: [F5 (Solo)]

While playing the internal sound generator as usual, sample only the sound from the external input.

* Effects cannot be applied to the external input sound.

fig.14-006_50

3.

Make the settings for things such as the input source of the sound to be sampled, and triggering.

Input Select

Specifies the input source of the sound that is to be sampled.

Value

DIGITAL IN:

LINE IN L/R:

LINE IN L:

DIGITAL IN connector

INPUT jacks L/R (stereo)

INPUT jack L (mono)

MICROPHONE: INPUT jack L (mic level)

* This cannot be set when resampling.

• Stereo Switch

Specifies whether the sound will be sampled in stereo or in monaural. Mono sampling uses half as much memory space.

Value

MONO:

STEREO:

The sound will be sampled as one wave. If the sound is stereo, the left and right signals will be mixed.

The sound will be sampled as two waves, L and R.

• Pre Sample Time

The length of sound preceding the moment at which sampling was manually or automatically initiated that will be captured in the sample. This lets you prevent the attack portion of the sound from being omitted from the sample.

Value: 0–1000 ms

Stop Trigger

Specifies how sampling will end.

Value

MANUAL:

BEAT:

Continue sampling until you press [STOP].

Stop sampling after the specified number of beats at the current tempo (BPM).

TIME:

Sampling Length

Sample the specified length of time.

You can specify this if Stop Trigger is “BEAT” or “TIME.”

Value

Sampling Length When Stop Trigger is “BEAT”:1–20000:

Number of beats to continue sampling

When Stop Trigger is “TIME”:00’00”010–50’00”000:length of time to continue sampling.

Auto Trigger Level

Specifies the volume at which sampling will begin if you have pressed [F2 (Auto Trig)] to turn Auto Trig ON.

Value: 0–7 (A setting of 0 is the minimum.)

Gap Time

Specifies the length of the silences at which the sample will be divided if the Sampling Mode is set to Auto Divide. Whenever there is a silent region longer than the specified time, the sample will be divided at that point, and the next sample number will be assigned to the sound that follows.

Value: 500, 1000, 1500, 2000 ms

* This parameter is valid only when you are using Auto Divide

Sampling.

• Input Setting: [F1 (INPUT SETTING)]

Makes settings for the external input (p. 141).

Auto Trigger: [F2 (AUTO TRIG)]

If this is on, sampling will begin automatically when the input sound is detected.

Before you turn Auto Trig on, perform steps 4 and 5 to set the input level.

Trim Sw: [F3 (TRIM SW)]

If this is turned on, the Start point and End point settings (p.

149) will be automatically adjusted after sampling is performed,

so any silent portions at the beginning or end of the sampled sound are excluded.

4.

Play the external input source.

143

Fantom-X678_r_e.book 144 ページ 2007年3月20日 火曜日 午前10時20分

Sampling

5.

In the EXT SOURCE section of the panel, use LEVEL knob to adjust the input level of the external source.

* If you’re using DIGITAL IN, this adjustment is not necessary.

fig.14-002

* If the volume of the external source is too high, the PEAK indicator will light. If this occurs, turn down the LEVEL knob until the PEAK indicator no longer lights.

* If the level of the sound to be sampled is too high, the word “CLIP” will appear at the right of the level meter in the screen.

* Using a connection cable that contains a resistor can cause the sound level to be low. Use a connection cable that does not contain a resistor.

6.

Press [F8 (Start)] to begin sampling.

7.

If Stop Trigger is set to MANUAL, press [F7 (Stop)] to stop sampling.

The Sample Edit (p. 148) screen will appear.

*

If you want to edit the sample, refer to p. 146.

fig.14-007_50

Dividing a Sample During

Sampling

1.

During sampling, press [F8 (Divide)].

The sample will be divided at the point where you pressed the button, and the subsequent material will be sampled as a sample of the next number.

* When sampling in mono, you can divide the material into a maximum of 256 samples. When sampling in stereo, you can divide the material into a maximum of 128 samples (L/R total 256 samples).

Sampling time

The Fantom-X contains 32 MB of memory, which allows about 6 minutes of mono or about 3 minutes of stereo sampling. If you want to sample for a longer time than this, you must install

separately sold memory (DIMM) (p. 244, p. 246).

When you finish sampling, the sample will automatically be added to the sample list. Press [SAMPLE LIST] to view the sample list.

Samples you record will be lost when you turn off the power.

If you want to keep your sample, press [WRITE] to save

it (p. 159). Samples shown as “NEW” in the sample list have not

yet been saved.

fig.14-008_50

8.

Press [EXIT] to go back to where you were before you entered the Sampling screen.

144

Fantom-X678_r_e.book 145 ページ 2007年3月20日 火曜日 午前10時20分

Sampling

Sampling Earlier in Time

(Skip Back Sampling)

Sometimes you may want to preserve a nice phrase that you happened to play a bit earlier. In such cases, you can use the Skip

Back Sampling function to sample sounds that were played earlier in time.

When you execute skip-back sampling, several beats of your prior performance are saved as a sample. You can assign this sample to a pad and play it from the pad.

fig.14-009

4.

Press [F8 (Exec)]; now you can play the sample from the pad.

If you want to edit the sampled sound or play it from the keyboard, press [SAMPLE EDIT] to access the Sample Edit screen.

• Press [F3 (Sample Modify)] to edit the sample (p. 155 and

following).

• Press [F6 (Assign KB/Pad)] to assign the sample to a keyboard

part (p. 152).

You can specify how far back sampling will occur when you perform skip-back sampling (5–40 seconds). With the factory settings this is set to 10 seconds.

Samples captured by Skip Back Sampling will be lost when you turn off the power. If you want to keep the sample, perform the

Save procedure (p. 159).

Button lit:

Button unlit:

Button blinking:

Skip-back sampling can be performed in this state.

Skip-back sampling cannot be performed.Not operating. You cannot use skip-back sampling if there is insufficient free memory.

The following screen will appear, and Skip Back

Sampling will be executed.

1.

Play the Fantom-X’s keyboard or pads, or connect an instrument or some other device to the AUDIO IN jacks or

DIGITAL IN and input sounds or phrases.

2.

Press [SKIP BACK SAMPLING].

The following screen will appear, and Skip Back Sampling will be executed.

fig.14-010_50

When Skip Back Sampling ends, the Assign to Pad screen will appear. Now you can specify the pad that will play this sound.

3.

Specify the pad that you want to use; you can either turn the VALUE dial or use [INC] [DEC] to select the pad number, or simply strike the desired pad.

If you want to time-stretch the sample to match the tempo, press [F1 (Tempo Sync)].

145

Fantom-X678_r_e.book 146 ページ 2007年3月20日 火曜日 午前10時20分

Editing a Sample

This section explains how you can edit a sample that you sampled/ imported

Editing is performed in sample memory—a memory area dedicated

to samples (p. 32).

Selecting a Sample (Sample

List)

Select a sample from the list.

Selecting a Sample

1.

Press [SAMPLE LIST].

The Sample List display appears.

fig.14-008_50

The sample list shows the current state of the samples.

fig.15-001

2.

Specify the group from which you want to select a sample.

[F1 (Preset)]: Select from preset samples.

[F2 (User)]: Select from user samples.

[F3 (Card)]: Select from samples stored on a memory card.

* You cannot edit preset (Preset) samples.

3.

Use VALUE dial, [INC][DEC], or to select a sample.

If you hold down [SHIFT] while you operate the above buttons, the sample number will change in steps of ten.

You can press [F8 (Preview)] to audition the selected sample.

4.

Press [ENTER].

The Sample Edit Screen appears.

NEW: This is a sample that you sampled. It has not been saved, and will be lost when you turn off the power.

The same is true for samples imported as WAV/

AIFF.

UNLOAD: The sample has been saved, but not loaded into sample memory.

EDIT: This is a sample that you loaded or sampled and are editing. Your edits will be lost when you turn off the power. If you want to keep them, you must

Write the sample. Save this data as necessary.

The Fantom-X has a parameter (Load User Samples at Startup,

(p. 234)) that specifies whether the samples in user memory, the

samples in a memory card, or the preset samples will be automatically loaded into sample memory when you turn on the power. If Load User Samples at Startup is turned off, samples will not be loaded into memory when you turn on the power. In this case, you will need to load samples into memory yourself. If you have unload a sample from sample memory, you will also need to load it again before you can re-select that sample.

146

Fantom-X678_r_e.book 147 ページ 2007年3月20日 火曜日 午前10時20分

Editing a Sample

Loading a Sample

Here’s how you can load a sample from the user area, a memory card, or a preset into sample memory.

1.

Press [SAMPLE LIST].

The Sample List display appears.

2.

From [F1 (Preset)]–[F3 (Card)], select the bank that contains the desired sample.

3.

Use VALUE dial, [INC][DEC], or to select a sample.

If you want to load two or more samples, press [F5 (Mark Set)] to add a check mark (

) to the samples that you want to select.

To remove the check mark, press [F4 (Mark Clear)].

If you hold down [SHIFT] and press [F5 (Mark Set All)], a check mark will be added to all samples of the selected bank. If you hold down [SHIFT] and press [F4 (Mark Clr All)], check marks will be removed from all selected samples.

The edit screen for the selected sample will appear.

4.

Press [F7 (Load Utility)], and then press [F7 (Load)].

A message will ask you for confirmation.

5.

Press [F8 (Exec)] to load the sample.

To cancel, press [F7 (Cancel)].

* You can also perform this operation from the Sample Edit or Sample

List screen by pressing [MENU] and selecting Load Sample.

Loading all Samples

Here’s all samples in the user memory and memory card can be loaded.

When you execute Load All Samples, all unsaved samples will be erased.

If the total size of the data in the user bank and card bank exceeds the size of memory, the samples of the user bank will be loaded first. At this time, as many card bank samples as possible will be loaded, starting from the lowest-numbered sample.

1.

From the Sample List screen or Sample Edit Screen (p.

148), press [MENU].

2.

Press or press [ENTER].

to select “Load All Samples,” and then

A message will ask you for confirmation.

* If you press [SAVE/LOAD] and then press [F7 (Load All Smpl)] instead of performing steps 1–2, the same confirmation message will appear.

3.

Press [F8 (Exec)] to execute.

To cancel, press [F7 (Cancel)].

* You can also perform this operation from the Sample Edit or Sample

List screen by pressing [MENU] and selecting Load All Samples.

Unloading a Sample

Here’s how you can unload a sample from sample memory. The saved sample file itself will not be deleted.

1.

With the Sample List screen shown, choose [F1 (Preset)]–

[F3 (Card)] to select the group that contains the sample you want to erase.

2.

Use VALUE dial, [INC][DEC], or to select a sample.

If you want to erase two or more samples, press [F5 (Mark Set)] to add a check mark ( ✔ ) to the samples that you want to select.

To remove the check mark, press [F4 (Mark Clear)].

If you hold down [SHIFT] and press [F5 (Mark Set All)], a check mark will be added to all samples of the selected bank. If you hold down [SHIFT] and press [F4 (Mark Clr All)], check marks will be removed from all selected samples.

The edit screen for the selected sample will appear.

You can press [F8 (Preview)] to audition the selected sample.

3.

Press [F7 (Load Utility)], and the press [F6 (Unload)].

A message will ask you for confirmation.

4.

Press [F8 (Exec)] to unload the sample.

To cancel, press [F7 (Cancel)].

* You can also perform this operation from the Sample Edit screen by pressing [MENU] and selecting Unload Sample.

Deleting a Sample

Here’s how to completely delete a sample file.

* You cannot delete the preset samples.

1.

With the Sample List screen shown, choose [F2 (User)]–[F3

(Card)] to select the group that contains the sample you want to delete.

2.

Turn the VALUE dial, or press sample.

or to select the

If you want to delete two or more samples, press [F5 (Mark Set)] to add a check mark (

) to the samples that you want to select.

To remove the check mark, press [F4 (Mark Clear)].

If you hold down [SHIFT] and press [F5 (Mark Set All)], a check mark will be added to all samples of the selected bank. If you hold down [SHIFT] and press [F4 (Mark Clr All)], check marks will be removed from all selected samples.

The edit screen for the selected sample will appear.

You can press [F8 (Preview)] to audition the selected sample.

3.

Press [F7 (Load Utility)], and the press [F5 (Delete Sample)].

A message will ask you for confirmation.

4.

Press [F8 (Exec)] to delete the sample.

To cancel, press [F7 (Cancel)].

* You can also perform this operation from the Sample Edit or Sample

List screen by pressing [MENU] and selecting Delete Sample File.

147

Fantom-X678_r_e.book 148 ページ 2007年3月20日 火曜日 午前10時20分

Editing a Sample

Importing an Audio File

Here’s how an audio file (WAV/AIFF) can be loaded into memory as a sample.

Place the audio files in the “TMP/AUDIO_IMPORT” folder on the user memory or memory card. For details on how you can use your computer to copy a file into the user area or memory

card, refer to p. 218.

1.

From the Sample List screen or Sample Edit screen (p. 148),

press [MENU] to select “Import Audio,” and then press

[ENTER].

* You can obtain the same result by pressing [SAVE/LOAD] and then pressing [F8 (Import Audio)] instead of performing step 1.

2.

Press [F1 (User)] or [F2 (Card)] to select the import-source area.

User: Select a file from the user area.

Card: Select a file from the memory card.

3.

Use [CURSOR] to move the cursor to the “TMP/

AUDIO_IMPORT.”

4.

Press import.

or , then select the file that you want to

If you want to select two or more samples, press [F5 (Mark Set)] to add a check mark ( ✔ ) to the files that you want to select. To remove the check mark, press [F4 (Mark Clear)].

If you hold down [SHIFT] and press [F5 (Mark Set All)], a check mark will be added to all files of the selected folder. If you hold down [SHIFT] and press [F4 (Mark Clr All)], check marks will be removed from all selected files.

5.

Press [F8 (Import Audio)].

A message will ask you for confirmation.

* To cancel, press [F7 (Cancel)].

6.

Press [F8 (Exec)].

The file will be imported, and the Sample List screen will appear.

* To cancel, press [F7 (Cancel)].

The imported file will be added to the sample list as a sample.

This sample is temporary, and will be lost when you turn off the

power. If you want to keep it, press [WRITE] to save the data (p.

159).

Displaying Sample Edit

Screen

1.

When you press [SAMPLE EDIT] in the sampling section.

The Sample Edit screen will appear.

fig.14-007_50

Samples that you edit will be lost when you turn off the power.

If you want to keep them, you must Save them (p. 159).

Magnifying/Shrinking the

Waveform Display (Zoom In/Out)

Here’s how to change the magnification of the sample display.

1.

In the Sample Edit screen, press [F7 (Zoom In/Out)].

The Zoom In/Out sub-window will appear.

fig.15-002_50

2.

Use [CURSOR] to change the magnification of the display.

• Horizontal axis (time axis): 1/1–1/65536

Press to increase the display magnification.

Press to decrease the display magnification.

3.

* Either turn the VALUE dial or use [INC], [DEC] to adjust this setting.

• Vertical axis (waveform amplitude axis): x1–x128

Press

Press

to increase the display magnification.

to decrease the display magnification.

Press [F8 (Close)] to close the sub-window.

Even without displaying the Zoom In/Out sub-window, you can press CURSOR to expand/shrink the horizontal axis, or hold down [SHIFT] and press CURSOR to expand/shrink the vertical axis.

148

Fantom-X678_r_e.book 149 ページ 2007年3月20日 火曜日 午前10時20分

Editing a Sample

Setting the Start/End Points of the Sample

You can specify the portion of the sample that will actually sound.

You can also specify the region that is to be looped.

1.

Press [SAMPLE LIST] and select the sample that you want

to edit (p. 146).

2.

Press [SAMPLE EDIT].

fig.15-003_50

After specifying the start point and end point, you can execute

Truncate (p. 155) to delete unwanted portions at the beginning

and end of the sample.

About the beat

Samples contain beat data. Up to 100 beat locations are specified for one sample. If the sample contains more than 100 beats, fifty beat locations will be specified from the beginning and end of the sample, respectively.

* The preset samples do not contain beat data.

*

For details on how to select a sample, refer to Sample List (p. 146).

3.

Use or

Start Point:

to select the point that you want to set.

This is the point at which playback will start. Set this so that any unwanted portion at the beginning of the sample will be skipped, and the sound will begin at the desired moment.

Loop Start:

This is the point at which loop playback (second and subsequent times) will start. Set this if you want to loop the sound from a point other than the start point.

End Point:

This is the point at which playback will end. Set this so that any unwanted portion at the end of the sample will not be heard.

By pressing [F8 (Preview)] you can audition the region between the start point and edit point.

If you hold down [F8 (Preview)] and edit the start/loop/end point, the sample will play repeatedly across that point. Since the sound in the region you’re specifying will play repeatedly, this is a convenient way to check your setting.

(Zooming-in or zooming-out on the waveform will change the region that loops.)

4.

Either turn the VALUE dial or use [INC], [DEC] to move the point so it’s where you want it to be.

You’ll probably find it convenient to zoom-in when making fine

adjustments, and zoom-out when making major adjustments (p.

148).

You can move the point in units of one beat by pressing [F4 (

)] or [F5 (

)].

The preset samples cannot be moved by beat.

When you want to reset the beat indication

(Reset Grid function)

You can reassign the sample grid according to the specified start point and BPM. In the Sample Edit screen, specify the start point of the sample and press [F2 (Sample Param)] to access the

Sample Prm screen. In the Sample Prm screen, specify the BPM and press [F7 (Reset Grid)]. To execute, press [F8 (Exec)].

Sample modify operations (Chop, Normalize, etc.) apply to the entire sample. Even if you specify a start point or end point, they will be ignored. If you want to apply the operation only to the region between the start point and end point, use Truncate to delete unwanted portions of the sample, and then perform the sample modifying operation.

Using the knobs to edit the points

You can use the knobs to edit each point. Using the knobs is convenient when you need to make large changes to the value.

1.

Make sure that the button indicators located at the right of the REALTIME CONTROL knobs are extinguished.

If they are lit, press the button so the indicators go out.

2.

Use the REALTIME CONTROL knobs to specify the following editing points.

From the left, the knobs have the following functions.

fig.15-003a

1

1

2 3 4

: Start Point

2 : Loop Start

3 : End Point

4 : Zoom-in/zoom-out the horizontal axis of the display

149

Fantom-X678_r_e.book 150 ページ 2007年3月20日 火曜日 午前10時20分

Editing a Sample

Making Settings for Sample

(Sample Parameters)

Here you can make various settings for the sample.

1.

Press [SAMPLE LIST] and select the sample that you want

to edit (p. 146).

2.

Press [SAMPLE EDIT] to access the Sample Edit screen, and press [F2 (Sample Param)].

fig.15-004_50 fig.15-007

Start P.

Loop

Start P.

End P.

REV-ONE (Reverse One-shot)

The sample will be played back only once from the End point to the Start point in the reverse direction.

fig.15-008

Start P.

Loop

Start P.

End P.

3.

Press or to select a parameter.

4.

Use VALUE dial or [INC], [DEC] to edit the value.

Loop Mode

Specifies how the sample will be played.

Value

FWD (Forward)

After the Sample played back from the Start point to the End point, it will then be repeatedly played back in the forward direction, from the Loop Start point to the End point.

fig.15-005

Start P.

Loop

Start P.

End P.

ONE-SHOT

The sample will be played back only once, from the Start point to the End point.

fig.15-006

Start P.

Loop

Start P.

End P.

REV (Reverse)

When the sample has been played back from the End point to the Start point, it will be repeatedly played back in the reverse direction, from the Loop Start point to the Start point.

• Loop Tune

Specifies the pitch of the loop region.

Value: -50– +50

* Make fine adjustments in one-cent (1/100 semitone) increments.

• Original Key

Note number that will play the sample at the pitch at which it was sampled.

Value: 0 (C-1)–127 (G9)

BPM (TEMPO)

Specifies the original tempo of the sample.

Value: 5.00–300.00

*

In order to synchronize the tempo, Wave Temp Sync (p. 63) must be

turned on.

* When setting the BPM (tempo) value, you can hold down [SHIFT] and turn the VALUE dial, or use [INC] [DEC] to adjust the value to the right of the decimal point.

• Time Stretch Type

Specifies how the tempo will be synchronized. Decreasing this value will optimize the sound for more rapid phrases, and increasing this value will optimize the sound for slower phrases.

Value:

Start Fine

TYPE01–TYPE10

Fine adjustment of the Start point.

Value: 0–255

Loop Start Fine

Fine adjustment of the Loop Start point.

Value: 0–255

Loop End Fine

Fine adjustment of the End point.

Value: 0–255

* By pressing [F7 (Reset Grid)] you can reassign the sample grid according to the specified start point and BPM. To execute, press [F8

(Exec)].

5.

Press [EXIT] when you are finished.

150

Fantom-X678_r_e.book 151 ページ 2007年3月20日 火曜日 午前10時20分

Editing a Sample

Assigning Samples to a Pad

(Assign To Pad)

Here’s how to assign samples as the rhythm tones of a rhythm set.

For example, you can create an original rhythm set by replacing certain tones of a preset rhythm set with different samples.

* From the Sample List screen you can also press [F7 (Load Utility)]->

[F2 (Assign to Pad)] to execute Assign To Pad.

* You cannot execute this with more than one sample selected.

From Patch Mode

1.

Press [SAMPLE LIST] to select a sample, and then press

[SAMPLE EDIT] to access the Sample Edit screen.

2.

Press [F6 (Assign KB/Pad)].

The Assign to Kbd/Pad screen will appear.

fig.15-009_50

From Performance Mode

Before you continue with the procedure below, make sure you're in

Performance mode, and select the patch or rhythm set to which you want to assign the sample.

1.

Press [SAMPLE LIST] to select a sample, and then press

[SAMPLE EDIT] to access the Sample Edit screen.

2.

Press [F6 (Assign KB/Pad)].

The Assign to Kbd/Pad screen will appear.

3.

Press [F7 (Assign to Pad)].

The Assign to Pad screen will appear.

If a rhythm set is not assigned to the selected part, a message will ask “Change into Rhythm and Initialize?”, asking if you want to assign an initialized rhythm set to the selected part.

fig.15-010_50

3.

Press [F7 (Assign to Pad)].

The Assign to Pad screen will appear.

fig.15-010_50

4.

Select the desired pad by pressing it directly.

If you press [F1 (Tempo Sync)] to light it into red, the Wave

Tempo Sync parameter (p. 89) will be turned ON for the rhythm

tone that is assigned.

5.

Press [F8 (Exec)].

A message will ask your confirmation.

6.

Press [F8 (Exec)] to execute Assign to Pad.

The sample will be assigned (as a rhythm tone) to the specified pad.

To cancel, press [F7 (Cancel)].

7.

Press [EXIT] to return to the previous screen.

4.

Select the desired pad by pressing it directly.

If you press [F1 (Tempo Sync)] to light it into red, the Wave

Tempo Sync parameter (p. 63) will be turned ON for the rhythm

tone that is assigned.

5.

Press [F8 (Exec)].

A message will ask your confirmation.

6.

Press [F8 (Exec)] to execute Assign to Pad.

The sample will be assigned (as a rhythm tone) to the specified pad.

To cancel, press [F7 (Cancel)].

7.

Press [EXIT] to return to the previous screen.

If you select another rhythm set, the rhythm set you assigned will be replaced by that patch. If you want to keep the patch you created, press [WRITE] and save it.

151

Fantom-X678_r_e.book 152 ページ 2007年3月20日 火曜日 午前10時20分

Editing a Sample

Assigning a Sample as a

Patch to a Part (Assign to

Keyboard)

Here’s how you can use the currently selected sample to create a patch, and assign it to a keyboard part.

* From the Sample List screen you can also press [F7 (Load Utility)]->

[F2 (Assign to Pad)] to execute Assign To Pad.

* You cannot execute this with more than one sample selected.

From Patch Mode

1.

Press [SAMPLE LIST] to select a sample, and then press

[SAMPLE EDIT] to access the Sample Edit screen.

2.

Press [F6 (Assign KB/Pad)].

Assign to Kbd/Pad window appears.

fig.15-009_50

3.

Press [F6 (Assign to Kbd)].

The Assign to Keyboard window will appear, and you can verify the assignment for the keyboard part.

If you press [F2 (Tempo Sync)] to turn it into red, the Wave

Tempo Sync parameter (p. 63) will be turned ON for the patch

that is assigned.

4.

Press [F8 (Exec)]

A message will ask you for confirmation.

5.

Press [F8 (Exec)].

The sample will be assigned (as a patch) to the specified keyboard part.

To cancel, press [F7 (Cancel)].

From Performance Mode

1.

Press [SAMPLE LIST] to select a sample, and then press

[SAMPLE EDIT] to access the Sample Edit screen.

2.

Press [F6 (Assign KB/Pad)].

Assign to Kbd/Pad window appears.

fig.15-009_50

3.

Press [F6 (Assign to Kbd)].

Assign to Keyboard window appears.

fig.15-012_50

4.

Press or to specify the part to which the new patch is to be assigned, and then press [F8 (Select)].

The Assign to Keyboard window will appear, and you can verify the assignment for the part.

If you press [F2 (Tempo Sync)] to turn it into red, the Wave

Tempo Sync parameter (p. 63) will be turned ON for the patch

that is assigned.

5.

Press [F8 (Exec)]

A message will ask you for confirmation.

6.

Press [F8 (Exec)].

The sample will be assigned (as a patch) to the specified part.

To cancel, press [F7 (Cancel)].

7.

Press [EXIT] to return to the previous screen.

If you select another patch, the patch you assigned will be replaced by that patch. If you want to keep the patch you created, press [WRITE] and save it.

Create a Rhythm Set

(Create Rhythm)

Here’s how you can use the sample(s) to create a rhythm set. This operation is called Create Rhythm.

When you execute Create Rhythm, the sample(s) will become a rhythm set and will be assigned to a part.

For example, you could record a sample, use the Chop function to divide it, and then use this Create Rhythm operation to assign the divided samples to a part as a rhythm set. Alternatively, you can assign a mark to two or more samples in the sample list, and execute

Create Rhythm to assign the samples to a part as a rhythm set.

The samples will be assigned consecutively from the C2 key.

1.

Press [SAMPLE LIST] to access the Sample List screen.

2.

Select the samples.

If you want to select two or more samples, press [F5 (Mark Set)] to add a check mark (

) to the samples that you want to select.

To remove the check mark, press [F4 (Mark Clear)].

You can press [F8 (Preview)] to audition the selected sample.

152

Fantom-X678_r_e.book 153 ページ 2007年3月20日 火曜日 午前10時20分

Editing a Sample

3.

Press [F7 (Load Utility)], and then press [F4 (Create

Rhythm)].

The Create Rhythm window will appear.

Patch Mode fig.15-013_50

Performance Mode fig.15-014_50

4.

Either turn the VALUE dial or use [INC] [DEC] to select the part that you want to assign.

5.

Press [F8 (Select)].

The Create Rhythm window will appear.

If you press [F1 (Tempo Sync)] to light it into red, the Wave

Tempo Sync parameter (p. 89) will be turned ON for the rhythm

tone that is assigned. fig.15-014_50a

Creating a Multisample

(Create Multisample)

Two or more samples assigned to different keys are collectively called a “multisample.” One multisample can assign up to 128 samples divided (“split”) across the notes of the keyboard. A memory card can store 128 multisamples.

In order to hear a multisample, you’ll need to assign it to a Part as a Patch. Choose the desired samples to create the multisample, and then assign it as a patch to a keyboard part for use.

fig.04-012.e

Multisample

Multisample

Multisample

No.128

No.001

sample

No.001

sample

No.002

sample

No.003

Number in the sample list

A multisample is divided into 128 sample

No.127

sample

No.128

If, for example, only one note (e.g., the sound of the C4 key) is sampled from a wide-ranging instrument such as a piano, and assigned to the entire range of keys, it will sound unnatural when played significantly below or above its original pitch. If the instrument is sampled at several different pitches and assigned to different ranges of the keyboard, this unnatural effect can be minimized.

fig.15-015.e

Multisample

128 split

(128 key)

6.

Press [F8 (Exec)]

The sample will be assigned (as a patch) to the specified part.

To cancel, press [F7 (Cancel)].

7.

Press [EXIT] to return to the previous screen.

* If you select another rhythm set, the rhythm set you assigned will be replaced by that rhythm set. If you want to keep the rhythm set, press

[WRITE] and save it.

* The sounds will be assigned in order starting at the C2 key.

sample No.001

original key

C3 sample

No.002

sampleNo.003

ogriginal key original key

C4 split point split point

C5

: original key

When you create a multisample, the split points are automatically determined according to the original key of each sample. Before you begin this process, you should set the original key of each sample to the range where you want it to be

assigned. ( “Assigning a multisample to the desired keys” (p.

154))

A sample will not sound at a pitch higher than one octave above the original key.

153

Fantom-X678_r_e.book 154 ページ 2007年3月20日 火曜日 午前10時20分

Editing a Sample

1.

Press [SAMPLE LIST] to access the Sample List screen, and select the sample(s) that you want to include in your new multisample.

If you want to select two or more samples from the sample list, press [F5 (Mark Set)] to add a check mark (

) to each sample.

Pressing [F4 (Mark Clear)] will clear the check mark.

You can press [F8 (Preview)] to audition the selected sample.

If the total number of marks exceeds 128, the multisample will be created from the 128 lowest-numbered samples.

You cannot create a multisample using samples from more than one group.

2.

Press [F7 (Load Utility)], and then press [F3 (Create Multi

Sample)].

The Create Multisample Name screen will appear.

fig.15-xxx_50

8.

When the data has been written, the Assign to Keyboard screen will appear.

fig.15-015b

3.

Assign a name.

For details on assigning names, refer to

“Assigning a Name”

(p. 36)

4.

When you have finished inputting the name, press [F8

(Write)].

A screen will appear, allowing you to select the destination for the write.

5.

Either turn the VALUE dial or use [INC] [DEC] to select the write destination.

Multisamples consisting of user samples will be written to User, and multisamples consisting of card samples will be written to

Card.

6.

Press [F8 (Write)].

A message will ask you to confirm the operation.

7.

If you are sure you want to write the multisample, press [F8

(Exec)].

If you decide to cancel, press [F7 (Cancel)].

Never switch off the Fantom-X while data is being saved.

9.

If you want to use the multisample as a patch, press [F8

(Exec)].

If you decide to cancel, press [F7 (Cancel)].

Never turn off the power while data is being written.

* You can’t listen to a multisample unless it’s assigned to a part as a patch. If you press [F7 (Cancel)] at this point, the multisample will be saved, but you’ll need to perform the additional step of assigning the

saved multisample to the keyboard in order to actually play it (p. 152).

Assigning a multisample to the desired keys

In order to assign a multisample to the desired keys, you’ll need to set the Original Key of each sample to the appropriate keys. Then, when you execute the Create Multisample operation, the Fantom-X will assign the samples to the keyboard and set the split points automatically.

1.

Press [SAMPLE LIST] to access the Sample List screen, and select one of the samples within the multisample.

2.

Press the [SAMPLE EDIT] button to access the Sample Edit screen.

3.

Press [F2 (Sample Param)] to access the Sample Param screen.

4.

Set the Original Key to the note number of the key to which you want to assign the sample.

You can also specify a note number by playing a note on the keyboard.

5.

Press the [SAMPLE EDIT] button to return to the Sample

Edit screen, and set the Original Key for the other samples in the same way.

When creating a multisample, you’ll need to change the

Original Key of more than one sample. After you’ve made the setting for the first sample, you can simply press [SAMPLE

LIST] to access the Sample List screen, select another sample and press [ENTER] to go directly to the Sample Param screen.

* The Original Key you specify here needs to be saved for each sample.

154

Fantom-X678_r_e.book 155 ページ 2007年3月20日 火曜日 午前10時20分

Editing a Sample

6.

When you’ve finished setting the Original Key of all

samples, create the multisample as described in “Creating a Multisample (Create Multisample)” (p. 153).

Unloading a Sample

(Unload)

In the Sample Edit screen you can press [F1 (Unload)] to unload the currently selected sample and return to the previous screen.

Removing Unwanted

Portions of a Sample

(Truncate)

This operation cuts the portions of the sample that are earlier than the Start Point and later than the Loop End Point.

* You cannot execute this with more than one sample selected.

1.

Press [SAMPLE EDIT] to access the Sample Edit screen.

2.

Press or to select the parameter.

Start Point: Specifies the sample start point.

End Point: Specifies the sample end point.

3.

Either turn the VALUE dial or use [INC] [DEC] to set the value.

4.

Press [F3 (Sample Modify)] to access the Sample Modify window.

5.

Press [F1 (Truncate)].

fig.15-016_50

Boosting or Limiting the

High-frequency Range of the Sample (Emphasis)

In some cases, the audio quality will be improved if you boost the high-frequency range of an imported sample. Also, the highfrequency range of the sample may be emphasized when you use a sampler made by another manufacturer. In this case, you can minimize the change in tonal character by attenuating the highfrequency range.

* You cannot execute this with more than one sample selected.

1.

Press [SAMPLE EDIT] to access the Sample Edit screen.

2.

Press [F3 (Sample Modify)] to access the Sample Modify window.

3.

Press [F2 (Emphasis)].

fig.15-017_50

6.

If you want to replace the current sample with the truncated sample, press [F6 (Over Write)] to display the “

” symbol.

7.

Press [F8 (Exec)].

A message will ask you for confirmation.

8.

To execute the Truncate operation, press [F8 (Exec)].

* If you want to cancel without executing, press [F7 (Cancel)].

4.

Either turn the VALUE dial or use [INC] [DEC] to select the emphasis type.

PreEmphasis: Emphasizes the high-frequency range.

DeEmphasis: Attenuates the high-frequency range.

5.

If you want to replace the current sample with the emphasized sample, press [F6 (Over Write)] to display the

” symbol.

6.

Press [F8 (Exec)].

A message will ask you for confirmation.

7.

To execute, press [F8 (Exec)].

* To cancel, press [F7 (Cancel)].

155

Fantom-X678_r_e.book 156 ページ 2007年3月20日 火曜日 午前10時20分

Editing a Sample

Maximizing the Volume of a

Sample (Normalize)

This operation raises the level of the entire sample as much as possible without exceeding the maximum level. In some cases, the

volume of a phrase you resampled (p. 143) will be lower than the

volume of the original phrase. In this case, it is a good idea to boost the volume by executing the Normalize operation.

* You cannot execute this with more than one sample selected.

1.

Press [SAMPLE EDIT] to access the Sample Edit screen.

2.

Press [F3 (Sample Modify)] to access the Sample Modify window.

3.

Press [F3 (Normalize)].

fig.15-018_50

4.

If you want to replace the current sample with the normalized sample, press [F6 (Over Write)] to display the

“ ✔ ” symbol.

5.

Press [F8 (Exec)].

A message will ask you for confirmation.

6.

To execute, press [F8 (Exec)].

* To cancel, press [F7 (Cancel)].

3.

Press [F4 (Amp)].

fig.15-019_50

4.

Use VALUE dial or [INC] [DEC] to set the value.

Rate 1–4: Specifies the rate of volume boost.

This specifies how much boost will be applied relative to the current volume. The entire sample you select will be boosted.

Value: 0–400%

5.

If you want to specify a point, press [F5 (Point)] to light it into red. Press or to select a parameter, and then use VALUE dial or [INC] [DEC] to set the value.

Current Point: Specifies the currently selected point. Beginning near the start point, the points will be numbered 1, 2, 3, or 4.

Point 1–4: Location of the current point

Rate 1–4: Amplification ratio of the current point

Specifies how the volume of each point is to be boosted relative to the current value.

Value: 0–400%

6.

If you want the edited sample to replace the current sample, press [F6 (Over Write)] to display the “ ✔ ” mark.

7.

Press [F8 (Exec)].

A message will ask you for confirmation.

8.

To execute, press [F8 (Exec)].

* To cancel, press [F7 (Cancel)].

Amp

This operation applies an envelope (time-variant change) to the volume of the sample.You can also adjust the volume of the entire sample.

* You cannot execute this with more than one sample selected.

1.

Press [SAMPLE EDIT] to access the Sample Edit screen.

2.

Press [F3 (Sample Modify)] to access the Sample Modify window.

Stretching or Shrinking a

Sample (Time Stretch)

This operation stretches or shrinks the sample to modify the length or tempo. You can stretch or shrink the sample by a factor of one half to double the original length.

* You cannot execute this with more than one sample selected.

1.

Press [SAMPLE EDIT] to access the Sample Edit screen.

2.

Press [F3 (Sample Modify)] to access the Sample Modify window.

156

Fantom-X678_r_e.book 157 ページ 2007年3月20日 火曜日 午前10時20分

Editing a Sample

3.

Press [F5 (Time Strtch)].

fig.15-020_50

3.

Press [F3 (Chop)].

fig.15-021_50

4.

Press or

Edit Time Stretch

to select the parameter.

BPM: Change the BPM of the sample to the BPM you specify.

Time:

Rate:

Value:

Type

Specify the length of the sample as a time value.

Specify the length relative to the current length of the sample.

50.0–200.0%

Lower settings of this value will make the sound more suitable for faster phrases, and higher settings will make the sound more suitable for slower phrases.

Value: TYPE01–TYPE10

Quality Adjust

Make fine adjustments to the tonal quality of the Time Stretch.

Value: 1–10

5.

Use VALUE dial or [INC/DEC] to specify the tempo/length.

When setting the BPM (tempo) value, you can hold down

[SHIFT] and turn the VALUE dial, or use [INC] [DEC] to adjust the value to the right of the decimal point.

6.

Press [F8 (Exec)].

A message will ask you for confirmation.

7.

To execute, press [F8 (Exec)].

The length of the sample will be changed as specified.

* To cancel, press [F7 (Cancel)].

Dividing a Sample into

Notes (Chop)

The chop function divides a sample waveform into separate notes.

*

The Create Rhythm function (p. 152) makes it easy to create a rhythm

set from a chopped sample.

* You cannot execute this with more than one sample selected.

1.

Press [SAMPLE EDIT] to access the Sample Edit screen.

2.

Press [F3 (Sample Modify)] to access the Sample Modify window.

Procedure for Dividing a Sample

You can freely specify the point(s) at which the sample is to be divided.

4.

Press or to move the cursor to “Current Address.”

5.

Either turn the VALUE dial or use [INC], [DEC] to move the point.

6.

At the location where you want to divide the sample, press

[F4 (Add Point)].

The current location will be the dividing point.

7.

Repeat steps 5 and 6 to specify other dividing points as desired.

You can specify up to 15 locations at which to divide the sample; i.e., the sample will be divided into a maximum of 16 pieces.

8.

Audition the sample as described in the section

“Auditioning the divided samples.”

If you want to re-make settings, press [F7 (Cancel)], and move

or delete the point (p. 158).

9.

Press [F8 (Exec)].

A message will ask you for confirmation.

10.

To execute the division, press [F8 (Exec)].

* To cancel, press [F7 (Cancel)].

When you execute the Chop operation, a message will ask whether you want to execute Create Rhythm.

* The divided samples will be added to the sample list.

11.

If you want to execute Create Rhythm, press [F8 (Exec)].

For the rest of the procedure, refer to

“Create a Rhythm Set

(Create Rhythm)” (p. 152).

12.

If you don’t want to execute Create Rhythm, press [F7

(Cancel)].

157

Fantom-X678_r_e.book 158 ページ 2007年3月20日 火曜日 午前10時20分

Editing a Sample

Automatically Dividing a Sample

(Auto Chop)

Here’s how you can automatically specify the points at which the sample is to be divided, and then divide the sample.

1.

From step 3 of p. 157, press [F6 (Auto Chop)].

The Auto Chop sub-window will appear.

2.

Either turn the VALUE dial or use [INC] [DEC] to select the method by which the sample is to be divided.

Chop Type

Specify how the sample will be divided.

Value

Level:

Beat:

Divide x:

Divide according to volume.

Divide at beats based on the BPM (p. 150) of the

sample.

Divide into ‘x’ number of equal lengths.

3.

Press .

4.

Either turn the VALUE dial or use [INC] [DEC] to set the value.

Level (If Chop Type is Level)

Level at which the sample is to be divided. Lower settings of this value will cause the sample to be divided more finely.

Value: 1–10

Beat (If Chop Type is Beat)

Beat interval at which the sample is to be divided.

Value: 1/32, 1/16T, 1/16, 1/8T, 1/8, 1/4T, 1/4, 1/2, 1/1, 2/

1

Times (If Chop Type is Divide x)

Number of samples into which the sample is to be divided

Value: 2–16

5.

Press [F8 (Exec)].

The sample will be automatically divided according to your settings, and the points will be specified. A maximum of 15 division points will be set (16 regions).

To cancel, press [F7 (Cancel)].

6.

Audition the sample as described in the section

“Automatically Dividing a Sample (Auto Chop)” (p. 158)

If you want to re-make settings, press [F7 (Cancel)], and move or delete the point

“Moving a Dividing Point” (p. 158).

7.

Press [F8 (Exec)].

A message will ask you for confirmation.

8.

To execute the division, press [F8 (Exec)].

* To cancel, press [F7 (Cancel)].

When you execute Auto Chop, a message will ask you whether you want to execute Create Rhythm.

9.

If you want to execute Create Rhythm, press [F8 (Exec)].

For the rest of the procedure, refer to

“Create a Rhythm Set

(Create Rhythm)” (p. 152).

* The divided samples will be added to the sample list.

10.

If you don’t want to execute Create Rhythm, press [F7

(Cancel)].

You will return to the Sample Edit screen.

Auditioning the Divided Samples

After dividing the sample, you can press the pads to audition each of the divided samples.

From the sample nearest to the start point, the samples will be played by pads [1], [2],...[16]

Moving a Dividing Point

1.

Press or to move the cursor to “Point No.”

2.

Turn VALUE dial to select the point that you want to move.

In order from the start point, the points are numbered 1, 2,...15.

3.

Press .

4.

Turn VALUE dial to move the dividing point.

Deleting a Dividing Point

1.

Press or to move the cursor to “Point No.”

2.

Turn VALUE dial to select the point that you want to delete.

3.

Press [F5 (Clear Point)].

The dividing point will be deleted.

Joining Two or More

Samples (Combine)

This operation combines multiple samples into a single sample. You can combine as many as sixteen samples. You can also place silent spaces between the samples.

1.

Press [SAMPLE EDIT] to access the Sample Edit screen.

2.

Press [F3 (Sample Modify)] to access the Sample Modify window.

3.

Press [F7 (Combine)].

fig.15-022_50

158

Fantom-X678_r_e.book 159 ページ 2007年3月20日 火曜日 午前10時20分

Editing a Sample

4.

Either turn the VALUE dial or use [INC][DEC] to set the value.

1–16: The sample or silence to be combined

TYPE

Value

Sample: sample, Time: silent region (specified as time), Beat: silent region (specified as a note value)

BANK (Bank that contains the sample)

Value U: user, C: card

* This will be displayed only if TYPE is set to Sample.

• PRM (Sample number, or the duration/note value of the silent region)

Value: 1–10000 ms (if TYPE is set to Time), note value: 1/

32, 1/16T, 1/16, 1/8T, 1/8, 1/4T, 1/4, 1/2, 1/1, 2/1

(if TYPE is set to Beat)

The note value is based on the BPM of the sample immediately before the silent region.

* If there is no sample immediately before the silent region, the current

BPM will be used.

5.

Use [CURSOR] to select a parameter and repeat step 4.

You can press [F6 (Preview)] to audition the selected sample.

6.

Press [F6 (Exec)].

A message will ask you for confirmation.

7.

To execute, press [F8 (Exec)].

* To cancel, press [F7 (Cancel)].

Saving a Sample

A newly loaded sample, as well as any changes you’ve made in the settings for a sample will be lost as soon as you turn off the power. If you want to keep such data, you must save it as follows.

1.

Press [SAMPLE EDIT].

2.

Press [F1 (Sample List)].

Samples displayed as “NEW” or “EDIT” have not yet been saved.

3.

Select the sample that you want to save.

If you want to select two or more samples, press [F5 (Mark Set)] to add a check mark (

) to the samples that you want to select.

To remove the check mark, press [F4 (Mark Clear)].

If you hold down [SHIFT] and press [F5 (Mark Set All)], a check mark will be added to all samples of the selected bank. If you hold down [SHIFT] and press [F4 (Mark Clr All)], check marks will be removed from all selected samples.

The edit screen for the selected sample will appear.

You can press [F8 (Preview)] to audition the selected sample.

4.

Press [WRITE].

fig.15-023_50

The Write Menu screen will appear. Make sure that “Sample” is highlighted.

5.

fig.15-024_50

Press [F3 (Sample)] or [ENTER].

If you have selected more than one sample, a message will ask you to confirm the writing operation. Samples will be written into the identical number corresponding to each bank of the sample list. Sample names will be assigned automatically. If you want to write the samples, press [F8 (Exec)]. If you decide to cancel, press [F7 (Cancel)].

6.

Assign a name to the sample.

For details on assigning names, refer to

“Assigning a Name”

(p. 36)

7.

When you have finished inputting the name, press [F8 (Write)].

A screen will appear allowing you to select the writedestination sample.

8.

Turn the VALUE dial, or use [INC][DEC] or [F2 (User)][F3

(Card)] to select the write destination and sample number.

The write destination can be either the Fantom-X’s internal user memory (User), or a memory card (Card).

9.

Press [F8 (Write)].

A message will ask you for confirmation.

Never switch off the Fantom-X while data is being saved.

10.

Press [F8 (Exec)] to execute the save operation.

* To cancel the operation, press [F7 (Cancel)].

• You can't save by overwriting another sample.

• Stereo samples must be saved to two consecutive sample numbers.

159

Fantom-X678_r_e.book 160 ページ 2007年3月20日 火曜日 午前10時20分

Using the Pads

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

Using the Hold Function to

Sustain a Sound

You can use the Hold function to make the sound continue even after you take your finger off the pad. This is useful when you want a sound such as a looped (repeating) phrase to play continuously.

To play other sounds while holding one sound

1.

Hold down a pad and press [HOLD].

fig.16-001

Using the Roll Function to

Play Sounds

You can use the Roll function to play a “roll” (repeated notes at brief intervals) as long as you continue holding the pad.

1.

Hold down [ROLL] and press a pad.

* If you press only [ROLL], a roll will continue sounding on all 16 pads.

* If you press only [ROLL], the Roll function will be turned on for all sixteen pads.

fig.16-002

The [HOLD] and the pad will blink.

Hold will be turned on, and the sample will continue sounding even when you take your finger off the pad. In this state, pressing another pad will cause its sample to sound only as long as you continue pressing that pad.

2.

When you once again press the blinking [PAD] or [HOLD], the sound will stop.

To hold two or more samples

1.

Press [HOLD] so the pad is lighted.

2.

Press a pad.

The sample whose pad is blink will continue sounding. If you press another pad in this state, its sample will also continue sounding in the same way.

3.

The sound will stop when you press a lit pad. When you press [HOLD], all samples will stop pad sounding.

The Hold function will not work in the following cases:

• When RPS is on (p. 203)

• When the Tone Env Mode parameter (p. 87) is set to “NO-SUS”

• When the One Shot Mode parameter (p. 88) is on

In this state, a roll will be played as long as you hold down a pad.

2.

Take your hand off the pad, and the sound will stop.

*

The resolution of the roll is set by the Roll Resolution parameter (p.

162), which is displayed while you hold down [PAD SETTING].

* You can vary the dynamics by varying the pressure on the pad.

* If you selected “Multi Velo” in Pad Setting Quick Setup, that setting

will be used (p. 161).

The Roll function will not work in the following cases:

• When you have made settings so that a pattern is played when you press a pad

• When RPS is on (p. 203)

This cannot be used to switch images via V-Link.

160

Fantom-X678_r_e.book 161 ページ 2007年3月20日 火曜日 午前10時20分

Using the Pads

Making Settings for the

Pads (Pad Setting)

Here you can make various settings for playing the pads; e.g., the note number that each pad will send to the sound generator section, the pad sensitivity, and the aftertouch sensitivity.

1.

Press [PAD SETTING].

The Pad Setting screen will appear.

fig.16-003.e

Patch/Rhythm Set Group

Patch/Rhythm Set Number

Patch/

Rhythm Set Type

Pad Part

2.

Press parameter.

or to move the cursor to the desired

3.

Turn the VALUE dial or use [INC] [DEC] to make pad settings.

Specify the Currently Used Sound

Generator

You can specify the current sound generator mode (Patch or

Performance) from this screen.

• Pad Part

Specifies the Part that will be played by the pad. This parameter is available only in Performance mode.

Value: 1–16

* If you make this setting, an indication of “PAD” will appear below the

Part number in the Performance Layer and Mixer screens.

• Patch/Rhythm Set Type

Specifies whether Patch or Rhythm Set settings will be used for the pad part.

Value: Patch, Rhythm

• Patch/Rhythm Set Group

Specifies the patch or rhythm set group.

Value: USER, PR-A–H, GM, CARD, (XP-A–D)

• Patch/Rhythm Set Number

Selects the patch or rhythm set number.

Settings You Can Make for Each

Pad

First, select the pad for which you want to make settings. When you strike a pad, its parameters will appear. Alternatively, you can move the cursor to “Pad Number” in the screen, and select the pad you want to edit.

• Note (Pad Note)

Specifies the note number transmitted by the selected pad.

• Velocity (Pad Velocity)

Specifies the strength of the sound when you strike the pad.

With the “COMMON” setting, the Pad Common Sens (the overall velocity sensitivity setting for all pads) will be used.

With a setting of “1–127,” the sound generator will be played with that velocity value.

Value: 1–127

Settings that Apply to All Pads

Quick Setup

This lets you make basic pad settings. For the greatest efficiency, use

Quick Setup to choose the settings that are closest to what you have in mind. Then make the necessary changes for each pad.

1.

In the Pad Setting screen, press [F7 (Quick Setup)].

The Quick Setup window will appear.

* This won’t work if the Rhythm Pattern function is turned on. In order to make these settings, you’ll need to press [RHYTHM] to turn off the

Rhythm Pattern function.

2.

Move the cursor and make settings.

• Template Set

Value

Note:

Rhythm:

Multi Velo:

The sixteen consecutive note numbers starting at the Base Note will be automatically assigned to the pads.

The note numbers will be arranged in the most suitable way for playing a rhythm set.

“Multi Velocity” is a special setting that assigns the very same note number to each of the sixteen pads—but with differing velocities. This is convenient if you need precise control of the velocity while you play.

• Base Note (Pad Base Note)

Make this setting if you’ve selected Note or Multi Velo as the

Template Set setting.

If you’ve selected Note, this specifies the location where the consecutive note numbers will begin (i.e., the lowest note).

If you’ve specified Multi Velo, this specifies the note number that all pads will play.

Value: C-1–G9

161

Fantom-X678_r_e.book 162 ページ 2007年3月20日 火曜日 午前10時20分

Using the Pads

Setting the Velocity for All Sixteen Pads at

Once

Use this when you want to specify a common velocity for all sixteen pads. However if the pad velocity setting (of each pad) is set to other than Common, those settings will be used.

• Pad Common Velo (Pad Common Velocity)

For all sixteen pads, this specifies the velocity (loudness) that is produced when you strike a pad. With the “REAL” setting, you’ll be able to produce dynamics by varying your striking force. With a setting of “1–127,” the pads will produce the specified velocity value regardless of your actual striking force.

Value: REAL, 1–127

Adjusting the Pad Sensitivity

• Pad Sens (Pad Sensitivity)

Specifies the relation between your striking force and the velocity that is produced.

Value

LIGHT: It will be easy to produce the maximum velocity without having to strike very hard.

MEDIUM: This is the standard pad sensitivity setting.

HEAVY: You will have to strike quite strongly to produce the maximum velocity.

Adjusting the Aftertouch Sensitivity

• Aftertouch Sens (Aftertouch Sensitivity)

“Aftertouch” means additional pressure that you apply on a pad after striking it. This setting adjusts the aftertouch sensitivity. Higher values make it easier to apply aftertouch.

Normally you will leave this at a setting of “100.”

Value: 0–100

Settings for the ROLL Button

• Roll Resolution

Specifies the rapidity of the repeated strikes when you use a pad to play a roll.

Value: , , , , , , ,

Writing the Pad Settings

You can save one set of settings as System settings for Patch mode.

Press [F8 (System Write)] to save the settings.

If you make settings in Performance mode, the pad settings will also be saved when you save the performance. This means that in

Performance mode, you can have separate pad settings for each performance.

For details on how to save a performance, refer to

“Saving a

Performance You’ve Created (Write)” (p. 120).

Mode

Performance mode

Parameter

Pad Common Velo

Pad Sens

Aftertouch Sens

Roll Resolution

Pad settings other than the above

Patch mode All pad settings

Write procedure

Press [F8 (System

Write)]

* Save as System parameters

Press [WRITE].

* Saved as performance parameters.

Press [F8 (System

Write)].

* Saved as System parameter.

Exchanging the Sound of Two

Pads (Pad Exchange)

Here’s how to exchange the sound of two selected pads.

* This setting exchanges the note numbers transmitted by the pads. This means that even if you execute this function, there’s no need to make a similar change for the sound generator settings.

1.

Press [F6 (Pad Exchg)].

2.

Select the number of a pad you want to exchange.

Use the VALUE dial or [INC][DEC], or strike a pad directly to make your selection.

fig.16-004e

3.

Press [F8 (EXEC)] to execute.

* If you decide to cancel, press [F7 (Cancel)].

162

Fantom-X678_r_e.book 163 ページ 2007年3月20日 火曜日 午前10時20分

Assigning a Pattern to a

Pad (RPS Function)

The Fantom-X lets you assign a previously recorded phrase to a pad as a pattern, and play it by pressing that pad. For details, refer to

(

“Playing a Phrase at the Touch of a Finger (RPS Function)” (p.

203).

Using the Pads to Play

Rhythms

The Fantom-X lets you assign rhythm patterns and/or rhythm sounds to the pads and play them by pressing the pads. For details, refer to

“Playing Rhythms” (p. 135).

Using the Pads

163

Fantom-X678_r_e.book 164 ページ 2007年3月20日 火曜日 午前10時20分

Playing Back a Song

This chapter explains how you can use the Fantom-X’s sequencer to play back a song.

When you play back a song, we recommend that you use the sound generator in Performance mode . In Performance mode, up to sixteen different sounds can be played separately by the sixteen parts, making this mode ideal for playing songs that are multi-instrument ensembles of drums, bass, piano, etc.

Playing a Song Immediately

(Quick Play)

The Fantom-X is able to play a song from user memory and memory card immediately, without first loading the song into Temporary

Area. This is called the Quick Play function.

Quick Play can be used with MRC Pro songs (extension:.SVQ) and

Standard MIDI Files (extension:.MID).

1.

Press [SONG EDIT].

The Song Play screen appears.

fig.17-001

3.

Press [PLAY] to start playback.

When the song finishes playing, it will stop automatically. If you want to stop playback midway through the song, press

[STOP].

If you have interrupted song playback, “+” may be displayed at the right of the measure number. This indicates that the song is stopped in mid measure.

There will be no sound if samples have not been loaded for the patches used in the song. You must load the necessary samples

beforehand (p. 202).

Playing Back Songs

Consecutively (Chain Play)

The Chain Play function lets you consecutively play back (Quick

Play) songs on user memory and memory card.

1.

Press [MENU] to access the Menu window.

2.

Use

[ENTER].

or to select “Chain Play,” and then select

The Chain Play screen appears.

fig.17-003_50

2.

Press [F1 (Song List)].

Turn the VALUE dial or press [INC] [DEC] to select the song that you want to play.

fig.17-002_50

[F1 (User)]:

[F2 (Card)]:

Songs in user memory

Songs on a memory card

* By pressing or in the above screen, you can specify the type of songs that will be displayed. If various types of songs are saved together, it will be easier to find the desired song if you restrict the displayed file types in this way.

VIEW ALL:

SVQ ONLY: all songs will be displayed only SVQ files will be displayed

SMF:

MRC: only Standard MIDI Files will be displayed only MRC files will be displayed

164

3.

Press [F1 (User)] if you want to choose from user memory, or press [F2 (Card)] if you want to choose from memory card.

You cannot combine USER songs and CARD songs.

By holding down [SHIFT] and pressing jump to the beginning or end of the song list.

or you can

If you want to perform Chain Play repeatedly, press [F7 (Repeat

All)] to light it into red. If you press [F6 (Auto Step)] to light it into red, playback will ends, and the next song will begin playing automatically.

Fantom-X678_r_e.book 165 ページ 2007年3月20日 火曜日 午前10時20分

Playing Back a Song

4.

Press [PLAY] to start Chain Play.

Starting from the song of step 1. If you want to stop playback before it is finished, press [STOP].

If you want to begin playback from midway through the chain, use or to move to the desired step, and then press

[PLAY].

5.

When you are finished with Chain Play, press [STOP].

Chain Play cannot be started or stopped by a Start or Stop message from an external MIDI device. Nor will MIDI

Continue, Song Position Pointer, Song Select, or Clock messages be received.

Various Playback Methods

Fast-Forward and Rewind During

Playback

Fast-forward, rewind, and jump can be performed during playback, as well as while stopped. Use the following procedures for each operation.

Fast-forward: Press [FWD].

Continuous fast-forward: Press and hold [FWD].

Rapid fast-forward:

Rewind:

Continuous rewind:

Rapid rewind:

Press [FWD] and then press [BWD].

Press [BWD].

Press and hold [BWD].

Press [BWD] and then press [FWD].

Jump to the previous locate position:

Hold down [SHIFT] and press [BWD].

Jump to the next locate position:

Hold down [SHIFT] and press [FWD].

Jump to the beginning of the song:

Press [RESET].

A certain amount of time may be required for fast-forward, rewind, or jump during Quick Play.

• Song playback will be interrupted if you jump to the beginning or end of the song while the song is playing.

Playing Back Correctly from the

Middle of the Song (MIDI Update)

When you play back from the middle of a song, for example after fast-forward or rewind, the correct patch may not be selected, or the pitch may be incorrect. This is because the MIDI messages in the area that you skipped have not been transmitted to the sound generator.

In such cases, you can use the MIDI Update function. When you perform MIDI Update , the MIDI messages (other than Note messages) from the beginning of the song until the location to which you moved will be transmitted to the sound generator, ensuring that the sound generator will be in the correct state for the resumption of playback.

1.

Make sure that song playback is stopped.

It is not possible to perform MIDI Update while the song is playing.

2.

Hold down [SHIFT] and press [PLAY].

The display will indicate “MIDI Update...” while processing takes place, and when finished, will indicate “Completed!”

Muting the Playback of a Specific

Instrument

If you want to silence the playback of a specific instrument, you can mute the phrase track that contains the sequencer data for that instrument.

For details on the procedure, refer to

“Silencing the Playback of a Track (Mute)” (p. 178)

165

Fantom-X678_r_e.book 166 ページ 2007年3月20日 火曜日 午前10時20分

Playing Back a Song

Changing the Playback Tempo of a

Song

The tempo at which a song will play back is recorded on its tempo track, but the tempo of the entire song can be adjusted during playback. The tempo at which the song actually plays is called the playback tempo.

The playback tempo is a temporary setting. It will be lost if you switch to another song or turn off the power. If you want the song to always play back at this tempo, you must re-save the

song to disk (p. 198).

1.

Press [TEMPO].

The Tempo window appears.

fig.17-004_50

2.

Turn the VALUE dial or press [INC]/[DEC] to set the playback tempo.

• If you press [F7 (Click)] to light it into red, a click will sound at the specified tempo. This will switch on/off each time you press the button.

• By pressing [F6 (Tap)] you can set the tempo to the timing at which you press the button (Tap Tempo). Press the button three or more times at quarter-note intervals of the desired tempo.

3.

When you have finished making settings, press [F8

(Close)].

Using a Controller to Change the Playback

Tempo

Since tempo control is assigned to the realtime control knob of the Fantom-X, it’s easy to change the playback tempo of the song.

fig.11-003

Tempo

1.

Press the REALTIME CONTROL button so the ARP/

RHY indicator lights.

2.

Play back the song, and turn the realtime control knob.

You are also free to assign the Tempo Control function to the following controllers. For details on this setting, refer to the pages that discuss each controller.

• D Beam controller (p. 122)

Playing a Song Back at a Fixed

Tempo (Muting the Tempo Track)

If the tempo changes while a song is being played back, this is because those tempo changes have been recorded in the Tempo track. If you want to override these tempo changes and play back at a fixed tempo, you can mute the Tempo track.

For details on this operation, refer to “Silencing the Playback of a Track (Mute)” (p. 178).

Playing Back a S-MRC Format

Song

The Fantom-X is able to play back S-MRC format songs created on the MC-50 in the same way as MRC Pro songs or Standard MIDI

Files. However, S-MRC format songs cannot be Quick Played. You must first load them into Temporary Area and convert them to MRC

Pro song format before playing them.

For details on the procedure, refer to

“Loading a Song (Load)”

(p. 201).

Playing Back a Song Repeatedly

(Loop Play)

Use the Loop function when you want to repeatedly play back an entire song or just a specified portion of a song.

1.

Press [SONG EDIT].

2.

Press [F4 (Loop)].

The Loop window appears.

3.

Press [F7 (Loop)] to light it into red.

The Loop switch will turn on. Now playback will loop according to the region and the number of times specified in the

Loop window. To turn off the Loop switch, press [F7 (Loop)] once again.

For details on making settings in the Loop window, refer to

“Specifying the Area of a Song that will Repeat (Loop

Points)” (p. 179).

4.

When you have finished making settings, press [F8 (Close)] to close the Loop window.

166

Fantom-X678_r_e.book 167 ページ 2007年3月20日 火曜日 午前10時20分

Playing Back a Song

Using the D Beam Controller to

Start/Stop Song Playback

You can start/stop song playback by passing your hand over the D

Beam controller.

1.

Select the song that you want to play back (p. 164).

2.

Hold down [SHIFT] and press D BEAM [ASSIGNABLE].

The D Beam Assignable screen appears.

fig.17-006_50

3.

Use [CURSOR] to move the cursor to “Type.”

4.

Turn the VALUE dial or press [INC]/[DEC] to set this to

“START/STOP.”

5.

Press D BEAM [ASSIGNABLE] to turn on the D Beam controller.

6.

When you pass your hand across the D Beam controller, song playback will start. When you pass your hand across it once again, playback will stop.

You can also start/stop song playback by using a pedal

connected to the PEDAL CONTROL jack (p. 226).

167

Fantom-X678_r_e.book 168 ページ 2007年3月20日 火曜日 午前10時20分

Recording Songs

This chapter explains the procedure for using the Fantom-X’s sequencer to record a song.

Before you begin this procedure, put the sound generator in

Performance mode. Normally, when recording or playing back a song, you will put the sound generator in Performance mode.

The reason for this is that in this mode, only the sound of the specified MIDI channel will be heard when you record while playing the keyboard of the Fantom-X, and that when the song is played back, the parts can independently play up to 16 different sounds. Thus, Performance mode is suitable for recording and playing back a song that uses an ensemble of multiple instruments, such as drums, bass, and piano.

In Performance mode, we recommend that you leave the

keyboard switches (p. 101) turned off (unchecked). If any

keyboard switches are on (checked), parts other than the current part will also sound when you play the keyboard; you probably don't want this to occur while you're creating a song.

Two Recording Methods

You can use one of two methods of recording: realtime recording or step recording.

Select the method that is appropriate for your situation.

Realtime Recording (p. 170)

Realtime recording is the recording method in which your keyboard playing and controller operations are recorded just as you perform them.

Step Recording (p. 174)

Step recording is the recording method in which you can input notes and rests one by one. This method is suitable for inputting drums or bass with precise timing. In addition to using notes, you can also create a song by putting patterns together.

Before You Record a New

Song

Overview of the Recording Process

The work flow for recording a new song is as follows.

1.

2.

3.

4.

5.

6.

7.

Select the sound to be used for recording

Clear the Temporary Song

Specify the time signature of the song (p. 169)

Set the tempo (p. 169)

Use realtime recording (p. 170) or step recording (p. 174) to

record

Use track edit (p. 180) or micro edit (p. 192) to edit the song

Save the song to user memory or memory card (p. 198)

With the factory settings, demo song data will automatically be loaded into Temporary Area when the Fantom-X is powered up. Here’s how to change this setting so that this automatic load does not occur (i.e., the song memory will remain empty).

1.

Press [MENU].

2.

Press

[ENTER].

or to select “System,” and then press

3.

Press [F1 (

)] or [F2 (

)] to select “Startup.”

4.

Press [CURSOR] to select “Load Demo Song at

Startup,” and turn the VALUE dial, or press [INC]/[DEC] to set it to “OFF.”

Select the Sound to be Used for

Recording

Before you record a song, select the sound that you want to use for recording. Select the recording method that is appropriate for your situation.

Performance

Select a Performance when you want to record an ensemble performance using multiple instruments. When recording a song, we recommend that you normally select a Performance.

Patch/Rhythm set

Select a patch or rhythm set if you want to use a single patch or rhythm set to record your playing.

Erasing the Song/Pattern from

Temporary Song (Song Clear)

When you record a song, the sequencer data is temporarily recorded in Temporary Area. If you want to record a new song, you must erase any existing sequencer data from Temporary Song.

If Temporary Song contains an important song that you want to keep, you should first save that song to user memory/memory

card (p. 198).

1.

Press [SONG EDIT] to access the Song Play screen.

2.

Press [F3 (Song Clear)].

The Song Clear window appears.

3.

Press [F8 (Exec)] to execute the operation.

When the operation has been completed, the display will briefly indicate “Completed!”

To cancel, press [F7 (Cancel)].

168

Fantom-X678_r_e.book 169 ページ 2007年3月20日 火曜日 午前10時20分

Recording Songs

Specify the Time Signature

Before you record a new song, you must specify the time signature.

However, a time signature of 4/4 is automatically specified when you perform the Song Initialize operation or when the power is turned on, so you will need to make this setting only if you want to record a new song in a different time signature.

1.

Press [SONG EDIT] to access the Song Play screen.

2.

Press [F8 (Micro Edit)].

The Microscope screen appears.

3.

Press [F7 (Trk/Ch)].

The Trc/Ch Select window appears.

4.

Press or to move the cursor to “Track.”

5.

Select “BEAT” (beat track).

The Microscope screen for the beat track appears.

fig.18-001_50

Specifying the Time Signature of a

Pattern

Each pattern has a Pattern Beat setting that manages the time signature of that pattern. The pattern beat acts as a guide when the pattern is played or recorded, and is handled independently of the time signature of the song (i.e., the time signature recorded in the beat track).

The pattern beat is normally set to a time signature of 4/4, but you can change this setting when the song has a time signature other than 4/4, or when you want to record a pattern with a time signature different than that of the song.

Only one pattern beat setting can be specified at the beginning of each pattern. This means that it is not possible to change time signatures midway through a pattern.

1.

Press [SONG EDIT] to access the Song Play screen.

2.

Press [F2 (Ptn)] to light it into red.

The Pattern Play screen appears.

3.

Turn the VALUE dial or press [INC][DEC] to select the pattern.

4.

Press [F5 (Ptn Beat)].

fig.18-002_50

6.

Move the cursor to “Beat Change,” and specify the time signature.

If you want to change time signatures midway through the song, refer to

“Changing the Time Signature Midway

Through the Song” (p. 196).

7.

Press [EXIT] to return to the previous screen.

If you are recording to a phrase track, see

“Recording Your

Performance as You Play It (Realtime Recording)” (p. 170).

5.

Move the cursor, and set the time signature.

Setting the tempo

Set the tempo at which the song is to be recorded.

1.

Press [TEMPO].

The Tempo window appears.

fig.17-004_50

2.

Turn the VALUE dial or press [INC][DEC] to set the playback tempo.

• If you press [F7 (Click)] to light it into red, a click will sound at the specified tempo. This will switch on/off each time you press the button.

• By pressing [F6 (Tap)] you can set the tempo to the timing at which you press the button (Tap Tempo). Press the button three or more times at quarter-note intervals of the desired tempo.

3.

When you have finished making settings, press [F8

(Close)].

169

Fantom-X678_r_e.book 170 ページ 2007年3月20日 火曜日 午前10時20分

Recording Songs

Recording Your

Performance as You Play It

(Realtime Recording)

Realtime Recording is the recording method in which your keyboard playing and controller operations are recorded just as you perform them. Use this recording method when you want to capture the nuances of your own performance.

Basic Operation for Realtime

Recording

1.

Make sure that the preparations for recording have been

completed as described in “Before You Record a New

Song” (p. 168).

If you want to record into an existing song, load the desired

song into Temporary Song (p. 177). Then press [FWD] or [BWD]

to specify the measure at which you want to begin recording.

The measure at which recording will begin is indicated by the

“M=” in the upper part of each PLAY screen.

2.

Press [REC].

The [REC] indicator will blink, and the Realtime Rec Standby window appears.

fig.18-003_50

This window lets you set various parameters for realtime recording.

If you want to record a pattern, press [F2 (Ptn)] in the Song Edit screen so it lights red, and then press [REC].

3.

As basic settings, specify the following three parameters.

Use [CURSOR] to move the cursor to each parameter, and turn the VALUE dial or press [INC]/[DEC] to make the setting.

Rec Track

Specify the phrase track or pattern on which you want to record.

* You can also make settings so that the phrase track of the same number as the current part will be selected automatically. This is convenient when you are recording just one part on each track. For details on how

to make this setting, refer to p. 234.

Value: TRK 1–TRK 16,

PTN001–PTN100 (* when recording on a pattern)

• Rec Mode (Recording Mode)

Select how recording is to take place.

Value

MIX: Mix-recording will be carried out. Normally, you will record using this method. If a performance has already been recorded on the recording-destination track, your newly recorded performance will be added to the existing performance without erasing it. By using this in conjunction with Loop-recording, you can record repeatedly over a specified area without erasing the previously recorded performance. For example, this is a convenient way to record a drum performance one instrument at a time; bass drum -> snare drum -> hi-hat, etc.

REPLACE: Replace-recording will be carried out. If a performance has already been recorded on the recording-destination track, it will be erased as you record your new performance. Use this when you want to re-record.

Count In

Select how recording is to begin.

Value

OFF:

1 MEAS:

2 MEAS:

WAIT NOTE:

Recording will begin immediately when you press [PLAY].

When you press [PLAY], a count (playback) will begin one measure before the recording-start location, and recording will begin when you reach the recording-start location.

When you press [PLAY], a count (playback) will begin two measures before the recording-start location, and recording will begin when you reach the recording-start location.

As an alternative to pressing [PLAY], you can play the keyboard, strike a pad, or press the

Hold pedal to start recording.

4.

When you are finished making settings in the Realtime Rec

Standby window, press [PLAY] or [F8 (Start)].

The Realtime Rec Standby window will close, the [REC] indicator will change from blinking to lit, and recording will begin.

When recording begins, the Realtime Recording window will appear.

fig.18-004_50

5.

In this window you can perform the following operations.

• Specify the punch-in/out points (Punch In p. 171)

• Realtime Erase (Erase p. 173)

• Rehearsal function (Rehearsal p. 173)

For details on these operations, refer to the appropriate page.

To close the Realtime Recording window, press [F8 (Close)] or

[PLAY]. To open it once again, press [PLAY].

When you are finished recording, press [STOP].

The [REC] indicator will go dark.

If you are not satisfied with the realtime recording you just made, you can press [MENU], and from the Menu window that appears, select “Undo/Redo” to return to the state prior to recording (Undo/Redo). After executing Undo, you can use

Redo to revert to the previous state. After executing Undo, you can execute Redo by performing the above procedure the above procedure once again.

170

Fantom-X678_r_e.book 171 ページ 2007年3月20日 火曜日 午前10時20分

Recording Songs

Recording Tempo Changes in a

Song (Tempo Recording)

If you want the tempo to change during the song, you can record those tempo changes in the Tempo track. If tempo changes have already been recorded in the tempo track, they will be rewritten.

Set the following recording parameters in addition to the basic

settings described in step 3 of “Basic Operation for Realtime

Recording” (p. 170).

Tempo Rec Sw (Tempo Recording Switch)

Specify whether tempo changes will be recorded (ON), or not (OFF).

Value: OFF, ON

You will be able to use realtime control knob ([ movements to control the tempo easily (p. 140).

])

Loop Recording and Punch-In

Recording

You can record repeatedly over a specified area (Loop recording), or re-record just that area (Punch-in recording).

Set the following recording parameters in addition to the basic settings described in step 3 of “Basic Operation for Realtime

Recording” (p. 142).

Loop/Punch

Specify how loop recording or punch-in recording is to take place.

Value

OFF:

LOOP (POINT):

LOOP (1 MEAS):

LOOP (2 MEAS):

LOOP (4 MEAS):

LOOP (8 MEAS):

LOOP (16 MEAS):

LOOP SONG ALL:

AUTO PUNCH:

MANUAL PUNCH:

Loop recording or punch-in recording will not occur.

Recording takes place repeatedly, according to the loop point settings.

The one-measure area starting at the recordstart measure will be recorded repeatedly.

The two-measure area starting at the recordstart measure will be recorded repeatedly.

The four-measure area starting at the recordstart measure will be recorded repeatedly.

The eight-measure area starting at the recordstart measure will be recorded repeatedly.

The sixteen-measure area starting at the recordstart measure will be recorded repeatedly.

The entire song from beginning to end will be recorded repeatedly.

Auto punch-in recording will be performed.

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

Manual punch-in recording will be performed.

Recording takes place (erasing the existing data) in the area that you specify by pressing a pedal or button. This is convenient when you want to re-record more than one location in which you made a mistake. The song will play back when you begin recording. When you press a pedal or button, playback will switch to record mode, and will switch back to play mode when you press the pedal or button once again. By pressing the pedal or button, you can toggle between record and play modes.

Start Point

Specify the measure and beat at which loop recording or auto punchin recording is to begin. It is not possible to specify the Tick.

End Point

Specify the measure and beat at which loop recording or auto punchin recording is to Stop. It is not possible to specify the Tick.

The minimum loop length is four quarter notes.

Using Auto Punch-In Recording

1.

In the Realtime Rec Standby window, set the Loop/Punch parameter to “AUTO PUNCH.”

2.

Set the Start Point/End Point parameters to the desired punch points.

3.

Move to a measure earlier than the specified Start Point, and press [PLAY].

The song will begin playing. Recording will begin at the location specified by the Start Point parameter. Playback will resume at the location specified by the End Point parameter.

4.

Press [STOP] to stop playback.

Using Manual Punch-In Recording

If you want to use a pedal connected to the PEDAL CONTROL jack to specify the area for recording, you must first set the

Pedal 1 or 2 Assign parameter to “PUNCH I/O” (p. 226).

1.

In the Realtime Rec Standby window, set the Loop/Punch parameter to “MANUAL PUNCH.”

2.

Press [PLAY].

Song playback will begin, and the Realtime Recording window will appear.

fig.18-004_50

3.

4.

5.

At the point where you want to begin recording, press [F5

(Punch In)] or step on the pedal.

Playback will switch to record mode.

At the point where you want to stop recording, once again press [F5 (PUNCH OUT)] or step on the pedal.

You will return to playback mode.

Press [STOP] to stop playback.

171

Fantom-X678_r_e.book 172 ページ 2007年3月20日 火曜日 午前10時20分

Recording Songs

Correct the Timing of Your Playing as You Record (Recording Quantize)

The Quantize function automatically corrects inaccuracies in the timing of your keyboard or pad performance, aligning the notes to accurate timing intervals. During realtime recording, you can quantize while you record.

Set the following recording parameters in addition to the basic

settings described in step 3 of “Basic Operation for Realtime

Recording” (p. 170).

Input Quantize

Specify whether to quantize while recording.

Value

OFF:

GRID:

Quantize will not be applied while recording.

Grid Quantize will be applied while recording. Use this when you want the timing to be accurate, such as when recording drums or bass.

fig.18-005.e

Grid quantize with Resolution =

Rate (Shuffle Quantize Rate)

Make this setting when using Shuffle Quantize. It specifies the degree to which the backbeat will be separated from the downbeat specified by the Shuffle Resolution parameter. With a setting of

“50%,” the backbeat will be exactly between adjacent downbeats.

With a setting of “0%,” the backbeat will be moved to the same timing as the preceding downbeat. With a setting of “100%,” the backbeat will be moved to the same timing as the following downbeat.

Value: 0–100

Selecting the Sequencer Data that will Be Recorded (Recording Select)

When you use realtime recording, all of your sequencer data will normally be recorded. If you want to avoid recording a specific type of data, you can turn its Recording Select setting “OFF.”

1.

Press [REC].

2.

Press [F7 (Rec Select)].

The Recording Select window appears.

fig.18-007_50

SHUFFLE: Shuffle Quantize will be applied while recording.

Use this when you want to give the rhythm a

“shuffle” or “swing” character.

fig.18-006.e

Shuffle quantize with Rate = 75%

Grid Resolution

Make this setting when you are using Grid Quantize. Specify the quantization interval in terms of a note value. Select the shortest note value that will occur in the range to which Grid Quantize will be applied.

Value: , , , , , ,

Strength (Grid Quantize Strength)

Make this setting when you are using Grid Quantize. It specifies the degree to which notes will be adjusted toward the timing intervals specified by the Grid Resolution parameter. With a setting of

“100%,” the notes will be corrected precisely to the timing of the

Grid Resolution parameter. As you lower this setting, the note timing will be corrected to a lesser extent, and with a setting of “0%” the timing will not be adjusted at all.

Value: 0–100

Shuffle Resolution

When you are using Shuffle Quantize, make this setting to specify the note value used for quantization.

Value: ,

3.

Use or to select the sequencer data (MIDI messages) that will be recorded.

Note:

Poly Aftertouch:

Control Change:

Program Change:

Channel Aftertouch:

Pitch Bend:

System Exclusive:

Note messages. These MIDI messages represent notes.

Polyphonic aftertouch. These MIDI messages apply aftertouch to individual keys.

Control change messages. These MIDI messages apply various effects such as modulation or expression.

Program change messages. These MIDI messages select sounds.

Channel aftertouch messages. These

MIDI messages apply aftertouch to an entire MIDI channel.

Pitch bend messages. These MIDI messages change the pitch.

System exclusive messages. These MIDI messages are used to make settings unique to the Fantom-X, such as sound parameters.

172

Fantom-X678_r_e.book 173 ページ 2007年3月20日 火曜日 午前10時20分

Recording Songs

4.

Turn the VALUE dial or press [INC]/[DEC] to add a check mark.

The message will be recorded if you assign a check mark ( ✔ ), and will not be recorded if you remove the check mark.

If you press [F6 (All Off)], no sequencer data will be recorded.

If you press [F7 (All On)], all of the sequencer data will be recorded.

5.

Press [F8 (Close)] to close the Recording Select window.

Erasing Unwanted Data While You

Record (Realtime Erase)

Realtime Erase is a function that erases unwanted data during realtime recording. This is particularly convenient during loop recording, since it lets you erase data without stopping recording.

Realtime Erase can be executed only if the Recording Mode is set to “MIX.”

You can also erase the data of a specific channel.

1.

Begin realtime recording (p. 170).

The Realtime Recording window appears.

fig.18-004_50

2.

Press [F6 (Erase)].

The Realtime Erase window appears.

fig.18-008_50

Recording Arpeggios Aligned to the Measures of the Sequencer

When recording arpeggios in real time, you can synchronize the arpeggio with the sequencer start/stop timing.

For details, refer to

“Arpeggio/Rhythm Sync Switch” (p. 227).

Auditioning Sounds or Phrases

While Recording (Rehearsal

Function)

The Rehearsal function lets you temporarily suspend recording during realtime recording. This is convenient when you want to audition the sound that you will use next, or to practice the phrase that you will record next.

1.

Begin realtime recording (p. 170).

The Realtime Recording window appears.

fig.18-004_50

2.

Press [F7 (Rehearsal)] or [REC].

The [REC] indicator will blink, indicating that you are in rehearsal mode. In this state, nothing will be recorded when you play the keyboard.

3.

To return to record mode, press [F7 (Rehearsal)] or [REC] once again.

3.

Erase unwanted data.

To erase all data (except for Pattern Call messages), press [F7

(Erase All)]. Data will be erased for as long as you hold down the button.

To erase notes of a specific key, hold down that key. Data for that note will be erased for as long as you hold down that key.

To erase notes of a specific key range, hold down the top and bottom keys of that range. Data for that range will be erased for as long as you hold down those keys.

4.

*

Press [F8 (Close)] to close the Realtime Erase window.

You will return to the normal recording state.

You can also erase the data of a specific channel.

173

Fantom-X678_r_e.book 174 ページ 2007年3月20日 火曜日 午前10時20分

Recording Songs

Inputting Data One Step at a Time (Step Recording)

Step Recording is the method of inputting notes and rests individually, as if you were writing them onto a musical staff. In addition to inputting notes, this method can also be used to create a song by joining patterns.

Inputting Notes and Rests

1.

Make sure that the preparations for recording have been

performed as described in “Before You Record a New

Song” (p. 168).

If you will be recording into an existing song, load the desired

song into Temporary Song (p. 177). Then use [FWD] or [BWD]

to specify the measure at which you want to start recording.

The recording-start measure is indicated by “M=” at the top of each PLAY screen.

2.

Press [REC], and then [F6 (Step Rec)].

The [REC] indicator will blink, and the Step Recording Standby window appears.

fig.18-009_50

3.

Make settings for step recording. Use [CURSOR] to move the cursor to the desired parameter, and turn the VALUE dial or press [INC]/[DEC] to set it.

• Rec Tracks

Specify the phrase track or pattern on which you want to record.

* You can also make settings so that the phrase track of the same number as the current part will be selected automatically. This is convenient when you are recording just one part on each track. For details on how

to make this setting, refer to p. 234.

Value: TRK 1–TRK 16,

PTN001–PTN100 (* when recording on a pattern)

• Rec Mode (Recording Mode)

Select how recording is to take place.

Value

MIX: Mix-recording will be carried out. Normally, you will record using this method. If a performance has already been recorded on the recording-destination track, your newly recorded performance will be added to the existing performance without erasing it.

REPLACE: Replace-recording will be carried out. If a performance has already been recorded on the recordingdestination track, it will be erased as you record your new performance. Use this when you want to re-record.

Start Point

Specify the location (measure-beat-tick) at which recording will begin.

174

4.

Press [F8 (Note)] or [PLAY].

The [REC] indicator will light, and the Step Rec (Note) screen appears.

fig.18-010_50

5.

Specify the note that you want to input. Use or to select the desired parameter.

Note Type

Specify the length of the notes that you want to input, in terms of a note value. The length of the note value indicates the length from one note-on to the next note-on.

Value: , , , , , , , , , , ,

, , , , , ,

Gate Time

Specify the proportion of the gate time relative to the Note

Type. The gate time is the length between note-on and note-off.

Specify a lower value if you want the notes to be played staccato, or a higher value if you want the notes to be played tenuto, or as a slur. Normally, you will set this to about “80%.”

Value: 1–100%

Input Velo

Specify the strength with which the note will be played. If you want this to be the strength with which you actually pressed the key, select “REAL.” Otherwise, use settings of p (piano)=60, mf

(mezzo forte)=90, or f (forte)=120 as general guidelines.

Value: 1–127

6.

Turn the VALUE dial or press [INC]/[DEC] to make the setting.

7.

Press [F7 ( ⇐ )] or [F8 ( ⇒ )] to move to the desired input location, and press a note on the keyboard or a pad.

When you press a key or a pad, the input position will advance by the value of the Note Type you specified. The velocities are displayed as a bar graph.

fig.18-011_50

You can use the function buttons ([F1][F2][F3][F4][F5]) to perform the following operations.

Fantom-X678_r_e.book 175 ページ 2007年3月20日 火曜日 午前10時20分

Recording Songs

Step Back

Cancel the previously input note.

Tie

Extend the length of the previously input note by the current setting.

Rest

Inputs a rest. First set the Note Type parameter to a length that is the same as the rest you want to input, and then press [F3

(Rest)].

Zoom In

Narrow the range of keys shown in the display. Use this when you want to view certain notes at greater magnification.

Zoom Out

Expand the range of notes shown in the display. Use this when you want to see which notes have been input.

8.

Repeat the above steps to continue inputting.

The previous value of each parameter is remembered. This means that if you want to use the same settings as the previously input note, there is no need to change the settings.

Once you have set the Gate Time parameter and Input Velocity parameter, it is not normally necessary to change them, so all you have to do is set the Step Time parameter and specify the pitch (note) of each note.

The note will not be finalized as long as you hold down the key.

This means that you will be able to modify the various parameters of the note (Step Time, Gate Ratio, Velocity).

9.

When you are finished step recording, press [STOP].

The [REC] indicator will go dark.

If you are not happy with the results of the previous step recording, you can press [MENU], and from the Menu window that appears, select “Undo/Redo” to return to the state prior to recording (Undo/Redo).After executing Undo, you can use

Redo to revert to the previous state. After executing Undo, you can execute Redo by performing the above procedure the above procedure once again.

Inputting a Chord

Press the chord. The cursor will move to the next step when you release all keys or pads.

Moving the input location

• Pressing [F8 (

)] will move the input location forward by the current Note Type value.

• Pressing [F7 ( ⇐ )] will move the input location backward by the current Note Type value.

• Hold down [SHIFT] and press [F8 (

)] will advance the input location by one measure.

• Hold down [SHIFT] and press [F7 ( ⇐ )] will return the input location by one measure.

Moving the display region

Pressing or will move the displayed region of notes upward or downward.

The Relation between Note Value Length and Gate Time

The relation between the length of the note value and the gate time is shown below. Since the Fantom-X’s sequencer uses a

TPQN (Ticks Per Quarter Note; i.e., resolution) of 480, a quarter note gate time is 480 ticks.

Note Gate time

30

40

45

60

320

360

480

640

80

90

120

160

180

240

720

960

1920

3840

The gate time that is recorded in step recording will be the original gate time value multiplied by the value of the Gate

Ratio parameter. For example, if the Gate Ratio parameter is set to “80%,” inputting a quarter note will mean that the gate time is 480 x 0.8=384.

175

Fantom-X678_r_e.book 176 ページ 2007年3月20日 火曜日 午前10時20分

Recording Songs

Assigning a Pattern to a Phrase

Track

You can create a song by combining previously recorded patterns.

This is done using step recording to assign patterns to a phrase track.

However, please be aware that the patterns themselves are not placed in the phrase track. Rather, Pattern Call messages are placed in the phrase track to specify which pattern should be played back. This means that if you later modify the contents of a pattern, the song playback will also be affected.

When you assign a pattern to a phrase track, its pattern beat will be ignored, and the pattern will use the time signature of the beat track. If the pattern beat and the beat track have different settings, the length of the measures will not match, and the playback may become incorrectly aligned. If this occurs, re-

specify the time signature of the beat track (p. 169).

1.

Make sure that the preparations for recording have been

performed as described in “Before You Record a New

Song” (p. 168).

2.

Press [REC], and then [F6 (Step Rec)].

The [REC] indicator will blink, and the Step Rec Standby window appears.

fig.18-009_50

4.

Press [F7 (Ptn Call)].

5.

Turn the VALUE dial or press [INC]/[DEC] to select the pattern number (1–100) that you want to assign to the phrase track.

The pattern name of the selected pattern is displayed in

“Pattern.” “Length” shows the number of measures in the pattern.

6.

Press [F8 (Put Ptn)].

A Pattern Call message for the pattern selected by the Pattern parameter will be recorded. You will advance by the length of the measures in that pattern, and will be ready to input the next pattern.

If you input the wrong pattern, you can press [BWD] or [F1

(Step Back)] to delete the previously input Pattern Call message.

7.

Repeat the above steps to assign additional patterns.

8.

When you are finished with step recording, press [EXIT] or

[STOP].

The [REC] indicator will go dark.

If you are not satisfied with the step recording that you just performed, press [MENU], and from the Menu window that appears, select “Undo/Redo” to return to the state prior to recording (Undo/Redo).After executing Undo, you can use

Redo to revert to the previous state. After executing Undo, you can execute Redo by performing the above procedure the above procedure once again.

3.

Make settings for step recording. Use [CURSOR] to move the cursor to the desired parameter, and turn the VALUE dial or press [INC]/[DEC] to set it.

Rec Track

Specify the phrase track or pattern on which you want to record. “TRK” will appear if you press [F1 (Song List)], and

“PTN” will appear if you press [F2 (PTN)].

Value: AUTO, TRK 1–TRK 16

Rec Mode (Recording Mode)

Select how recording is to take place.

Value

MIX: Mix-recording will be carried out. Normally, you will record using this method. If a performance has already been recorded on the recording-destination track, your newly recorded performance will be added to the existing performance without erasing it.

REPLACE: Replace-recording will be carried out. If a performance has already been recorded on the recording-destination track, it will be erased as you record your new performance. Use this when you want to re-record.

Start Point

Specify the location (measure-beat-tick) at which recording will begin.

176

Fantom-X678_r_e.book 177 ページ 2007年3月20日 火曜日 午前10時20分

Editing Songs

This chapter explains the procedure for editing songs.

Loading the Song You Want to Edit

When you edit a song, you’re modifying a song that’s already recorded into Temporary Song. When you’re going to edit a song saved to user memory or memory card, you have to first load it into the Temporary Area.

The Temporary Song will be lost if you turn power off or load another song into Temporary Area. If Temporary Area contains a song you wish to keep, you must save that song to user

memory or memory card (p. 198).

1.

Press [SONG EDIT].

The Song Edit screen appears.

fig.17-001.eps_50

6.

Press [F8 (Exec)].

When the song has finished loading, the performance data of the loaded song will be displayed in the Song Edit screen.

*

You can also load a song by pressing [SAVE/LOAD] (p. 201).

fig.19-002.e

Track number

Indicates the name of the currently selected song, the measure location, the time signature, and the sequencer status.

Output destination of each track

Measure number Status of each track

Indicates Loop Play and Loop Recording on/off (LOOP).

Indicates the song’s playback tempo.

Measures containing sequencer data

Measures containing no sequencer data

If you play back the song while the Song Edit screen is displayed, the screen will scroll in keeping with the song playback location.

2.

Press [F1 (Song List)].

The Song List screen appears.

fig.19-001_50

* By pressing or in the above screen, you can specify the type of songs that will be displayed. If various types of songs are saved together, it will be easier to find the desired song if you restrict the displayed file types in this way.

• VIEW ALL: all songs will be displayed

SVQ ONLY:

SMF:

MRC:

only SVQ files will be displayed

only Standard MIDI Files will be displayed

only MRC files will be displayed

3.

Press [F1 (User)] or [F2 (Card)] to select the loading destination.

4.

Use or to select the song that you want to edit.

5.

Press [F8 (Load)].

A Message will ask you for confirmation.

177

Fantom-X678_r_e.book 178 ページ 2007年3月20日 火曜日 午前10時20分

Editing Songs

Viewing the data within a track

The Fantom-X can record data for multiple MIDI channels in a single track. From the Song Edit screen, press [F6 (Track View)] to see which channel(s) of data are found in each track.

This screen graphically shows the note data of each channel. The height of the bar indicates the note pitch, and the length of the bar indicates the duration.

Press [F6] once again to return to the previous screen.

fig.19-002a.e

Indicates the track whose contents are shown.

Indicates the patch assigned to each part.

Displays the data of each part.

Using Different Sound Generators for Each Track

By specifying the output destination for each track, you can use a variety of sound generators when playing back a song.

1.

Press [SONG EDIT] to access the Song Edit screen.

2.

Use [CURSOR] to move the cursor for the track whose output destination you want to specify.

fig.19-003

3.

By turning the VALUE dial or by pressing [INC]/[DEC], set the value.

OFF: The track will not be sounded.

INT:

MIDI:

The track will be sounded by the Fantom-X’s internal sound generator.

The track will be sounded by an external sound generator connected to the MIDI OUT connector.

BOTH: The track will be sounded by both the internal and external sound generators.

Loading Individual Tracks/Patterns of Song Data

If you have selected a song file (extension “.SVQ”) or Standard MIDI

File (extension “.MID”), you can load individual phrase tracks or patterns.

1.

After step 4 of “Loading the Song You Want to Edit,” press

[F7 (Load Track)].

The Load Track window appears.

2.

Move the cursor to the left of “Source” (load source), and select the track (TRK 1–16) or pattern (PTN001–100) that you want to load.

* If you are loading from a Standard MIDI File, it is not possible to select patterns (PTN001–100). Also, if you are loading from a Format

0 Standard MIDI File, this will be fixed at “TRK ALL,” and individual tracks cannot be selected.

3.

Move the cursor to the right of “Destination” (load destination), and select the load-destination track (TRK 1–

16) or pattern (PTN001–100).

4.

Press [F8 (Exec)] to execute the operation.

Silencing the Playback of a Track

(Mute)

If you wish to silence specific track during playback, you can mute the appropriate Phrase track containing that sequencer data.

1.

Press [SONG EDIT] to access the Song Edit screen.

2.

Use [CURSOR] to move the cursor for the track that you want to silence.

fig.19-004

Tracks in which no sequencer data has been recorded are displayed as “—-.”

178

Fantom-X678_r_e.book 179 ページ 2007年3月20日 火曜日 午前10時20分

Editing Songs

3.

Turn the VALUE dial or press [DEC] to select “MUTE.”

Note that if you save a song with a Phrase track muted in the

Standard MIDI File format, that Phrase track’s data will not be saved. If you save a song that has a muted Phrase track in the

MRC Pro song format, the mute status of the track will also be saved.

If you set the tempo track (Tempo) “Status” to “MUTE,” the tempo track will be muted. If tempo changes have been recorded in a song, but you want to play the song at a fixed tempo, you can mute the tempo track.

Assigning Markers (Locate

Positions) to a Song

Markers can be assigned to any location in a song. These are called

Locate Positions.

Normally, locations in a song are indicated as

“measure-beat-tick,” but a locate position is also displayed as an absolute time of “hours:minutes:seconds:frames.”

It is not possible to assign a locate position to a pattern.

Assigning a Locate Position

Up to four locate positions can be assigned in each song.

1.

Press [SONG EDIT].

2.

Press [F5 (Loop / Locate)].

The Loop window appears.

3.

Press [F2 (Locate)].

The Locate window appears.

fig.19-005_50

Moving to a Locate Position

Use the following procedure to change the song location to a Locate

Position.

1.

Access the Locate window.

2.

If [F7 (Set)] is lit red, press it to turn off the illumination.

3.

Press [F3 (Jump1)] – [F6 (Jump4)].

You will move to the specified locate position.

You can hold down [SHIFT] and press [BWD] to jump to the preceding location position, or hold down [SHIFT] and press

[FWD] to jump to the next locate position.

Specifying the Area of a Song that will Repeat (Loop Points)

When using Loop Play or Loop Recording, you can use the loop points you specify here to specify the repeated area, as an alternative to repeating the specified number of measures.

It is not possible to assign a loop point to a pattern.

1.

Press [SONG EDIT].

2.

Press [F5 (Loop / Locate)].

The Loop window appears.

fig.19-006_50

4.

Press [F7 (Set)]; then press [F3 (Set1) – [F6 (Set4)] to assign the current location of the song as a locate position.

You can assign a locate position in this way even while listening to the song play back.

* You can also adjust the locate position by moving the cursor to the

“measure” or “beat” value of the locate number and turning the

VALUE dial or pressing [INC]/[DEC] to set each value.

3.

Move the cursor to the desired parameter, and turn the

VALUE dial or press [INC]/[DEC] to make the setting.

Repeat

Select the number of repeats (1–99). If you want repetition to continue until you press [STOP], set this to “INF.”

Start Point •

Specify the location at which repetition is to begin.

If you press [F5 (Set Start)], the current location of the song will be set as the starting location.

• End Point

Specify the location at which repetition will end. The location you specify here will not be included in the repeated area.

If you press [F6 (Set End)], the current location of the song will be set as the ending location.

4.

If you press [F7 (Loop)] to light it into red, looping will be turned on.

179

Fantom-X678_r_e.book 180 ページ 2007年3月20日 火曜日 午前10時20分

Editing Songs

Editing Sequencer Data

Over the Specified Range

(Track Edit)

Track Edit lets you edit areas of sequencer data that you specify.

Basic Operation for Track Editing

1.

Access the Song Edit screen, and then load the song you

want to edit (p. 177).

While editing a pattern, press [SONG EDIT] and then press [F2

(PTN)] to access the Pattern Edit screen.

fig.19-007.e

Indicates the name of the currently selected song, the measure location, the time signature, and the sequencer status.

Indicates Loop Play and

Loop Recording on/off (LOOP).

Indicates the song’s playback tempo.

Measure number

Measures containing sequencer data

Measures containing no sequencer data

Current location

If the Song Edit screen shows “QUICK PLAY,” the song has not been loaded. If you want to edit this song, press [F8 (Load)] to load the song.

* Press [F7 (Temp Song)] to return to the temporary song display.

2.

Press [SONG EDIT] and then press [F8 (Track Edit)].

The Track Edit window appears.

fig.19-008_50

3.

Use the cursor buttons to select the desired function.

* You can also select a function by pressing a pad.

Quantize->p. 181

Erase->p. 183

Delete->p. 184

Copy->p. 184

Insert Measure->p. 185

Transpose->p. 185

Change Velocity->p. 186

Change Channel->p. 186

Change Duration->p. 187

Merge->p. 188

Extract->p. 188

Shift Clock->p. 189

Data Thin->p. 190

Exchange->p. 191

Time Fit->p. 191

Truncate->p. 191

For details on the setting windows of each track editing function, refer to the following explanations of each function.

4.

Set the parameters for each function. Use [CURSOR] to move the cursor to the desired parameter, and turn the

VALUE dial or press [INC]/[DEC] to set the value. First check the region that is to be affected by the editing operation, and then make corrections if you want to change it.

5.

Press [F8 (Exec)] to execute the operation.

When the operation is completed, the display will briefly indicate “Completed!”

If you decide not to execute the operation, press [F7 (Cancel)].

• If you are not satisfied with the results of executing the function, you can press [MENU], and from the Menu window that appears, select “Undo Track Edit” to return to the state prior to executing the operation (Undo/Redo).After executing

Undo, you can use Redo to revert to the previous state. After executing Undo, you can execute Redo by performing the above procedure the above procedure once again.

180

Fantom-X678_r_e.book 181 ページ 2007年3月20日 火曜日 午前10時20分

Editing Songs

Aligning a Song’s Timing

(Quantize)

In the chapter

“Recording Songs” (p. 168), we explained

Recording Quantize , which lets you quantize during realtime recording. Alternatively, it is also possible to quantize a song that has already been recorded.

The Fantom-X has a Preview function that allows playing back the results of a Quantize operation while you are still setting parameters

(before actual execution). This helps to make optimal Quantize settings.

The Quantize operation will correct only the timing at which notes were pressed (note-on) and released (note-off), and will not correct any other sequencer data. This means that if you record MIDI messages such as bend range or modulation along with notes, quantization can cause the notes to go out of sync with the MIDI messages, skewing timing. To avoid such problems it is better to record non-keyboard data afterward, using mix recording, etc.

fig.19-009_50

Quantize Type

Specifies the Quantize range.

Value

GRID: Grid Quantize will be applied to recording. Since the notes will be adjusted to the timing of the specified note value, you can use this when you want drums or bass (for example) to play in an accurate rhythm.

fig.18-005.e

Grid quantize with Resolution =

SHUFFLE: Shuffle Quantize will be applied to recording. Use this when you want to produce a “shuffle” or

“swing” rhythmic feel.

fig.18-006.e

Shuffle quantize with Rate = 75%

For details on the settings, refer to “Basic Operation for Track

Editing” (p. 180)

Track / Pattern

Sets the phrase track(s) or pattern that is to be quantized.

Value

TRK ALL: Phrase tracks 1–16

TRK 1–TRK 16: The specified phrase track

PTN001–PTN100: The specified pattern

Ch / Part

Specifies the MIDI channel(s) of the notes to be quantized.

If you wish to quantize all notes, set this parameter to “ALL.” When quantizing only the notes of a specific MIDI channel, select that channel.

Value: Ch1–Ch16

Measure, For (Edit Range)

Sets the range of measures that are to be quantized. If you set “For” to “ALL,” all measures will be specified.

TEMPLATE: The Fantom-X provides 71 quantize templates.

These templates contain various quantize settings for applying rhythmic ‘feels’ of many different musical categories. Select the template you want for quantization.

* If your sequencer data notes are too far off from accurate time,

Template Quantize may not work that efficiently so you won’t achieve the desired results. If this is the case, apply Grid Quantize to your sequencer data first to lose timing mistakes.

Resolution (Grid Quantize Resolution)

This parameter is used when Grid Quantize is selected. Specifies quantization time interval as a note value. Choose a Resolution that matches the smallest note in the area you’re quantizing.

Value: , , , , , ,

Strength (Grid Quantize Strength)

This parameter is used when Grid Quantize is selected. This parameter specifies a percentage of how note timing will be corrected toward the timing interval that is specified by the

Resolution parameter. With a setting of “100%,” the note will move all the way to the nearest timing interval of the Grid Resolution setting. A setting of “0%” will not change note timing at all.

Resolution (Shuffle Quantize Resolution)

This parameter is used when Shuffle Quantize is selected. Specifies quantization time interval as a note value.

Value: ,

181

Fantom-X678_r_e.book 182 ページ 2007年3月20日 火曜日 午前10時20分

Editing Songs

Rate (Shuffle Quantize Rate)

This parameter is used when Shuffle Quantize is selected. Specifies how far apart you want a down-beat specified by the Shuffle

Resolution parameter to be from the up-beat that immediately follows. By shifting the timing of an up-beat, you can create a

“swing” feel. A setting of “50%” will place the timing of the up-beat note at the exact mid point between the down-beat and the next down-beat. A setting of “0%” will move the up-beat note to the same timing as the previous down-beat. A setting of “100%” will move it to the same timing as the following down-beat.

Value: fig.19-010.e

0–100%

Original performance data

Rate= 25%

Rate= 50%

Rate= 75%

Rate=100%

Up beat

Up beat

Up beat

Up beat

Quantize Template (Quantize Template)

Specifies the template you wish to use.

Here is a list of preset groove templates.

027

028

029

030

023

024

025

026

019

020

021

022

015

016

017

018

011

012

013

014

007

008

009

010

001

002

003

004

005

006

Dance (small dynamics)

Dance (large dynamics)

Dance (light swing)

Dance (heavy swing)

Dance (dragging beats, small dynamics)

Dance (dragging beats, large dynamics)

Dance (dragging beats, light swing)

Dance (dragging beats, heavy swing)

Dance (pushing beats, small dynamics)

Dance (pushing beats, large dynamics)

Dance (pushing beats, light swing)

Dance (pushing beats, heavy swing)

Fusion (small dynamics)

Fusion (large dynamics)

Fusion (light swing)

Fusion (heavy swing)

Fusion (dragging beats, small dynamics)

Fusion (dragging beats, large dynamics)

Fusion (dragging beats, light swing)

Fusion (dragging beats, heavy swing)

Fusion (pushing beats, small dynamics)

Fusion (pushing beats, large dynamics)

Fusion (pushing beats, light swing)

Fusion (pushing beats, heavy swing)

Reggae (small dynamics)

Reggae (large dynamics)

Reggae (light swing)

Reggae (heavy swing)

Reggae (dragging beats, small dynamics)

Reggae (dragging beats, large dynamics)

182

057

058

059

060

053

054

055

056

049

050

051

052

045

046

047

048

041

042

043

044

037

038

039

040

031

032

033

034

035

036

065

066

067

068

061

062

063

064

069

070

071

Reggae (dragging beats, light swing)

Reggae (dragging beats, heavy swing)

Reggae (pushing beats, small dynamics)

Reggae (pushing beats, large dynamics)

Reggae (pushing beats, light swing)

Reggae (pushing beats, heavy swing)

Pops (small dynamics)

Pops (large dynamics)

Pops (light swing)

Pops (heavy swing)

Pops (dragging beats, small dynamics)

Pops (dragging beats, large dynamics)

Pops (dragging beats, light swing)

Pops (dragging beats, heavy swing)

Pops (pushing beats, small dynamics)

Pops (pushing beats, large dynamics)

Pops (pushing beats, light swing)

Pops (pushing beats, heavy swing)

Rhumba (small dynamics)

Rhumba (large dynamics)

Rhumba (light swing)

Rhumba (heavy swing)

Rhumba (dragging beats, small dynamics)

Rhumba (dragging beats, large dynamics)

Rhumba (dragging beats, light swing)

Rhumba (dragging beats, heavy swing)

Rhumba (pushing beats, small dynamics)

Rhumba (pushing beats, large dynamics)

Rhumba (pushing beats, light swing)

Rhumba (pushing beats, heavy swing)

Samba (for Pandeiro, etc.)

Samba (for Surdo, Timbale)

Axe (for Caixa)

Axe (for Surdo)

Salsa (for Cascala)

Salsa (for Conga)

Triplets

Quintuplets

Sextuplets

Septuplets over two beats

Lagging triplets

* The templates are designed for a 4/4 time signature. Applying them to a performance of a different time signature may not produce the desired result.

* The style names shown here are only for your convenience; they are not intended to imply that the templates are usable only for the named style. You can certainly try them with other styles of music.

Timing (Quantize Timing)

This specifies how much a note will move toward the timing interval of the template you pick. At a setting of 100%, the note will be perfectly timed with the template. At a setting of

0%, the note will not move at all.

Fantom-X678_r_e.book 183 ページ 2007年3月20日 火曜日 午前10時20分

Editing Songs

Range Min, Range Max

Specifies the range of note numbers to be quantized.

For example, if you want to quantize the range between C3 and C4, set “Note Min” to “C3,” and set “Note Max” to “C4.”

You can also specify the key range by pressing keys on the keyboard.

Preview Function

The Preview function allows you to hear how quantizing will work while you are still setting Quantize parameters (before you execute operation). This is called the Preview function.

If you modify parameter values during preview playback, the next preview playback will include those latest value changes.

Try various parameter settings to find the one that works best.

Pattern Call events assigned to a phrase track or muted phrase tracks cannot be previewed.

Pressing [PLAY] when the Track Edit (Quantize) window is displayed selects Preview mode. The two measures from the current location of the song will play back repeatedly. The preview start location can also be specified by pressing [FWD] or [BWD]. To exit Preview mode, press [STOP].

Erasing Unwanted Performance

Data (Erase)

This function erases all the sequencer data inside the specified area.

As the erased data is replaced by rests, the original measures will remain.

fig.19-011_50

For details on the settings, refer to “Basic Operation for Track

Editing” (p. 180)

Track / Pattern

Specifies the track(s) or pattern that is to be erased.

Value

ALL:

TRK 1–TRK 16:

TEMPO:

Phrase tracks 1–16, the beat track, and the tempo track

The specified phrase track

Tempo track

PTN001–PTN100: The specified pattern

Ch / Part

Selects the MIDI channel of the data to be erased.

When you want to erase all sequencer data, set this parameter to

“ALL.” To erase sequencer data of one specific MIDI channel only, select that MIDI channel.

Value: ALL, Ch1–Ch16

If you set the Track parameter to “TEMPO,” or if the Status parameter is set to “System Exclusive,” “Tune Request” or “Pattern

Call,” the Channel parameter will not be available.

Measure, For (Edit Range)

Specifies the range of measures that are to be erased. If you set “For” to “ALL,” all measures will be specified.

Status

Selects the type of data to be erased.

Value

ALL

NOTE

Poly Aftertouch

Control Change

Program Change

Channel Aftertouch

Pitch Bend

System Exclusive

Tune Request

Pattern Call

If the Track parameter is set to “TEMPO,” the Status parameter will not be available.

Range Min, Range Max

If you have set the Status parameter to “NOTE,” “P.AFT,” “C.C,” or

“PROG,” specify the range. Set “Range Min” to the lowest value of the range, and “Range Max” to the highest value of the range.

To erase all notes or polyphonic aftertouch data, set “Range

Min” to “C -1” and “Range Max” to “G9.” To erase C4, set

“Range Min” and “Range Max” to “C4.” To erase C3 through

C4, set “Range Min” to “C 3” and “Range Max” to “C4.”

• To erase all controller numbers, set “Range Min” to “0” and

“Range Max” to “127.” To erase all program numbers, set

“Range Min” to “1” and “Range Max” to “128.” To erase number 4, set “Range Min” and “Range Max” to “4.” To erase numbers 3 through 14, set “Range Min” to “3” and “Range

Max” to “14.”

183

Fantom-X678_r_e.book 184 ページ 2007年3月20日 火曜日 午前10時20分

Editing Songs

Deleting Unwanted Measures

(Delete)

This function deletes a specified area of sequencer data, and moves the subsequent data to fill the gap. As a result, the measure length will be shortened by the number of deleted measures.

fig.19-012_50

For details on the settings, refer to “Basic Operation for Track

Editing” (p. 180)

Track / Pattern

Specifies the track(s) or pattern that is to be deleted.

Value

ALL:

TRK 1–TRK 16:

TEMPO:

Phrase tracks 1–16, the beat track, and the tempo track

The specified phrase track

Tempo track

PTN001–PTN100: The specified pattern

Measure, For (Edit Range)

Specifies the range of measures that are to be deleted. If you set

“For” to “ALL,” all measures will be specified.

Copying Phrases (Copy)

This function copies a specified area of sequencer data. It is convenient for repeating the same phrase several times. You can copy patterns to a phrase track, or copy data from a phrase track to a pattern.

fig.19-013_50

For details on the settings, refer to “Basic Operation for Track

Editing” (p. 180)

Src Track / Pattern (Source Track / Pattern)

Specifies the copy-source track(s) or pattern.

Value

ALL:

TRK 1–TRK 16:

TEMPO:

Phrase tracks 1–16, the beat track, and the tempo track

The specified phrase track

Tempo track

PTN001–PTN100: The specified pattern

184

Ch / Part

Selects the MIDI channel of the data to be copied.

When you want to copy all the sequencer data, set this parameter to

“ALL.” To copy only the sequencer data of a specific MIDI channel, select the MIDI channel.

Value: ALL, Ch1–Ch16

If you set the source track to “TEMPO,” or if the Status parameter is set to “System Exclusive,” “Tune Request” or

“Pattern Call,” the Channel parameter will not be available.

Src Measure, For (Edit Range)

Specifies the range of copy-source measures. If you set “For” to

“ALL,” all measures will be specified.

Dst Track/ Pattern (Destination Track/Pattern)

Check/modify the copy-destination track or pattern.

Value

ALL:

TRK 1–TRK 16:

TEMPO:

PTN001–PTN100:

Phrase tracks 1–16, the beat track, and the tempo track

The specified phrase track

Tempo track

The specified pattern

If you set the source track to “ALL,” the destination track can be set to either “ALL” or “PTN001–PTN100.” If you select

“PTN001–PTN100,” the data from the 16 phrase tracks will be merged as it is copied.

• If “TEMPO” is selected as the source track, then only “Tempo” can be selected for the destination track.

Dst Measure (Destination Measure)

Specifies the copy-destination measure.

If you want the copy destination to be right after the last measure of a song, set this parameter to “END.”

Copy Mode

Specifies whether you want to preserve the existing data in the copy destination when copying.

Value

MIX:

REPLACE:

Combines the data from the copy source with the existing data in the copy destination.

Musical data in the copy destination will be erased

(i.e., overwritten) when the copy takes place. Only the sequencer data of the MIDI channels specified by the Channel parameter will be overwritten, and data of other MIDI channels will remain.

Copy Times

Specifies the number of times that the data will be copied to the copy destination.

Fantom-X678_r_e.book 185 ページ 2007年3月20日 火曜日 午前10時20分

Editing Songs

Status

Selects the type of data to be copied.

Value

ALL

NOTE

Poly Aftertouch

Control Change

Program Change

Channel Aftertouch

Pitch Bend

System Exclusive

Tune Request

Pattern Call

If the source track is set to “TEMPO,” the Status parameter will not be available.

Range Min, Range Max

If you have selected “NOTE,” “P.AFT,” “C.C,” or “PROG” for the

Status parameter, specify the range. Set “Range Min” to the lowest value of the range, and “Range Max” to the highest value of the range.

To copy all notes or polyphonic aftertouch data, set “Range

Min” to “C-1” and “Range Max” to“G9.” To copy C4, set

“Range Min” and “Range Max” to “C4.” To copy C3 through

C4, set “Range Min” to “C3” and “Range Max” to “C4.”

• To copy all controller numbers, set “Range Min” to “0” and

“Range Max” to “127.” To copy all program numbers, set

“Range Min” to “1” and “Range Max” to “128.” To copy number 4, set “Range Min” and “Range Max” to “4.” To copy numbers 3 through 14, set “Range Min” to “3” and “Range

Max” to “14.”

Value

ALL:

TRK 1–TRK 16:

TEMPO:

Phrase tracks 1–16, the beat track, and the tempo track

The specified phrase track

Tempo track

PTN001–PTN100: The specified pattern

Measure, For (Edit Range)

Specifies the measure location at which the blank measures are to be inserted, and the number of blank measures to be inserted.

Beat

In general, the time signature of the measure immediately before insertion will be used for the blank measures. To change the time signature of the blank measures to be inserted, use the Beat parameter.

Beat can be specified only when you have set the Track parameter to “ALL.”

Transpose the Key (Transpose)

This transposes the pitch of notes within a specified area, over a +/-

127 semitone range. Use this function to modulate from one key to another in a song, or to transpose the entire song.

fig.19-015_50

Inserting a Blank Measure (Insert)

This function inserts blank measures into a specified song position.

As you can set the time signature of the blank measures, this is convenient when inserting a phrase having a different time signature in the middle of a song.

fig.19-014_50

For details on the settings, refer to “Basic Operation for Track

Editing” (p. 180)

Track / Pattern (Source Track)

Specifies the track(s) or pattern into which blank measures will be inserted.

For details on the settings, refer to

“Basic Operation for Track

Editing” (p. 180)

Track / Pattern (Source Track)

Sets the phrase track(s) or pattern that is to be transposed.

Value

ALL:

TRK 1–TRK 16:

PTN001–PTN100:

Phrase Tracks 1–16

The specified phrase track

The specified pattern

Ch / Part

Specifies the MIDI channel(s) of the notes to be transposed.

Set this parameter to “ALL” for transposing all notes. When transposing only the notes of specific MIDI channel(s), select the

MIDI channel(s) using this parameter.

Value: ALL, Ch1–Ch16

Measure, For (Edit Range)

Sets the range of measures that are to be transposed. If you set “For” to “ALL,” all measures will be specified.

185

Fantom-X678_r_e.book 186 ページ 2007年3月20日 火曜日 午前10時20分

Editing Songs

Range Min, Range Max

Specifies the range of note numbers to be transposed. For example, if you want to transpose notes in the range of C3 through C4, set

“Range Min” to “C3” and “Range Max” to “C4.” You can also specify the key range by pressing keys on the keyboard.

Bias

Specifies the transpose amount in semitone steps. Set a “+” (positive) value to raise the pitch, or a “-” (negative) value to lower the pitch. If you do not want to transpose, set this to “0.”

Value: -127– +127

If You Want to Lower the Bass Sound One

Octave...

If your bass is played one octave higher than the staff notation, use the Transpose function to lower it one octave.

To lower the bass sound one octave, set the Range parameter to

“Lowest–Highest” for the bass part, and set the Bias parameter to “-12.”

When You Want to Change Percussion

Sounds...

You can also use the Transpose function to change percussion sounds.

Suppose you want to change conga to tom. If the conga sound is assigned to the D4 key, and the tom sound is assigned to the C3 key, set the Range parameter to “D4–D4” and the Bias parameter to “-14.”

Changing the Velocity (Volume)

(Change Velocity)

This function modifies the keyboard playing dynamics (velocity) of a specified note area.

fig.19-016_50

Ch / Part

Specifies the MIDI channel(s) of notes for which velocity will be modified.

To modify velocity for all notes, set this parameter to “ALL.” When modifying the velocity for only the notes of a specific MIDI channel, select that MIDI channel using this parameter.

Value: ALL, Ch1–Ch16

Measure, For (Edit Range)

Specifies the range of measures whose velocity will be changed. If you set “For” to “ALL,” all measures will be specified.

Bias

Use this parameter to add a fixed bias amount to all velocities. If you want to increase the velocity values by 10, set this to “+10.”

Value: -99– +99

Magnify

Set this parameter if increases or decreases in velocity variations are desired. For less velocity variation, use settings of “99%” or less. For more velocity variation, set it to “101%” or greater. With a setting of

“100%,” velocity values do not change.

Value: 0–200%

Range Min, Range Max

Specifies the range of note numbers for which velocity will be modified. For example, if you want to modify the velocity of notes in the range of C3 through C4, set “Range Min” to “C3” and “Range

Max” to “C4.” You can also specify the key range by pressing keys on the keyboard.

Changing the MIDI Channel

(Change Channel)

This function transfers the MIDI channel of a specified area of sequencer data into a different MIDI channel.

fig.19-017_50

For details on the settings, refer to “Basic Operation for Track

Editing” (p. 180)

Track / Pattern (Source Track)

Specifies the phrase track(s) or pattern whose velocity will be changed.

Value

ALL: Phrase Tracks 1–16

TRK 1–TRK 16:

PTN001–PTN100:

The specified phrase track

The specified pattern

186

For details on the settings, refer to

“Basic Operation for Track

Editing” (p. 180)

Track / Pattern (Source Track)

Specifies the phrase track(s) or pattern in which the MIDI channel will be changed.

Value

ALL:

TRK 1–TRK 16:

Phrase Tracks 1–16

The specified phrase track

PTN001–PTN100: The specified pattern

Fantom-X678_r_e.book 187 ページ 2007年3月20日 火曜日 午前10時20分

Editing Songs

Measure, For (Edit Range)

Specifies the range of measures in which the MIDI channel will be changed. If you set “For” to “ALL,” all measures will be specified.

Status

Selects the type of data for which you wish to change the MIDI channel.

Value

ALL

NOTE

Polyphonic Aftertouch

Control Change

Program Change

Channel Aftertouch

Pitch Bend

Range Min, Range Max

If you have set the Status parameter to “NOTE,” “P.AFT,” “C.C,” or

“PROG,” you can specify the range of data. Set “Range Min” to the lowest value of the range, and “Range Max” to the highest value of the range.

To change the MIDI channel of all notes or polyphonic aftertouch data, set “Range Min” to “C -1” and “Range Max” to

“G9.” To change the MIDI channel of C4, set “Range Min” and

“Range Max” to “C4.” To change C3 through C4,” set “Range

Min” to “C3” and “Range Max” to “C4.”

• To change the MIDI channel of all controller numbers, set

“Range Min” to “0” and “Range Max” to “127.” To change the

MIDI channel of all program numbers, set “Range Min” to “1” and “Range Max” to “128.” To change number 4, set “Range

Min” and “Range Max” to “4.” To change numbers 3 through

14, set “Range Min” to “3” and “Range Max” to “14.”

Src Channel, Dst Channel (MIDI Channel)

Set Src Channel to the MIDI channel that you want to change, and set Dst Channel to the MIDI channel to which it will be changed.

If you have selected ALL for the source MIDI channel, the sequencer data of all MIDI channels will be combined into the destination MIDI channel.

Value: ALL, 1–16

It is not possible to select “ALL” for the destination MIDI channel.

Modifying the Length of Notes

(Change Duration)

This function modifies the duration (time from note-on to note-off) of notes within a specified area. Depending on the setting, you can also create staccato or tenuto.

fig.19-018_50

For details on the settings, refer to

“Basic Operation for Track

Editing” (p. 180)

Track / Pattern (Source Track)

Specifies the phrase track(s) or pattern whose durations will be changed.

Value

ALL:

TRK 1–TRK 16:

PTN001–PTN100:

Phrase Tracks 1–16

The specified phrase track

The specified pattern

Ch / Part

Specifies the MIDI channel(s) of notes for which duration will be modified.

If you wish to modify the duration for notes of all MIDI channels, set this parameter to ALL. When changing the duration for notes of a specific MIDI channel only, select that MIDI channel using this parameter.

Value: ALL, Ch1–Ch16

Measure, For (Edit Range)

Specifies the range of measures whose durations will be changed. If you set “For” to “ALL,” all measures will be specified.

Bias

Set this parameter if you wish to increase or decrease all durations by a fixed amount. If you want to extend all duration by 10, set this to “+10.”

Value: -4800– +4800

Magnify

Set this parameter if you wish to increase or decrease durations by a specified ratio. When set to “100%,” no change is made. A value of

“101%” or higher increases the duration; values of “99%” or lower decrease the duration. For example, to halve duration, set this parameter to “50%.” To double durations, set this parameter to

“200%.”

Value: 0–200%

Range Min, Range Max

Specifies the range of note numbers for which duration will be modified. For example, if you want to change the duration of notes in the range of C3 to C4, set “Range Min” to “C3” and “Range Min” to “C4.” You can also specify the key range by pressing keys on the keyboard.

187

Fantom-X678_r_e.book 188 ページ 2007年3月20日 火曜日 午前10時20分

Editing Songs

Combining Two Phrase Tracks or

Patterns into One (Merge)

The sequencer data of two phrase tracks or patterns will be combined into one.

fig.19-019_50

Extracting and Moving a Part of

Sequencer Data (Extract)

This function extracts a specified sequencer data area from a phrase track or pattern and moves it to the same Song position of another phrase track or pattern. Additionally, just as with Standard MIDI

File Format 0, when sequencer data from multiple MIDI channels is recorded on one track, you can also assign one MIDI channel to a single phrase track.

fig.19-020_50

For details on the settings, refer to “Basic Operation for Track

Editing” (p. 180)

Src Track / Src Pattern (Source Track)

Specifies the phrase track or pattern that is to be merged. After the

Merge operation has been executed, no sequencer data will remain in this track.

Value

TRK 1–TRK 16: The specified phrase track

PTN001–PTN100: The specified pattern

Dst Track / Pattern (Destination Track/Pattern)

Specifies the merge-destination phrase track or pattern. After the

Merge operation has been executed, the sequencer data will be combined into this track.

Value

TRK 1–TRK 16: The specified phrase track

PTN001–PTN100: The specified pattern

For details on the settings, refer to

“Basic Operation for Track

Editing” (p. 180)

Src Track / Src Pattern (Source Track)

Specifies the phrase track or pattern from which the sequencer data will be extracted. After Extract is executed, the selected sequencer data no longer remains on this phrase track or pattern.

Value

TRK 1–TRK 16:

PTN001–PTN100:

The specified phrase track

The specified pattern

Ch / Part

Selects the MIDI channel(s) of the data to be extracted.

To extract all sequencer data, set this parameter to ALL. To extract just the sequencer data of a specific MIDI channel, select that MIDI channel.

Value: ALL, Ch1–Ch16

If you set the Status parameter to “System Exclusive,” “Tune

Request” or “Pattern Call,” the Channel parameter will not be available.

Measure, For (Edit Range)

Specifies the range of measures from which sequencer data will be extracted. If you set “for” to “ALL,” all measures will be specified.

Dst Track / Pattern (Destination Track/Pattern)

Specifies the move-destination track or pattern.

Value

ALL:

TRK 1–TRK 16:

According to its MIDI channel, the sequencer data will be divided among phrase tracks 1–16.

The specified phrase track

PTN001–PTN100: The specified pattern

188

Fantom-X678_r_e.book 189 ページ 2007年3月20日 火曜日 午前10時20分

Editing Songs

Extract Mode

Specifies whether you want to keep the sequencer data at the destination.

Value

MIX:

REPLACE:

The data at the destination will combine with the extracted data.

The data at the destination will be erased and replaced by the extracted data.

If you select “REPLACE,” only the sequencer data on the MIDI channel specified by the Channel parameter will be the object of the operation. Sequencer data of all other MIDI channels will be unaffected.

Status

Selects the type of data to be extracted.

Value

ALL

NOTE

Poly Aftertouch

Control Change

Program Change

Channel Aftertouch

Pitch Bend

System Exclusive

Tune Request

Pattern Call

Range Min, Range Max

If you set the Status parameter to “NOTE,” “P.AFT,” “C.C,” or

“PROG,” specify the range of data. Set “Range Min” to the lowest value of the range, and “Range Max” to the highest value of the range.

To extract all notes or polyphonic aftertouch data, set “Range

Min” to “C -1,” and “Range Max” to “G9.” To extract C4, set

“Range Min” and “Range Max” to “C4.” To extract C3 through

C4, set “Range Min” to “C3” and “Range Max” to “C4.”

• To extract all controller numbers, set “Range Min” to “0” and

“Range Max” to “127.” To extract all program numbers, set

“Range Min” to “1” and “Range Max” to “128.” To extract number 4, set “Range Min” and “Range Max” to “4.” To extract numbers 3 through 14, set “Range Min” to “3” and “Range

Max” to “14.”

Shifting Performance Data

Forward and Back (Shift Clock)

This function shifts the timing of sequencer data backward or forward in time within a specified area in steps of 1 tick. Slight shifts of timing can speed up or drag performance.

When this function is executed, data that would be moved to a point before the beginning of the song will automatically shift to the beginning of the song. If data would be moved to a point past the end of the song, additional new measures will be created automatically as needed. The time signature of the newly created measures will be the same as that of the measure immediately preceding.

fig.19-021_50

For details on the settings, refer to

“Basic Operation for Track

Editing” (p. 180)

Track / Pattern (Source Track)

Specifies the track(s) or pattern whose sequencer data will be moved in units of one tick.

Value

ALL:

TRK 1–TRK 16:

TEMPO:

Phrase tracks 1–16, the beat track, and the tempo track

The specified phrase track

Tempo track

PTN001–PTN100: The specified pattern

Ch / Part

Selects the MIDI channel of the data to be shifted in time.

To shift ticks of all sequencer data, set this parameter to ALL. To shift the sequencer data tick of just one specific MIDI channel, select that MIDI channel.

Value: ALL, Ch1–Ch16

If you set the Track parameter to “TEMPO,” or if the Status parameter is set to “System Exclusive,” “Tune Request” or

“Pattern Call,” the Channel parameter will not be available.

Measure, For (Edit Range)

Specifies the range of measures in which the sequencer data will be moved in units of one tick. If you set “For” to “ALL,” all measures will be specified.

189

Fantom-X678_r_e.book 190 ページ 2007年3月20日 火曜日 午前10時20分

Editing Songs

Bias

Specify the amount (number of ticks) by which the sequencer data will be moved.

Value: -4800– +4800

Status

Selects the type of data to be shifted in time.

Value

ALL

NOTE

Polyphonic Aftertouch

Control Change

Program Change

Channel Aftertouch

Pitch Bend

System Exclusive

Tune Request

Pattern Call

If the Track parameter is set to “TEMPO,” the Status parameter will not be available.

Range Min, Range Max

If you set the Status parameter to “NOTE,” “P.AFT,” “C.C,” or

“PROG,” specify the range of data. Set “Range Min” to the lowest value of the range, and “Range Max” to the highest value of the range.

To shift all notes or polyphonic aftertouch data, set “Range

Min” to “C -1” and “Range Max” to “G9.” To shift C4, set

“Range Min” and “Range Max” to “C4.” To shift C3 through

C4, set “Range Min” to “C3” and “Range Max” to “C4.”

• To shift all controller numbers, set “Range Min” to “0” and

“Range Max” to “127.” To shift all program numbers, set

“Range Min” to “1” and “Range Max” to “128.” To shift number

4, set “Range Min” and “Range Max” to “4.” To shift numbers 3 through 14, set “Range Min” to “3” and “Range Max” to “14.”

Thinning Out the Sequencer Data

(Data Thin)

Continuously variable controllers such as aftertouch, pitch bend, and expression tend to create unexpectedly large amounts of data when operated. Data Thin will strip out redundant data to increase the amount of memory available for the sequencer.

fig.19-022_50

For details on the settings, refer to

“Basic Operation for Track

Editing” (p. 180)

Track / Pattern (Source Track)

Specifies the track(s) or pattern whose sequencer data will be thinned.

Value

ALL:

TRK 1–TRK 16:

PTN001–PTN100:

Phrase tracks 1–16, the beat track, and the tempo track

The specified phrase track

The specified pattern

Ch / Part

Selects MIDI channel of the data to be thinned.

To thin all sequencer data, set this parameter to ALL. To thin sequencer data of just one specific MIDI channel, select that MIDI channel.

Value: ALL, Ch1–Ch16

Measure, For (Edit Range)

Specifies the range of measures whose sequencer data will be thinned. If you set “For” to “ALL,” all measures will be specified.

Data Thin Value

For thinning data which incorporates rapid changes, use higher settings. If you don’t want to thin that much data even though it is subject to rapid change, use lower settings.

Data Thin Time

If you are thinning data that changes gradually over time, use higher settings. If you don’t want to thin that much data even though the changes are gradual, use lower settings.

190

Fantom-X678_r_e.book 191 ページ 2007年3月20日 火曜日 午前10時20分

Editing Songs

Status

Selects the type of data to be thinned.

Value

ALL

Polyphonic Aftertouch

Control Change

Channel Aftertouch

Pitch Bend

Range Min, Range Max

If you set the Status parameter to “P.AFT” or “C.C,” specify the range of data. Set “Range Min” to the lowest value of the range, and

“Range Max” to the highest value of the range.

To thin out all polyphonic aftertouch data, set “Range Min” to

“C -1” and “Range Max” to “G9.” To thin out C4, set “Range

Min” and “Range Max” to “C4.” To thin out C3 through C4, set

“Range Min” to “C3” and “Range Max” to “C4.”

• To thin out all controller numbers, set “Range Min” to “0” and

“Range Max” to “127.” To thin out number 4, set “Range Min” and “Range Max” to “4.” To thin out numbers 3 through 14, set

“Range Min” to “3” and “Range Max” to “14.”

Swapping Two Phrase Tracks or

Patterns (Exchange)

The phrase tracks or patterns will be exchanged in their entirety.

Value

TRK 1–TRK 16:

PTN001–PTN100:

The specified phrase track

The specified pattern fig.19-023_50

Measure, For (Edit Range)

Measure the playback time, or check/modify the range of measures that are to be adjusted. If you set “For” to “ALL,” all measures will be specified.

Time H/M/S

The playback time will be displayed. From left to right, the time display indicates “hours: minutes: seconds.”

Time Original H/M/S

The current playback time will be displayed.

Deleting Blank Measures

(Truncate)

Copying or merging may sometimes create blank measures at the beginning of a phrase track or pattern. Truncate deletes silent portions from the beginning of the specified phrase track to the first note-on.

If other sequencer data (such as program changes or control changes) is recorded between the beginning and the first noteon of the specified phrase track, only the last data event of each type will be placed before the note-on.

fig.19-025_50

For details on the settings, refer to “Basic Operation for Track

Editing” (p. 180)

Adjusting the Song’s Playback

Time (Time Fit)

This function calculates the playback time of a song or allows you to modify the tempo track data so that the song will play back in a specified time.

fig.19-024_50

For details on the settings, refer to

“Basic Operation for Track

Editing” (p. 180)

Track / Pattern (Source Track)

Specifies the phrase track or pattern from which blank measures will be deleted.

Value

TRK 1–TRK 16: The specified phrase track

PTN001–PTN100: The specified pattern

Below the Track parameter is displayed the location of the beginning of the specified track, and the position of the first note-on.

For details on the settings, refer to “Basic Operation for Track

Editing” (p. 180)

191

Fantom-X678_r_e.book 192 ページ 2007年3月20日 火曜日 午前10時20分

Editing Songs

Editing Individual Items of

Sequencer Data (Micro Edit)

Micro Edit lets you edit individual items of sequencer data recorded in a song, such as MIDI messages and tempo data.

Editing Sequencer Data (Basic

Procedure in the Microscope)

Access the Microscope screen when you want to view the sequencer data recorded in a song. Each line indicates the location (measurebeat-tick) at which the sequencer data is recorded, and the data recorded at that location.

1.

Load the song that contains the sequencer data you want to

view/edit (p. 177).

2.

Press [F8 (Micro Edit)].

The Microscope screen appears.

Press or to view sequencer data.

fig.19-026.e

Select the track or pattern

Displays the parameter data at the cursor location

MIDI channel

5.

Move to the cursor to “Ch/Part,” and select the MIDI channel of the sequencer data that you want to view.

6.

Press [F8 (Close)] to close the screen.

7.

Press or want to edit.

to select the performance data that you

8.

Press or to select the parameter that you want to edit.

9.

Turn the VALUE dial or press [INC]/[DEC] to set the value.

When editing the Note Number of note or polyphonic aftertouch data, or the On Velocity or Off Velocity of a note, you can also specify the value by playing a key on the keyboard.

• When you press [ENTER], the sequencer data currently shown at the “ ” will be transmitted from the MIDI OUT connector.

In the case of a note message, the note will sound when you press [ENTER].

If you want to edit a system exclusive message, refer to

“Editing a System Exclusive Message,” below.

10.

Repeat steps 3–6 to set each parameter you want to edit.

11.

To close the Microscope screen, press [EXIT].

Editing a System Exclusive Message

1.

Use or to move the cursor to the location of the system exclusive message that you want to edit.

2.

Press .

The System Exclusive Edit window appears.

fig.19-027_50

Sequencer data

Location of the sequencer data (measure-beat-tick)

3.

Press [F6] to switch the screen.

Each time you press [F6] you will switch between the two screens.

4.

Press [F7 (Trk/Ch Select)] to move the cursor to “Track,” and select the track or pattern whose sequencer data you want to view/edit.

TRK 1–TRK 16:

TEMPO:

The specified phrase track

Tempo track

BEAT: Beat track

PTN001–PTN100: The specified pattern (pattern mode only)

In order to make efficient use of screen space, display is normally omitted for locations in which no sequencer data is recorded.

For an explanation of each type of sequencer data, refer to

“Sequencer Data Handled by a Phrase Track/Pattern,” below.

192

3.

Press or to move the cursor to the data that you want to edit.

4.

Turn the VALUE dial or press [INC]/[DEC] to edit the value.

If you want to add data between “F0:” and “:F7,” move the cursor to that location and press [F3 (Insert)]. A value of “00” will be inserted. Change this to the desired value.

To delete data, move the cursor to the relevant location and press [F2 (Delete)].

Fantom-X678_r_e.book 193 ページ 2007年3月20日 火曜日 午前10時20分

Editing Songs

5.

When you are finished editing, press [F8 (Exec)] to finalize the values of the system exclusive message.

To cancel, press [F7 (Cancel)].

If you decide to discard the changes you made to the system exclusive message and return to the Microscope screen, press

[EXIT].

• In the case of a Roland type IV system exclusive message, the checksum can be calculated automatically when you finalize the values. If you do not want to calculate the checksum automatically, press [F1 (Auto Sum)] to turn off the light.

• When you press [F4 (Test)], the system exclusive message you are editing will be transmitted from the MIDI OUT connector.

Sequencer Data Handled by a

Phrase Track/Pattern

Phrase tracks or patterns can record the following nine types of sequencer data. The recorded location (measure-beat-tick) is displayed at the far left of each data item, and the MIDI channel number is displayed beside it.

Note

These MIDI messages represent notes. From the left, the parameters are Note Number, which indicates the name of the note; On Velocity, which specifies the force with which the key is pressed; Duration, which specifies the duration of the note; and Off Velocity, which determines the speed with which the key is released.

Program Change

This MIDI message switches sounds. The program number (PC#) selects the sound.

Control Change

This MIDI message applies various effects such as modulation or expression. The controller number (CC#) selects the function, and

Value specifies the depth of the effect.

For the function corresponding to each controller number, refer

to “MIDI Implementation” (p. 298).

Pitch Bend

This MIDI message changes the pitch. The value specifies the amount of pitch change.

Polyphonic Aftertouch

This MIDI messages applies aftertouch to an individual note. From the left, the parameters are Note Number which specifies the key, and Value which specifies the depth of the aftertouch.

Channel Aftertouch

This MIDI message applies aftertouch to an entire MIDI channel.

Value specifies the depth of the aftertouch.

System Exclusive messages

These are MIDI messages used to make settings unique to the

Fantom-X, such as sound settings. Input the data between “F0” and

“F7.”

For details on system exclusive messages, refer to “MIDI

Implementation” (p. 298).

Tune Request

This MIDI message causes an analog synthesizer to tune itself.

Ptn (Pattern Call message)

This is data that causes a pattern to play back. Use the Number parameter to select the pattern number. The pattern name is shown in parentheses ( ), and the location at which the pattern will finish playing is shown at the right of the “->” symbol.

If the pattern called by the Pattern Call message extends beyond the last measure of the song, the pattern playback will be interrupted at that point.

• Only one pattern can be played at a time by Pattern Call messages in a given phrase track. This means that if a Pattern

Call message is recorded at a location before the previous pattern has finished playing, the pattern that was playing will be interrupted, and the next pattern will begin playing. If more than one Pattern Call message is recorded at the same location, the message that is displayed last in the Microscope screen will be played.

• Although it is possible to record Pattern Call messages in a pattern, they will not be played. If you want to place the data of another pattern into a pattern, use Track Edit to copy the data.

Data Handled by the Tempo Track

The Tempo track records tempo data for the song.

Tempo Change

This data specifies the tempo. The song will play back according to the “Value” of the tempo change.

The value displayed in “ =**” is the tempo at which the song will actually play (the playback tempo), and can be changed only in the

PLAY screen of each mode.

If the tempo change value differs from the playback tempo, this means that the playback tempo has been changed temporarily. In other words, since the tempo change value has not been rewritten, this setting will be lost if you select another song or turn off the power. If you want to play back at this tempo the next time as well, you must re-save the song to disk. This will rewrite the tempo change value so that it matches the playback tempo.

193

Fantom-X678_r_e.book 194 ページ 2007年3月20日 火曜日 午前10時20分

Editing Songs

Data Handled by the Beat Track

The Beat track records time signature data.

Beat Change

This specifies the time signature (Beat).

Viewing Sequencer Data (View)

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

1.

Access the Microscope screen.

2.

Press [F8 (View)].

The View Select window appears.

fig.19-028_50

4.

Press [INC] or [DEC] to switch.

The message will be displayed if the check mark (

) is assigned, and will not be displayed if the check mark is removed.

If you press [F6 (ALL OFF)], none of the sequencer data will be displayed.

If you press [F7 (ALL ON)], all of the sequencer data will be displayed.

5.

Press [F8 (Close)] to close the View Select window.

Inserting Sequencer Data (Create)

You can insert new sequencer data into a desired location of a phrase track or pattern.

For details on the sequencer data that can be inserted, refer to

“Sequencer Data Handled by a Phrase Track/Pattern” (p.

193).

1.

Access the Microscope screen for the track or pattern into

which you want to insert sequencer data (p. 192).

2.

Press [F1 (CREATE)].

The Create Event window appears.

fig.19-029_50

3.

Use or displayed.

Note:

Pattern Call:

Tune Request:

to select the sequencer data that will be

Poly Aftertouch:

Control Change:

Program Change:

Channel Aftertouch:

Program change messages. These MIDI messages select sounds.

Channel aftertouch messages. These

MIDI messages apply aftertouch to an entire MIDI channel.

Pitch Bend:

Note messages. These MIDI messages represent notes.

Polyphonic aftertouch. These MIDI messages apply aftertouch to individual keys.

Control change messages. These MIDI messages apply various effects such as modulation or expression.

System Exclusive:

Pitch bend messages. These MIDI messages change the pitch.

System exclusive messages. These MIDI messages are used to make settings unique to the Fantom-X, such as those for the sound parameters.

Pattern Call messages. This data causes a pattern to play back.

This MIDI Message cause an analog synthesizer to tune it self.

3.

Press inserted.

or to select the sequencer data that will be

4.

Press [F8 (Exec)] to insert the performance data.

5.

The sequencer data that was inserted will have the default parameter values, so edit them as necessary.

If you are not satisfied with the results of executing this operation, from the Song Edit screen, press [MENU], and from the Menu window that appears, select “Undo/Redo” to return to the state prior to execution (Undo/Redo).After executing

Undo, you can use Redo to revert to the previous state. After executing Undo, you can execute Redo by performing the above procedure the above procedure once again.

194

Fantom-X678_r_e.book 195 ページ 2007年3月20日 火曜日 午前10時20分

Editing Songs

Erasing Sequencer Data (Erase)

If desired, you can erase just an individual event of sequencer data.

You can also use the same operation to erase individual items of data from the tempo track or beat track.

It is not possible to erase the tempo change located at the beginning of the tempo track, the beat change located at the beginning of the beat track, or the pattern beat.

1.

Access the Microscope screen for the track or pattern from

which you want to erase sequencer data (p. 192).

2.

Press or to move the cursor to the sequencer data that you want to erase.

To erase a multiple consecutive data, hold down [SHIFT] and press or to select the sequencer data.

3.

Press [F2 (Erase)] to erase the sequencer data.

If you are not satisfied with the results of executing this operation, from the Song Edit screen, press [MENU], and from the Menu window that appears, select “Undo/Redo” to return to the state prior to execution (Undo/Redo).After executing

Undo, you can use Redo to revert to the previous state. After executing Undo, you can execute Redo by performing the above procedure the above procedure once again.

Moving Sequencer Data (Move)

You can move an individual item of sequencer data to a different location. Data recorded in the tempo track or beat track can also be moved in the same way.

It is not possible to move the tempo change located at the beginning of the tempo track, the beat change and key signature located at the beginning of the beat track, or the pattern beat.

1.

Access the Microscope screen for the track or pattern

whose data you want to move (p. 192).

2.

Press or to move the cursor to the sequencer data that you want to move.

To move a multiple consecutive data, hold down [SHIFT] and press or to select the sequencer data.

3.

Press [F3 (Move)].

The Move Event window appears.

fig.19-030_50

4.

Press or to move the cursor to the “measure,”

“beat,” and “tick” fields.

5.

Turn the VALUE dial or Press [INC]/[DEC] to specify the location to which the data will be moved.

6.

Press [F8 (Exec)] to move the sequencer data.

If you are not satisfied with the results of executing this operation, from the Song Edit screen, press [MENU], and from the Menu window that appears, select “Undo/Redo” to return to the state prior to execution (Undo).After executing Undo, you can use Redo to revert to the previous state. After executing

Undo, you can execute Redo by performing the above procedure the above procedure once again.

Copying Sequencer Data (Copy)

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

1.

Access the Microscope screen for the track or pattern

whose sequencer data you want to copy (p. 192).

2.

Press or to move the cursor to the sequencer data that you want to copy

3.

Press [F3 (COPY)].

4.

Press [F4 (PLACE)].

The Place Event window appears.

fig.19-031_50

5.

Press or to move the cursor to the “measure,”

“beat,” and “tick” fields.

6.

Turn the VALUE dial or Press [INC]/[DEC] to specify the location to which the data will be copied.

7.

Press [F8 (Exec)] to paste the data.

If you are not satisfied with the results of executing this operation, from the Song Edit screen, press [MENU], and from the Menu window that appears, select “Undo/Redo” to return to the state prior to execution (Undo/Redo).After executing

Undo, you can use Redo to revert to the previous state. After executing Undo, you can execute Redo by performing the above procedure the above procedure once again.

195

Fantom-X678_r_e.book 196 ページ 2007年3月20日 火曜日 午前10時20分

Editing Songs

Changing the Tempo Midway

Through the Song

If you want to change the tempo midway through the song, insert a new Tempo Change into the tempo track. The song will play back at that tempo following the location at which the tempo change was inserted. However, if you want to create gradual tempo changes such as ritardando or accelerando, it is more convenient to use

Tempo Recording (p. 171).

If you want to make the entire song faster or slower, modify the playback tempo in one of the PLAY screens.

1.

Access the Microscope screen (p. 192).Press [F7 (Trk/Ch

Select)], select “TEMPO” to “Track.”

2.

Press [F1 (Create)].

The Create Event window appears.

fig.19-032_50

Changing the Time Signature

Midway Through the Song

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

It is not possible to change the time signature in the middle of a measure. You must change the time signature at the beginning of a measure.

• If the time signature of the beat track differs from the pattern

beat (p. 169) setting, the setting of the beat track will be used.

For example, if a pattern with a 3/4 time signature is assigned in the middle of a 4/4 song, the pattern will not be aligned correctly with the other phrase tracks. To make this play back correctly, insert a 3/4 beat change into the beat track. To return the time signature to 4/4, insert a 4/4 beat change into the measure that follows the last measure of the pattern.

If you want to change the time signature from a measure that is later than the end of the song, or if it is ok to change the length of the song, you will find it more convenient to use the track

edit Insert Measure function (p. 185).

1.

Access the Microscope screen (p. 192).Press [F7 (Trk/Ch

Select)], select “BEAT” to “Track.”

2.

Press [F1 (Create)].

The Create Event window appears.

fig.19-033_50

3.

Press [F8 (Exec)].

The Create Position window will appear.

4.

Use or to move the cursor to the “measure,” “beat,” and “tick” fields,

5.

Turn the VALUE dial or Press [INC]/[DEC] to specify the location at which the data will be inserted.

6.

Press [F8 (Exec)] to insert the tempo change data.

7.

The inserted tempo change will have the default value, so modify it as necessary.

If you are not satisfied with the results of executing this operation, from the Song Edit screen, press [MENU], and from the Menu window that appears, select “Undo/Redo” to return to the state prior to execution (Undo/Redo).After executing

Undo, you can use Redo to revert to the previous state. After executing Undo, you can execute Redo by performing the above procedure the above procedure once again.

3.

Press [F8 (Exec)].

The Create Position window will appear.

4.

5.

6.

7.

Use or to move the cursor to the “measure,” “beat,” and “tick” fields,

Turn the VALUE dial or Press [INC]/[DEC] to specify the location at which the data will be inserted.

Press [F8 (OK)] to insert the beat change data.

The inserted beat change will have the default values, so edit it as necessary.

If you are not satisfied with the results of executing this operation, from the Song Edit screen, press [MENU], and from the Menu window that appears, select “Undo/Redo” to return to the state prior to execution (Undo/Redo).After executing

Undo, you can use Redo to revert to the previous state. After executing Undo, you can execute Redo by performing the above procedure the above procedure once again.

196

Fantom-X678_r_e.book 197 ページ 2007年3月20日 火曜日 午前10時20分

Assigning a Name to a

Song (Song Name)

You can assign a song name to a song, or edit the song name. This song name is independent of the file name assigned when saving a song to user memory or memory card. Although you are not required to assign a song name, you can assign one using up to 15 characters, and you may find it a convenient way to store a title or memo that will help you organize your songs.

Some commercially available Standard MIDI Files contain copyright data. It is not possible to assign or modify the song name for such songs.

1.

Access the Song Edit screen, and then load the song

whose song name you want to assign (p. 177).

2.

Press [F4 (Song Name)].

The Song Name screen appears.

fig.19-034_50

Editing Songs

3.

Assign a song name to the song. (up to 15 characters).

For details on assigning names, refer to

“Assigning a Name”

(p. 36)

4.

After you have assigned a name, press [Write].

If you decide to cancel, press [F7 (Cancel)].

197

Fantom-X678_r_e.book 198 ページ 2007年3月20日 火曜日 午前10時20分

Saving/Loading a song (Save/Load)

Songs you record are initially held in Temporary Area. A song in

Temporary Area will be lost when you turn off the power or when you load a different song. If you want to keep the song, you must save it to user memory or a memory card.

Conversely in order to edit a song (p. 177), you must first load it into

Temporary Area.

Saving a Song (Save)

Basic Procedure

1.

Press [SAVE/LOAD].

The Save/Load Menu screen will appear.

fig.20-001_50

Data saved together with a song

The performances, patches, and system setup you are using at that time are saved together with the sequencer data.

The performances and patches saved along with the song are special data used to reproduce the song; they are separate from the user performances and user patches.

* If you want to use these performances or patches in a different song, or without reference to a song, you’ll need to save them in the user area.

* Mastering Effect settings are not included in the data saved with a song. In order to completely reproduce the way in which the song played back at the time it was saved, you will also need to check the mastering settings.

Parameters included in System Setup

• Sound generator mode (Patch/Performance) and Patch/

Performance numbers

• MFX 1–3/Chorus/Reverb switch

• The selection of whether Patch mode chorus/reverb will use the sound settings of the keyboard or of the pads

• Transpose and Octave Shift values

• The selection of the function controlled by D Beam

• All settings in the Arpeggio screen and the Arpeggio on/off setting

• All settings in the Rhythm Group screen

• All settings in the Chord Memory screen and the Chord

Memory on/off setting

• The selection of whether the bender, modulation, D Beam, and knobs will be used with the keyboard or with the pads

2.

Press [F1 (Save S+S)]–[F3 (Save AllSmpl)] to select the format in which you want to save the song.

Save Song+Samples: The Temporary Song will be saved in MRC Pro song format. A file name extension of “.SVQ” will automatically be added to the song.

The song will include the data of the temporary area. All samples in sample memory will be saved.

Save Song:

Save all Samples:

The Temporary Song will be saved in MRC Pro song format. A filename extension of “.SVQ” will automatically be added. The song will include the data of the temporary area.

All samples in sample memory will be saved.

Parameter

Save Song+Samples

Save Song

Save all Samples

✔ : Saving is possible

Function buttons

[F1]

[F2]

[F3]

Song

ALL-

Samples

198

Fantom-X678_r_e.book 199 ページ 2007年3月20日 火曜日 午前10時20分

Saving/Loading a song (Save/Load)

Saving a Song with Samples

(Save Song+Samples)

Here’s how to save the Temporary Song along with all samples in sample memory and the current sound generator settings.

1.

From the Save/Load Menu screen, press [F1 (Save S+S)].

The Song File Name screen will appear.

fig.20-002_50

File Name and Song Name

MRC Pro songs and Standard MIDI Files have a song name in addition to a file name. The file name is used to distinguish between files, and must be assigned when you save a file. It will help you manage songs if you use the file name to distinguish between types of song, and use the song name to assign a title.

Use the Song Name screen to assign a song name (p. 197).

If you assign a file name that is identical to a file name already existing in the user area or memory card, and attempt to save, a message of “File “****” Already Exists! Over Write Sure?” will appear, asking you for confirmation. If it is OK to overwrite the existing file, press [F8 (OK)]. If you decide to cancel the Save operation, press [F7 (Cancel)].

If you attempt to save data on a memory that was not formatted by the Fantom-X, a message of “Unformatted!” (memory card has not been formatted) will appear. Please format the memory

card on the Fantom-X (p. 224).

2.

Assign a file name to the song (up to 8 characters). A file name extension of “.SVQ” will automatically be added to the song.

For details on assigning names, refer to

“Assigning a Name”

(p. 36)

Song file names may not contain lowercase characters or certain symbols (“ * + , . / : ; < = > ? [ \ ] |).

3.

After you have assigned a name, press [F8 (Write)].

fig.20-003_50

4.

Press [F1 (User)] (User memory) or [F2 (Card)] (Memory card) to select the location where you want to save the song.

If you decide to cancel, press [F7 (Cancel)].

5.

Press [F8 (Save)].

A screen will ask you for confirmation.

6.

Press [F8 (Exec)] to execute.

* When samples are saved, they will automatically be overwritten onto the same numbers of the same bank in the sample list. The samples will be saved with a file name of “SMPL****.WAV (AIF)” in the

“ROLAND/SMPL folder” of user memory or memory card. The number of the file name will correspond to the number in the sample list.

Saving a Song (Save Song)

Here’s how to save the Temporary Song with the current sound generator settings.

1.

From the Save/Load Menu screen, press [F2 (Save Song)].

The Song File Name screen will appear.

2.

Assign a file name to the song (up to 8 characters). A file name extension of “.SVQ” will automatically be added to the song.

For details on assigning names, refer to

“Assigning a Name”

(p. 36)

Song file names may not contain lowercase characters or certain symbols (“ * + , . / : ; < = > ? [ \ ] |).

3.

After you have assigned a name, press [F8 (Write)].

fig.20-004_50

199

Fantom-X678_r_e.book 200 ページ 2007年3月20日 火曜日 午前10時20分

Saving/Loading a song (Save/Load)

4.

Press [F1 (User)] (User memory) or [F2 (Card)] (Memory card) to select the location where you want to save the song.

If you decide to cancel, press [F7 (Cancel)].

5.

Press [F8 (Save)].

A screen will ask you for confirmation.

If you decide to cancel, press [F7 (Cancel)].

6.

Press [F8 (Exec)] to execute.

Even if you save your song using “Save,” it cannot be played back by a sequencer other than the Fantom-X’s own sequencer.

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

The performance settings will be saved in the state they were in when you executed Save. This means that if the performance changed during the song, and you saved the song in that state when you finished recording, the state in which recording began will not be saved. In other words when you play back the song from the beginning, it will begin with the performance sounds that were being used at the point where you saved. If you change the performance during the song, you must use the

Microscope screen etc. to insert the appropriate bank select and program number at the beginning of the song to specify the

performance with which you began recording it (p. 192).

Saving a Song as an SMF

File (Save as SMF)

Here’s how to convert and save an Temporary Song as an SMF file.

1.

From the Save/Load Menu screen, press [F4 (Save as

SMF)].

The Save As SMF screen will appear.

2.

Assign a file name to the song.

For details on assigning names, refer to

“Assigning a Name”

(p. 36)

Song file names may not contain lowercase characters or certain symbols (“ * + , . / : ; < = > ? [ \ ] |).

3.

After you have assigned a name, press [F8 (Write)].

4.

Press either [F1 (User)] (user memory) or [F2 (Card)]

(memory card) to select the save-destination.

fig.20-005_50

Saving Samples (Save All Samples)

Here’s how to save all samples from sample memory into user memory or a memory card.

1.

From the Save/Load Menu screen, press [F3 (Save

AllSmpl)].

A screen will ask you for confirmation.

If you decide to cancel, press [F7 (Cancel)].

2.

Press [F8 (Exec)] to execute.

* When samples are saved, they will automatically be overwritten onto the same number of the same bank in the sample list.

5.

Press either [F5 (Format 0)] or [F6 (Format 1)] to select the format for saving.

Format 0: Convert the song to a Format 0 Standard MIDI File

(all performance data is saved in one phrase track) and save it to disk. An extension of “.MID” will be added automatically.

Format 1: Convert the song to a Format 1 Standard MIDI File

(performance data is saved in more than one phrase track) and save it to disk. An extension of “.MID” will be added automatically.

6.

Press [F8 (Save As SMF)].

A screen will ask for confirmation.

7.

Press [F8 (Exec)] to execute.

* The filename extension will be “.MID” whether you select “Save SMF

(Format 0)” or “Save SMF (Format 1).” The two cannot be distinguished in this way.

When you save data in SMF format, the sound setup data will not be saved. In order to ensure that the correct sounds are played, you must record the appropriate bank select and

program numbers (p. 192).

200

Fantom-X678_r_e.book 201 ページ 2007年3月20日 火曜日 午前10時20分

Saving/Loading a song (Save/Load)

If you assign a file name that is identical to one already existing in the user area or the memory card, a message of “File “****”

Already Exists! Over Write Sure?” will ask you for confirmation when you attempt to save the file. If it is OK to overwrite the existing file, press [F8 (OK)]. If you decide not to save the file, press [F7 (Cancel)].

If you attempt to save data to a memory card that was not formatted on the Fantom-X, a message of “Unformatted!” (the memory card has not been formatted) will appear. Please

format the memory card on the Fantom-X (p. 224).

Loading a Song (Load)

Basic Procedure

1.

Press [SAVE/LOAD].

The Save/Load Menu screen will appear.

fig.20-001_50

Loading a Song with Samples

(Load Song+Samples)

Here’s how you can load a song into Temporary Area and all samples into sample memory.

1.

From the Save /Load Menu screen, press [F5 (Load S+S)].

fig.20-006_50

2.

Press [F5 (Load S+S)]–[F7 (Load AllSmpl)] to select the format in which you want to load the song.

Load Song+Samples: Loads a song into Temporary Area. All samples will be loaded into sample memory.

Load Song: Loads a song into Temporary Area.

Load all Samples: Loads all samples into sample memory.

Parameter Function buttons

Load Song+Samples [F5]

Load Song [F6]

Load all Samples [F7]

Song

ALL-

Samples

: Loading is possible

* A song saved on the Fantom-X (.SVQ) also includes the data for the sound generator’s temporary area.

* By pressing or in the above screen, you can specify the type of songs that will be displayed. If various types of songs are saved together, it will be easier to find the desired song if you restrict the displayed file types in this way.

• VIEW ALL: all songs will be displayed

SVQ ONLY:

SMF:

MRC:

only SVQ files will be displayed

only Standard MIDI Files will be displayed

only MRC files will be displayed

2.

Press either [F1 (User)] or [F2 (Card)] to select the loaddestination, and use to select a song.

If you decide to cancel, press [F7 (Cancel)].

3.

Press [F8 (Load)].

A screen will ask you for confirmation.

4.

Press [F8 (Exec)] to execute.

201

Fantom-X678_r_e.book 202 ページ 2007年3月20日 火曜日 午前10時20分

Saving/Loading a song (Save/Load)

Loading a song (Load Song)

Here’s how you can load a song into Temporary Area.

1.

From the Save/Load Menu screen, press [F6 (Load Song)].

fig.20-007_50

Importing a WAV/AIFF File

(Import Audio)

Here’s how you can load an audio file (WAV/AIFF) into sample memory as a sample.

In order for audio data to be imported, the data (WAV/AIFF) must be in the following location of user memory or a memory card.

/TMP/AUDIO_IMPORT folder

* “/” indicates a directory level.

Use USB storage mode (p. 219) to place the files from the

computer in the above location. Alternatively, you can place the data in a memory card and use a card reader.

* By pressing or in the above screen, you can specify the type of songs that will be displayed. If various types of songs are saved together, it will be easier to find the desired song if you restrict the displayed file types in this way.

• VIEW ALL: all songs will be displayed

SVQ ONLY:

SMF:

MRC:

only SVQ files will be displayed

only Standard MIDI Files will be displayed

only MRC files will be displayed

2.

Press either [F1 (User)] or [F2 (Card)] to select the loaddestination, and use to select a song.

If you decide to cancel, press [F7 (Cancel)].

3.

Press [F8 (Load)].

A screen will ask you for confirmation.

4.

Press [F8 (Exec)] to execute.

Loading Samples (Load All

Samples)

Here’s how you can load all samples from user memory or memory card into sample memory.

1.

From the Save/Load Menu screen, press [F7 (Load

AllSmpl)].

A screen will ask you for confirmation.

If you decide to cancel, press [F7 (Cancel)].

2.

Press [F8 (Exec)] to execute.

1.

Press [Save/Load].

2.

Press [F8 (Import Audio)].

3.

Press [F1 (User)] or [F2 (Card)] to select the importdestination area.

[F1 (User)]: Import from user memory.

[F2 (CARD)]: Import from a memory card.

4.

Press import.

or , then select the file that you want to

If you want to select two or more samples, press [F5 (Mark Set)] to add a check mark ( ✔ ) to the files that you want to select. To remove the check mark, press [F4 (Mark Clear)].

If you hold down [SHIFT] and press [F5 (Mark Set All)], a check mark will be added to all files of the selected bank. If you hold down [SHIFT] and press [F4 (Mark Clr All)], check marks will be removed from all selected files.

5.

Press [F8 (Import)].

A message will ask you for confirmation.

* To cancel, press [F7 (Cancel)].

6.

Press [F8 (Exec)].

The file will be imported, and the Sample List screen will appear.

* To cancel, press [F7 (Cancel)].

The imported file will be added to the sample list as a sample.

This sample is temporary, and will be lost when you turn off the

power. If you want to keep it, press [WRITE] to save the data (p.

159).

202

Fantom-X678_r_e.book 203 ページ 2007年3月20日 火曜日 午前10時20分

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

The RPS (Realtime Phrase Sequence) function lets you assign patterns to the keyboard or Pad, and play a pattern by pressing a single note.

For example, a complex phrase that would be difficult to play live can be assigned to a note of the keyboard, and played with one finger at the appropriate moment.

Since up to eight patterns can be playing at once, you can create patterns for separate instruments such as drums, bass, and keyboard, and combine them to create a new song. This performance can also be recorded, allowing you to use it in a way similar to phrase sampling.

fig.21-001.e

Song

Phrase track 16

Phrase track 15

Phrase track 2

Phrase track 1

Pattern track

Pattern

1

Pattern

2

Pattern

99

Pattern

100

Settings for the RPS Function

You can assign a pattern to each note of the keyboard, and specify how the pattern will be played. These settings are made independently for each song, and will be saved when you save the song in MRC Pro song format.

In order to make RPS settings, you must first load a song into

Temporary Area.

1.

Holding down [SHIFT] and pressing [RPS].

The RPS Setup screen appears.

fig.21-002_50

Before You Use the RPS

Function

Record a Pattern

Before you use the RPS function, you must record the desired phrase in a pattern. For details on recording, refer to

“Recording Your

Performance as You Play It (Realtime Recording)” (p. 170) or

“Inputting Data One Step at a Time (Step Recording)” (p. 174).

Only note messages should be recorded in a pattern. If a large amount of MIDI data is recorded in a pattern, using RPS to play back the pattern can cause notes to be delayed. MIDI messages other than note messages should be recorded in a phrase track.

In this screen you can set various parameters related to the RPS function.

2.

Use [CURSOR] to move the cursor to each parameter, and turn the VALUE dial or press [INC]/[DEC] to make the setting.

Pattern parameter, Playback Mode parameter, and Mute Group parameter are set for each key. Although the Fantom-X6 has a

61-note keyboard and the Fantom-X7 has a 76-note keyboard, you can also make settings for all keys in the range of E0 to G9.

Setting for the Trigger Quantize parameter is for the entire song.

Trigger Quantize

This parameter specifies how pattern playback is to begin when a key is pressed during song playback or recording.

Value

REAL:

BEAT:

MEASURE:

The pattern will begin playing at the moment you press the key.

If the song is being played or recorded, the pattern will begin playing at the beginning of the next beat if you press the key in the middle of the beat.

If the song is being played or recorded, the pattern will begin playing at the beginning of the next measure if you press the key in the middle of the measure.

203

Fantom-X678_r_e.book 204 ページ 2007年3月20日 火曜日 午前10時20分

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

• Velocity Sens (Velocity Sensitivity)

Turn this “OFF” if you want the pattern to play back at the volume at which it was recorded.

If you want to vary the pattern playback volume according to the strength with which you pressed the key, select either

“LOW,” “MID,” or “HIGH.”

Value: OFF, LOW, MID, HIGH

• PAD Number

Specify the pad number to which the pattern is to be assigned.

You can also specify a pad directly by pressing it.

• Keyboard Note

Specify the key to which the pattern will be assigned. You can also specify this by pressing a key on the keyboard.

KBD/PAD Pattern

Select the pattern number that will be assigned to the key/pad.

The name of the selected pattern will be displayed below the pattern number.

Select “OFF” for keys to which you do not want to assign a pattern. If you select “STOP,” that key will be a Stop Trigger key/pad that stops the currently playing patterns.

When assigning a number to a pad, simply press PAD and the cursor will move to “Pattern.”

Valid Settings: STOP, OFF, PTN001–PTN100

KBD/PAD Playback Mode

Specify how the pattern will be played.

Value

LOOP1:

LOOP2:

The pattern will play back repeatedly as long as the key is held down.

The pattern will play back repeatedly. To stop playback, press a Stop Trigger key or press the same key once again.

ONCE: The pattern will play back once.

KBD/PAD Mute Group

This function lets you prevent patterns of the same group from sounding together. For example, a fill-in and bridge should never be played at the same time, and to ensure that this does not occur, you can set the fill-in and bridge to the same mute group number.

Thirty-one mute groups can be specified. Select “OFF” if you do not want to use a mute group for a pattern.

Value: OFF, 1–31

3.

When you are finished making settings, press [F8 (Exit)] to return to the Song Play screen.

Using the RPS Function

While You Perform

Normally, when playing patterns individually, the song containing the patterns must be loaded into Temporary Area. However, when using the RPS function to play back patterns, you can use Quick

Play.

1.

Make sure that the preparations for using the RPS function have been made correctly.

2.

Access the PLAY screen for the mode in which you want to perform.

3.

Press [RPS] so the button is lit.

The RPS function will be turned on, and you will be able to perform using RPS.

fig.21-003

4.

Press [PLAY] to play back the song.

You must play back the song if you want patterns to play back in synchronization with the song, or if you want multiple patterns to play in synchronization.

• If the song is not playing, the pattern will begin playing the instant you press the key, regardless of the Trigger Quantize parameter setting.

• The pattern will be played back according to the time signature of the song (beat track). This means that if the phrase track contains no sequencer data, the song will not play, and it will not be possible to play back patterns in synchronization. In such cases, you can insert several blank measures into a phrase track, and play them as a loop.

5.

Press a key or pad to which a pattern is assigned, making the pattern play.

If you want to stop playback midway through the pattern, press the Stop Trigger key. Alternatively if the Playback Mode parameter is set to “LOOP2,” you can stop the pattern playback by pressing the same key once again.

Up to eight patterns can play back simultaneously.

204

Fantom-X678_r_e.book 205 ページ 2007年3月20日 火曜日 午前10時20分

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

Recording a Performance Using the RPS Function

A performance that uses the RPS function can be recorded in real time in the same way as a conventional performance. This provides an easy way to remix patterns and create a song.

If you use the RPS function during realtime recording, the pattern performance will be recorded just as it occurs.

1.

Make sure that preparations for the RPS function have been made correctly.

2.

Access the PLAY screen for the mode in which you want to perform.

3.

Press [RPS] to turn on the RPS function.

4.

Press [REC].

The [REC] indicator will blink, and the Realtime Rec Standby window appears. In this window you can make various settings for realtime recording.

fig.18-003_50

5.

Specify how recording is to take place.

For details on these settings, refer to

“Recording Your

Performance as You Play It (Realtime Recording)” (p. 170).

6.

Press [PLAY].

The Recording Standby window will close, the [REC] indicator will change from blinking to lit, and recording will begin.

7.

Press a key or pad to which a pattern is assigned.

The assigned patterns will be played back according to the keys or pads you press, and their performances will be recorded.

If the Count In parameter is set to “WAIT NOTE” in the

Recording Standby window, recording will not begin even if you press a key that is assigned to a pattern, or a key that is assigned as a Stop Trigger key.

8.

When you are finished recording, press [STOP].

The [REC] indicator will go dark.

205

Fantom-X678_r_e.book 206 ページ 2007年3月20日 火曜日 午前10時20分

Adding Effects

This section explains the procedures and settings for applying effects in each mode.

For details of the Fantom-X’s onboard effects, refer to

“About the Onboard Effects” (p. 29).

Turning Effects On and Off

The Fantom-X’s onboard effects can be turned on/off as a whole.

Turn these settings OFF when you wish to listen to the unprocessed sound as you create a sound, or when you wish to use external effects processors instead of the built-in effects.

Effect ON/OFF settings are global Fantom-X settings. These settings cannot be made for each Patch or Performance individually.

1.

Press [EFFECTS] to access the Effects screen.

fig.22-001_50

4.

Press [F8 (Close)] to return to the previous screen.

When you return to the Play screen, the settings will be displayed in the following area.

fig.22-003

Making Effect Settings

1.

In the appropriate mode, select the sound to which you want to apply effects.

2.

Press [EFFECTS] to access the Effects screen.

3.

Press one of the [F1 (Routing)]–-[F7 (Mastering)] tabs to select the effect that you want to edit.

* You can also do this by pressing [MENU] from the Effect screen.

fig.22-001_50

2.

Press [F8 (Effect Sw)].

The Effect Sw window appears.

fig.22-002_50

3.

Use [F1 (MFX1)]–[F6 (MASTER)] to turn each effect switch on/off. The switch will turn on/off each time you press the button.

In Performance mode, each time you press the [F3 (MFX1/2/3)] button, it will alternate between 1, 2, and 3. In Patch mode, each time you press the [F3 (MFX1/2)] button, it will alternate between 1 and 2.

4.

Use [CURSOR] to move the cursor to the parameter you wish to modify.

5.

Turn the VALUE dial or press [INC]/[DEC] to get the value you want.

6.

Press [EXIT] to return to the previous screen.

* You cannot edit the effect settings for patches of the GM group.

206

Fantom-X678_r_e.book 207 ページ 2007年3月20日 火曜日 午前10時20分

Adding Effects

Applying Effects in Patch

Mode

In Patch mode you can use two multi-effects (MFX1, MFX2), one chorus, and one reverb. Multi-effect 1 (MFX1) will operate according to the effect settings of the patch or rhythm set assigned to the

Keyboard part. Multi-effect 2 (MFX2) will operate according to the effect settings of the patch or rhythm set assigned to the Pad part.

Chorus and reverb will both operate according to the settings of the patch or rhythm set assigned to either the Keyboard part or the Pad part.

Specifying How the Sound Will Be

Output (Routing)

Here you can make overall settings for effects, and the output destination and level of each signal.

fig.22-004_50

For details on these settings, refer to

“Making Effect Settings”

(p. 206).

Signal Flow Diagram and

Parameters

fig.22-005

1

2

3

19

20

7

8 11

4

9

10

13

5

6

12

14 15

16 17 18

1

Part Select

Select the part for which you want to make settings.

Value: KBD, PAD

1

Tone Select

Select the tone for which you want to make settings.

Value: 1–4

* This parameter is Rhythm Key Select when a rhythm set is being selected. You can select the rhythm tone (A0–C8) for which you want to make settings.

2

Patch Output Assign

Specifies how the direct sound of each patch will be output.

Value:

MFX:

A, B:

1–4:

TONE:

Output in stereo through multi-effects. You can also apply chorus or reverb to the sound that passes through multi-effects.

Output to the OUTPUT A (MIX) jack or OUTPUT B jack in stereo without passing through multi-effects.

Output to the INDIVIDUAL 1–4 jacks in mono without passing through multi-effects.

Outputs according to the settings for each tone.

If you've made settings so that sounds are separately routed to the INDIVIDUAL 1 jack and INDIVIDUAL 2 jack, but no plug is actually inserted in the INDIVIDUAL 2 jack, the sounds routed to INDIVIDUAL 1 and INDIVIDUAL 2 will be mixed and output from the INDIVIDUAL 1 jack.

• This parameter is Rhythm Output Assign when a rhythm set is being selected. You can specifies for each rhythm set how the direct sound will be output.

If the Mix/Parallel parameter is set to “MIX,” all sounds are

output from the OUTPUT A (MIX) jacks in stereo (p. 230).

207

Fantom-X678_r_e.book 208 ページ 2007年3月20日 火曜日 午前10時20分

Adding Effects

3

Tone Output Assign

Specifies how the direct sound of each tone will be output.

Value:

MFX:

A, B:

1–4:

Output in stereo through multi-effects. You can also apply chorus or reverb to the sound that passes through multi-effects.

Output to the OUTPUT A (MIX) jack or OUTPUT B jack in stereo without passing through multi-effects.

Output to the INDIVIDUAL 1–4 jacks in mono without passing through multi-effects.

If the Patch Output Assign ( 2 ) is set to anything other than

“TONE,” these settings will be ignored.

• When the Structure Type parameter has a setting of Type “2”–

”10,” the outputs of tones 1 and 2 will be combined with tone 2, and the outputs of tones 3 and 4 will be combined with tone 4.

For this reason, tone 1 will follow the settings of tone 2, and

tone 3 will follow the settings of tone 4 (p. 63).

• If you've made settings so that sounds are separately routed to the INDIVIDUAL 1 jack and INDIVIDUAL 2 jack, but no plug is actually inserted in the INDIVIDUAL 2 jack, the sounds routed to INDIVIDUAL 1 and INDIVIDUAL 2 will be mixed and output from the INDIVIDUAL 1 jack.

If the Mix/Parallel parameter is set to “MIX,” all sounds are

output from the OUTPUT A (MIX) jacks in stereo (p. 230).

If you've set Tone Out Assign to “MFX,” set the MFX Output

Assign parameter ( 11 ) to specify the output destination of the sound that has passed through the multi-effects.

• Chorus and reverb are output in mono at all times.

• The output destination of the signal after passing through the chorus is set with the Chorus Output Select (

13

) and the

Chorus Output Assign (

15

).

• The output destination of the signal after passing through the reverb is set with the Reverb Output Assign ( 18 ).

4

Tone Output Level

Set the level of the signal that is sent to the output destination specified by Output Assign (

Value: 0–127

2 , 3 ).

5

Tone Chorus Send Level

Sets the level of the signal sent to chorus for each tone.

Value: 0–127

6

Tone Reverb Send Level

Sets the level of the signal sent to reverb for each tone.

Value: 0–127

7

MFX Type (Multi-Effects Type)

Use this parameter to select from among the 78 available multieffects. For details on multi-effects parameters, refer to

“Multi-

Effects Parameter” (p. 270).

Value: 0 (Through)–78

8

MFX Output Level (Multi-Effects Output

Level)

Adjusts the volume of the sound that has passed through the multi-effects.

Value: 0–127

9

MFX Chorus Send Level (Multi-Effects

Chorus Send Level)

Adjusts the amount of chorus for the sound that passes through multi-effects. If you don’t want to add the Chorus effect, set it to

“0.”

Value: 0–127

10

MFX Reverb Send Level (Multi-Effects

Reverb Send Level)

Adjusts the amount of reverb for the sound that passes through multi-effects. If you don’t want to add the Reverb effect, set it to

“0.”

Value: 0–127

11

MFX Output Assign (Multi-Effects Output

Assign)

Adjusts the output destination of the sound that has passed through the multi-effects.

Value

A: Output to the OUTPUT A (MIX) jacks in stereo.

B: Output to the OUTPUT B jacks in stereo.

If the Mix/Parallel parameter is set to “MIX,” all sounds are

output from the OUTPUT A (MIX) jacks in stereo (p. 230).

12

Chorus Type

Selects either chorus or delay.

Value

0 (Off): Neither chorus or delay is used.

1 (Chorus): Chorus is used.

2 (Delay): Delay is used.

3 (GM2 Chorus): General MIDI 2 chorus

208

Fantom-X678_r_e.book 209 ページ 2007年3月20日 火曜日 午前10時20分

Adding Effects

13

Chorus Output Select

Specifies how the sound routed through chorus will be output.

Value

MAIN:

REV:

M+R:

Output to the OUTPUT jacks in stereo.

Output to reverb in mono.

Output to the OUTPUT jacks in stereo, and to reverb in mono.

When set to “MAIN” or “M+R,” the OUTPUT jack from which the sound is output is set in Chorus Output Assign ( 15 ).

14

Chorus Level

Adjusts the volume of the sound that has passed through chorus.

Value: 0–127

15

Chorus Output Assign

Selects the pair of OUTPUT jacks to which the chorus sound is routed when Chorus Output Select (

“M+R.”

13 ) is set to “MAIN” or

Value

A: Output to the OUTPUT A (MIX) jacks in stereo.

B: Output to the OUTPUT B jacks in stereo.

When Chorus Output Select ( will have no effect.

13 ) is set to “REV,” this setting

16

Reverb Type

Selects the type of reverb.

Value

0 (Off):

1 (Reverb):

2 (SRV Room):

Reverb is not used.

Normal reverb

This reverb simulates typical room acoustic reflections.

3 (SRV Hall):

4 (SRV Plate):

5 (GM2 Reverb):

This reverb simulates typical concert hall acoustic reflections.

This reverb simulates a reverb plate, a popular type of artificial reverb unit that derives its sound from the vibration of a metallic plate. You can also achieve unusual metallic-sounding reverbs using “SRV

Plate.”

General MIDI 2 reverb

17

Reverb Level

Adjusts the volume of the sound that has passed through reverb.

Value: 0–127

18

Reverb Output Assign

Specifies how the sound routed through reverb will be output.

Value

A: Output to the OUTPUT A (MIX) jacks in stereo.

B: Output to the OUTPUT B jacks in stereo.

If the Mix/Parallel parameter is set to “MIX,” all sounds are

output from the OUTPUT A (MIX) jacks in stereo (p. 230).

19

Chorus Source

Selects chorus parameter settings. If you want to use the settings of the patch or rhythm set assigned to the Keyboard part, select “KBD.” If you want to use the settings of the patch or rhythm set assigned to the Pad part, select “PAD.”

Value: KBD, PAD

20

Reverb Source

Selects reverb parameter settings. If you want to use the settings of the patch or rhythm set assigned to the Keyboard part, select

“KBD.” If you want to use the settings of the patch or rhythm set assigned to the Pad part, select “PAD.”

Value: KBD, PAD

209

Fantom-X678_r_e.book 210 ページ 2007年3月20日 火曜日 午前10時20分

Adding Effects

Applying Effects in

Performance Mode

In Performance mode you can use three multi-effects (MFX1, MFX2,

MFX3), one chorus, and one reverb. For each of the three multieffects, the chorus, and the reverb, you can specify whether it will operate according to the effect settings of the performance, or according to the effect settings of the patch or rhythm set assigned to the part you specify. The three multi-effects can be used independently, or you can connect two or three of them in series.

Specifying How the Sound Will Be

Output (Routing)

Here you can make overall settings for effects, and the output destination and level of each signal.

fig.22-006.eps_50

For details on these settings, refer to

“Making Effect Settings”

(p. 206).

Signal Flow Diagram and

Parameters

fig.22-007

1

2 3

4

5

6

7

7

19

8

8

8

11

20

9

11

9

11

9

7

14 15

13

12

17 18

16

21

10

10

10

2

Part Output Assign

Specifies for each part how the direct sound will be output.

Value

MFX:

A, B:

1–4:

PAT:

Output in stereo through multi-effects. You can also apply chorus or reverb to the sound that passes through multi-effects.

Output to the OUTPUT A (MIX) jack or OUTPUT B jack in stereo without passing through multi-effects.

Output to the INDIVIDUAL 1–4 jacks in mono without passing through multi-effects.

The part’s output destination is determined by the settings of the patch or rhythm set assigned to the part.

If you've made settings so that sounds are separately routed to the INDIVIDUAL 1 jack and INDIVIDUAL 2 jack, but no plug is actually inserted in the INDIVIDUAL 2 jack, the sounds routed to INDIVIDUAL 1 and INDIVIDUAL 2 will be mixed and output from the INDIVIDUAL 1 jack.

If the Mix/Parallel parameter is set to “MIX,” all sounds are

output from the OUTPUT A (MIX) jacks in stereo (p. 230).

If you've set Tone Out Assign to “MFX,” set the MFX Output

Assign parameter ( 11 ) to specify the output destination of the sound that has passed through the multi-effects.

• Chorus and reverb are output in mono at all times.

• The output destination of the signal after passing through the chorus is set with the Chorus Output Select ( 13 ) and the

Chorus Output Assign ( 15 ).

• The output destination of the signal after passing through the reverb is set with the reverb Output Assign (

18

).

3

Part Output MFX Select (Part Output Multi-

Effects Select)

Of the three systems of multi-effects that can be used simultaneously, specify which multi-effects will be used.

Value: 1–3(MFX-1–MFX-3)

4

Part Output Level

Set the level of the signal that is sent to the output destination specified by Part Output Assign (

Value: 0–127

2

).

5

Part Chorus Send Level

Sets the level of the signal sent to chorus for each part.

Value: 0–127

1

Part Select

Select the part for which you want to make settings.

Value: 1–16

210

Fantom-X678_r_e.book 211 ページ 2007年3月20日 火曜日 午前10時20分

Adding Effects

6

Part Reverb Send Level

Sets the level of the signal sent to reverb for each part.

Value: 0–127

For the following parameters

7

11

, settings can be made individually for three systems multi-effects (MFX1–MFX3).

7

MFX Type (Multi-Effects Type)

Use this parameter to select from among the 78 available multieffects. For details on multi-effects parameters, refer to

“Multi-

Effects Parameter” (p. 270).

Value: 0 (Through)–78

8

MFX Output Level (Multi-Effects Output

Level)

Adjusts the volume of the sound that has passed through the multi-effects.

Value: 0–127

9

MFX Chorus Send Level (Multi-Effects

Chorus Send Level)

Adjusts the amount of chorus for the sound that passes through multi-effects. If you don’t want to add the Chorus effect, set it to

“0.”

Value: 0–127

10

MFX Reverb Send Level (Multi-Effects

Reverb Send Level)

Adjusts the amount of reverb for the sound that passes through multi-effects. If you don’t want to add the Reverb effect, set it to

“0.”

Value: 0–127

11

MFX Output Assign (Multi-Effects Output

Assign)

Adjusts the output destination of the sound that has passed through the multi-effects.

Value

A: Output to the OUTPUT A (MIX) jacks in stereo.

B: Output to the OUTPUT B jacks in stereo.

If the Mix/Parallel parameter is set to “MIX,” all sounds are

output from the OUTPUT A (MIX) jacks in stereo (p. 230).

For some settings of MFX Structure, the sound that passes through the multi-effect will be sent to a different multi-effect, and the MFX Output Assign setting will be ignored.

12

Chorus Type

Selects either chorus or delay.

Value

0 (Off):

1 (Chorus):

2 (Delay):

3 (GM2 Chorus):

Neither chorus or delay is used.

Chorus is used.

Delay is used.

General MIDI 2 chorus

13

Chorus Output Select

Specifies how the sound routed through chorus will be output.

Value

MAIN:

REV:

M+R:

Output to the OUTPUT jacks in stereo.

Output to reverb in mono.

Output to the OUTPUT jacks in stereo, and to reverb in mono.

When set to “MAIN” or “M+R,” the OUTPUT jack from which the sound is output is set in Chorus Output Assign ( 15 ).

14

Chorus Level

Adjusts the volume of the sound that has passed through chorus.

Value: 0–127

15

Chorus Output Assign

Selects the pair of OUTPUT jacks to which the chorus sound is routed when Chorus Output Select (

“M+R.”

13 ) is set to “MAIN” or

Value

A: Output to the OUTPUT A (MIX) jacks in stereo.

B: Output to the OUTPUT B jacks in stereo.

When Chorus Output Select ( will have no effect.

13

) is set to “REV,” this setting

If the Mix/Parallel parameter is set to “MIX,” all sounds are

output from the OUTPUT A (MIX) jacks in stereo (p. 230).

211

Fantom-X678_r_e.book 212 ページ 2007年3月20日 火曜日 午前10時20分

Adding Effects

16

Reverb Type

Selects the type of reverb.

Value

0 (Off):

1 (Reverb):

2 (SRV Room):

3 (SRV Hall):

Reverb is not used.

Normal reverb

This reverb simulates typical room acoustic reflections.

This reverb simulates typical concert hall acoustic reflections.

4 (SRV Plate):

5 (GM2 Reverb):

This reverb simulates a reverb plate, a popular type of artificial reverb unit that derives its sound from the vibration of a metallic plate. You can also achieve unusual metallic-sounding reverbs using “SRV

Plate.”

General MIDI 2 reverb

17

Reverb Level

Adjusts the volume of the sound that has passed through reverb.

Value: 0–127

18

Reverb Output Assign

Specifies how the sound routed through reverb will be output.

Value

A: Output to the OUTPUT A (MIX) jacks in stereo.

B: Output to the OUTPUT B jacks in stereo.

19

MFX1–3 Source (Multi-Effects 1 Source)

Selects the multi-effects parameter settings that will be used by the performance. If you wish to use the performance settings, select “PRF.” If you wish to use the settings of the patch/ rhythm set assigned to one of the parts, select the part number.

Value: PRF, P1–P16

When Patch or Rhythm Set Settings Are

Selected

When the patch or rhythm set’s multi-effects settings are selected, those settings are shown in each of the performance’s multi-effects setting screens, and the settings can be then be changed as well. Changes to patch or rhythm set multi-effects parameter settings are lost when another patch or rhythm set is selected. To keep the modified settings, save the patch/rhythm

set settings (p. 59, p. 86).

20

Chorus Source

Selects the chorus parameter settings that will be used by the performance. If you wish to use the performance settings, select

“PRF.” If you wish to use the settings of the patch/rhythm set assigned to one of the parts, select the part number.

Value: PRF, P1–P16

When Patch or Rhythm Set Settings Are

Selected

When the patch or rhythm set’s chorus settings are selected, those settings are shown in each of the performance’s chorus setting screens, and the settings can be then be changed as well.

Changes to patch or rhythm set chorus parameter settings are lost when another patch or rhythm set is selected. To keep the

modified settings, save the patch/rhythm set settings (p. 59, p.

86).

21

Reverb Source

Selects the reverb parameter settings that will be used by the performance. If you wish to use the performance settings, select

“PRF.” If you wish to use the settings of the patch/rhythm set assigned to one of the parts, select the part number.

Value: PRF, P1–P16

When Patch or Rhythm Set Settings Are

Selected

When the patch or rhythm set’s reverb settings are selected, those settings are shown in each of the performance’s reverb setting screens, and the settings can be then be changed as well.

Changes to patch or rhythm set reverb parameter settings are lost when another patch or rhythm set is selected. To keep the

modified settings, save the patch/rhythm set settings (p. 59, p.

86).

212

Fantom-X678_r_e.book 213 ページ 2007年3月20日 火曜日 午前10時20分

Making Multi-Effects

Settings (MFX1–3)

Here we will explain how to make multi-effects settings in

Performance mode. fig.22-008_50

Adding Effects

Making Multi-Effects

Settings (MFX Control)

fig.22-009_50

Each time you press the [F3 (MFX1/2/3)] button, it will alternate between 1, 2, and 3.

For details on these settings, refer to

“Making Effect Settings”

(p. 206)

Type (Multi-Effects Type)

Use this parameter to select from among the 78 available multieffects. For details on multi-effects parameters, refer to

“Multi-

Effects Parameter” (p. 270).

Value: 00 THROUGH– 78 SYNPATHETHIC RESONANCE

In this setting screen, you can edit the parameters of the multi-effects that is selected by the Multi-effects

Type setting. For details on the parameters that can be edited, refer to

“Multi-Effects Parameter” (p.

270).

You can use the REALTIME CONTROL knobs to edit up to four of the most important parameters, which have been pre-selected for each type of multi-effect. The knobs shown in the screen correspond to the Realtime Control knobs. When you enter the

MFX 1–3 screen, the indicator at the right of the Realtime

Control knobs will go out, and the Realtime Control knobs can be used to edit the MFX parameters. If you once again press the button located at the right of the Realtime Control knobs so the indicator is lit, the knobs will control their original functions.

When you exit the MFX 1–3 screen, the indicator will automatically return to its previous lit state.

Parameters marked by can be selected as a multi-effect

control destination parameter (p. 214).

In Patch mode, the Keyboard part can use MFX1 and the Pad part can use MFX2.

For details on these settings, refer to

“Making Effect Settings”

(p. 206)

Source 1–4 (Multi-Effects Control Source 1–4)

Sets the MIDI message used to change the multi-effects parameter with the multi-effects control.

Value

OFF:

CC01–31, 33–95:

Multi-effects control will not be used.

Controller numbers 1–31, 33–95

For more information about Control Change messages, please refer to

“MIDI Implementation” (p. 298).

PITCH BEND:

AFTERTOUCH:

Pitch Bend

Aftertouch

SYS CTRL1–SYS CTRL4: MIDI messages used as common multieffects controls.

If you want to use common controllers for the entire Fantom-X, select “SYS CTRL 1”–”SYS CTRL 4.” MIDI messages used as

System Control 1–4 are set with the Sys Ctrl 1–4 Source

parameters (p. 233).

In patch/rhythm set mode, there are parameters that determine, for each tone/rhythm tone, whether or not Pitch Bend,

Controller Number 11 (Expression) and Controller Number 64

(Hold 1) are received (p. 79). When these settings are “ON,” and

the MIDI messages are received, then when any change is made in the settings of the desired parameter, the Pitch Bend,

Expression, and Hold1 settings also change simultaneously. If you want to change the targeted parameters only, then set these to “OFF.”

• There are parameters that determine whether or not specific

MIDI messages are received for each MIDI channel (p. 79).

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

213

Fantom-X678_r_e.book 214 ページ 2007年3月20日 火曜日 午前10時20分

Adding Effects

Destination 1–4 (Multi-Effects Control

Destination 1–4)

Sets the multi-effects parameters to be controlled with the multieffects control. The multi-effects parameters available for control will

depend on the multi-effects type. For details, refer to “Multi-Effects

Parameter” (p. 270).

Sens 1–4 (Multi-Effects Control Sensitivity 1–4)

Sets the amount of the multi-effects control’s effect that is applied.

To make an increase in the currently selected value (to get higher values, move to the right, increase rates, and so on), select a positive value; to make a decrease in the currently selected value (to get lower values, move to the left, decrease rates, and so on), select a negative value. For either positive or negative settings, greater absolute values will allow greater amounts of change. Set this to “0” if you don't want to apply the effect.

Value: -63–+63

MFX Control Channel (Multi-Effects Control

Channel)

This determines the channel that will be used for reception when using the Multi-effects Control to modify multi-effects parameters in

real time, when the MFX1–3 Source parameter (p. 212) is set to

“PRF.” Set this to “OFF” when the Multi-effects Control is not being used.

Value: 1–16, OFF

* This parameter is not found in Patch mode.

Multi-Effects Control

If you wanted to change the volume of multi-effects sounds, the delay time of Delay, and the like, using an external MIDI device, you would need to send System Exclusive messages-MIDI messages designed exclusively for the Fantom-X. However,

System Exclusive messages tend to be complicated, and the amount of data that needs to be transmitted can get quite large.

For that reason, a number of the more typical of the Fantom-X’s multi-effects parameters have been designed so they accept the use of Control Change (or other) MIDI messages for the purpose of making changes in their values. For example, you can use the Pitch Bend lever to change the amount of distortion, or use the keyboard’s touch to change the delay time of Delay.

The parameters that can be changed are predetermined for each type of multi-effect; among the parameters described in

“Multi-

Effects Parameter” (p. 270), these are indicated by a “#.”

In the multi-effect setting screen, a “c” symbol will be shown at the left of the parameter.

The function that allows you use MIDI messages to make these changes in realtime to the multi-effects parameters is called the

Multi-effects Control . Up to four multi-effects controls can be used in a single patch/rhythm set/performance.

When the multi-effects control is used, you can select the amount of control (Sens parameter) applied, the parameter selected (Destination parameter), and the MIDI message used

(Source parameter).

By using the Matrix Control instead of the Multi-effects

Control, you can also change the parameters of some

popular multi-effects in realtime (p. 80).

214

Fantom-X678_r_e.book 215 ページ 2007年3月20日 火曜日 午前10時20分

Adding Effects

Specifying the multi-effect structure (MFX Structure)

Here’s how to specify how MFX 1–3 will be connected.

* This parameter is not found in Patch mode.

fig.22-010_50

Making Chorus Settings

(Chorus)

Here we will explain how to make chorus settings in Performance mode. The procedure is the same when making settings in Patch mode.

fig.22-011_50

For details on these settings, refer to

“Making Effect Settings”

(p. 206)

Structure Type

Specify how MFX1–3 will be connected.

Value: Type 01–Type 16

MFX1–3 TYPE

Selects the multi-effect type of MFX1–3.

Value: 0 (Through)–78

For details on these settings, refer to

“Making Effect Settings”

(p. 206)

Type (Chorus Type)

Selects either chorus or delay.

Value

0 OFF:

1 CHORUS:

2 DELAY:

3 GM2 CHORUS:

Neither chorus or delay is used.

Chorus is used.

Delay is used.

General MIDI 2 chorus

* In this setting screen, you can edit the parameters of the chorus/delay that is selected by the Chorus Type setting. For details on the parameters that can be edited, refer to

“Chorus Parameters” (p.

293).

If a number ( – ) is shown for a parameter in the screen, you can use the corresponding Realtime Control knob (far left knob is – far right knob is ) to adjust the value of that parameter.

When you enter the Chorus screen, the indicator at the right of the Realtime Control knobs will go out, and the Realtime

Control knobs can be used to edit the Chorus parameters. If you once again press the button located at the right of the Realtime

Control knobs so the indicator is lit, the knobs will control their original functions. When you exit the Chorus screen, the indicator will automatically return to its previous lit state.

215

Fantom-X678_r_e.book 216 ページ 2007年3月20日 火曜日 午前10時20分

Adding Effects

Making Reverb Settings

(Reverb)

Here we will explain how to make reverb settings in Performance mode. The procedure is the same when making settings in Patch mode.

fig.22-012_50

For details on these settings, refer to

“Making Effect Settings”

(p. 206)

Type (Reverb Type)

Selects the type of Reverb.

Value

0 OFF:

1 REVERB:

2 SRV ROOM:

Reverb is not used.

Normal Reverb

This reverb simulates typical room acoustic reflections.

3 SRV HALL:

4 SRV PLATE:

5 GM2 REVERB:

This reverb simulates typical concert hall acoustic reflections.

This reverb simulates a reverb plate, a popular type of artificial reverb unit that derives its sound from the vibration of a metallic plate. You can also achieve unusual metallic-sounding reverbs using “SRV PLATE.”

General MIDI 2 reverb

* In this setting screen, you can edit the parameters of the reverb that is selected by the Reverb Type setting. For details on the parameters that can be edited, refer to

“Reverb Parameters” (p. 294).

If a number ( – ) is shown for a parameter in the screen, you can use the corresponding Realtime Control knob (far left knob is – far right knob is ) to adjust the value of that parameter.

When you enter the Reverb screen, the indicator at the right of the Realtime Control knobs will go out, and the Realtime

Control knobs can be used to edit the Reverb parameters. If you once again press the button located at the right of the Realtime

Control knobs so the indicator is lit, the knobs will control their original functions. When you exit the Reverb screen, the indicator will automatically return to its previous lit state.

216

Fantom-X678_r_e.book 217 ページ 2007年3月20日 火曜日 午前10時20分

Adding Effects

Mastering Effect

This is a stereo compressor (limiter) that is applied to the final output of the Fantom-X. It has independent high, mid, and low ranges. Independently for the high-frequency, mid-frequency, and low-frequency regions, this compresses any sounds that exceed the specified level, making the volume more consistent. When mixing down to MD, or DAT, or when you procedure your own original audio CD, this lets you master at an optimized level.

* Mastering effect settings apply to the entire Fantom-X. These settings are not for individual patches or performances.

* The mastering effect is applied to the sound that is output from the

OUTPUT A (MIX) jacks. It will not be applied to the sound that is output from the OUTPUT B jacks.

fig.22-013_50

For details on these settings, refer to

“Making Effect Settings”

(p. 206)

Function Buttons

[F1]–[F5]

[F6 (User)]

[F7 (System Write)]

[F8 (Effect Sw]

Explanation

Recall preset settings for each type.

Recall saved user settings.

Save the current settings as user settings. Only one set of user settings can be saved.

You can press this to open the Effect

Sw window and turn each effect on/off. Turn [F6 (Mastering Sw)] on/off to hear the result of the mastering effect.

ATTACK

Time from when the volume goes up the threshold level until the compressor effect applies

Value: 0-100 ms

RELEASE

Time from when the volume falls below the threshold level until the compressor effect no longer applies

Value: 50-5000 ms

THRESHOLD

Volume level at which compression begins

Value: -36-0 dB

RATIO

Compression ratio

Value: 1.00:1-INF:1 (INF: infinity)

LEVEL

Output volume

Value: 0-24 dB

Split Frequency High

Frequency at which the high-frequency (HI) and mid-frequency

(MID) bands are split

Value: 2000-8000 Hz

Split Frequency Low

Frequency at which the low-frequency (LO) and mid-frequency

(MID) bands are split

Value: 200-800 Hz

About THRESHOLD and RATIO

As shown in the diagram below, these parameters determine how the volume is to be compressed.

fig.22-014.e

1:1

RATIO

2:1

4:1

INF:1

THRESHOLD

Input Level

217

Fantom-X678_r_e.book 218 ページ 2007年3月20日 火曜日 午前10時20分

Connecting to Your Computer via USB (USB Mode)

About USB Functions

The Fantom-X has two modes of USB functionality: storage mode for transferring files, and MIDI mode for sending and receiving MIDI messages. You must switch between these two modes on the

Fantom-X; they cannot be used simultaneously.

The USB mode (file transfer/MIDI communication) must be switched before you connect the Fantom-X with your computer.

Each mode can be used with the following operating systems.

Operating System

Windows XP/2000/Me or later

Windows 98/98SE

Mac OS 9 (9.04 or later)

Mac OS X

* This may not work correctly with some types of computer.

Switching the Storage Mode and the MIDI Mode

Selecting USB Storage Mode

You must switch the Fantom-X to USB Storage mode before you connect the Fantom-X and your computer with a USB cable.

1.

Press [MENU].

2.

Press

[ENTER].

or to select “System,” and then press

3.

Press [F1 ( ⇑ )] or [F2 ( ⇓ )] to select “USB.”

The USB screen will appear.

4.

Press or to select “USB Mode.”

5.

Turn the VALUE dial or use [INC] [DEC] to select

“STORAGE.”

A confirmation dialog box will appear.

6.

To switch the USB mode, press [F8 (OK)]. If you decide not to switch, press [F7 (Cancel)].

USB Storage mode will be selected.

7.

If you want the Fantom-X to start up in USB Storage mode the next time it is powered up, press [F8 (System Write)] to save the System settings.

For details on operations in USB Storage mode, refer to

“Transferring Files to or from Your Computer (Storage

Mode)” (p. 219).

Selecting MIDI Mode

You must switch the Fantom-X to MIDI mode before you connect the Fantom-X and your computer with a USB cable.

If you've selected USB MIDI mode, nothing can be received from the MIDI IN connector.

1.

Press [MENU].

2.

Press

[ENTER].

or to select “System,” and then press

3.

Press [F1 (

)] or [F2 (

)] to select “USB.”

The USB screen will appear.

4.

Press or to select “USB Mode.”

5.

Turn the VALUE dial or use [INC] [DEC] to select “MIDI.”

A confirmation dialog box will appear.

6.

To switch the USB mode, press [F8 (OK)]. If you decide not to switch, press [F7 (Cancel)].

MIDI mode will be selected.

7.

Press or to select “USB MIDI-Thru.”

8.

Turn the VALUE dial or use [INC] [DEC] to make settings for

USB-MIDI Thru Switch.

This switch specifies whether MIDI messages received at the

USB connector or the MIDI IN connector will be retransmitted from the USB connector or the MIDI OUT connector (ON) or not (OFF).

9.

If you want the Fantom-X to start up in MIDI mode the next time it is powered up, press [F8 (System Write)] to save the

System settings.

For details on operations in MIDI mode, refer to

“Exchanging

MIDI Messages with Your Computer (MIDI Mode)” (p. 222).

218

Fantom-X678_r_e.book 219 ページ 2007年3月20日 火曜日 午前10時20分

Connecting to Your Computer via USB (USB Mode)

Transferring Files to or from

Your Computer (Storage Mode)

By connecting the Fantom-X with your computer via a USB cable, you can transfer files from Internal user area or a memory card to and from the hard disk or other media of your computer, in order to back up your data.

You can use software on your computer to edit wave data you’ve created on the Fantom-X. Conversely, wave data that you’ve created on your computer can be used on the Fantom-X.

In this way, USB Storage mode lets you transfer files such as patch and waves to or from a connected computer.

Connect or disconnect the USB cable only when the Fantom-X is powered-off. Never connect or disconnect the USB cable or turn off the power while in USB mode or while data is being transferred.

Connections

1.

With the Fantom-X not connected, start up your computer.

2.

Use a USB cable to connect the Fantom-X to your computer.

3.

Turn on the power (POWER switch) of the Fantom-X.

Specify the Connection-Destination

When the Fantom-X is connected to your computer, you can select the area on the Fantom-X to which a connection is to be made; either the internal user area or the memory card.

1.

Press [MENU].

2.

Press or to select “USB,” and then press [ENTER].

The USB screen will appear.

* If USB is not set to Storage mode, a warning of “The USB is in MIDI

Mode!!” will appear when you press [ENTER] in step 2. Press [F8

(Exec)] if you want to switch to USB Storage mode (the USB settings screen will appear). If you decide to cancel, press [F7 (Cancel)].

fig.23-001_50

3.

Press [F3 (Internal)] or [F6 (Memory Card)] to connect with your computer.

[F3 (Internal)]: Connect to the user memory

[F6 (Memory Card)]: Connect to the memory card

* To cancel the connection, press [Exit].

4.

The display will differ as follows, depending on the computer you’re using.

Windows Me/2000 users

A drive named “Removable disk” will be displayed within My

Computer.

Below that drive there will be folders named “ROLAND” and “TMP.”

Windows XP users

A drive named “FANX USER” will be displayed within My

Computer. If a memory card is connected, its volume name will be displayed.

Below that drive there will be folders named “ROLAND” and “TMP.”

Macintosh users

A drive icon named “FANX USER” will appear on the desktop.

If a memory card is connected, its volume name will be displayed.

Below it will be folders named “ROLAND” and “TMP.”

219

Fantom-X678_r_e.book 220 ページ 2007年3月20日 火曜日 午前10時20分

Connecting to Your Computer via USB (USB Mode)

Cautions Regarding Folders and

Files

You must observe the following points when the Fantom-X is connected to your computer via USB.

• Don’t use your computer to move or delete folders within the

Fantom-X.

• Don’t use your computer to format or optimize the Fantom-X’s user memory or memory card, or execute operations such as

Scan Disk.

• The Fantom-X can only handle filenames consisting of singlebyte alphanumeric characters.

• Only the following types of files can be transferred between the

Fantom-X and your computer.

Song files (.SVQ) (MRC PRO songs)

Standard MIDI Files

Audio files (.WAV/AIFF)

Bitmap files (.BMP) (320 x 240 pixels)

Text file (.TXT)

• To handle these files, use the appropriate method described below.

Song files, Standard MIDI Files

Audio files

BMP files

Text files

Place the files in the following folder.

ROLAND/SEQ/SNG

When placing the files from your computer, place them in the following location.

TMP/AUDIO_IMPORT folder

Then import the audio files.

If you want to use your computer to read samples that were written by the Fantom-X, load the files from the ROLAND/SMPL folder into your computer.

When placing the files from your computer, place them in the following location.

TMP/BMP folder

When placing the files from your computer, place them in the following location.

TMP/TEXT folder

Then import the text file.

• Do not use your USB-connected computer to delete or rewrite any files placed in the ROLAND/SND folder.

Exiting Storage Mode

Windows Me/2000/XP Users

1.

In My Computer, right-click the “removable hard disk” icon and execute “Remove.”

Macintosh Users

1.

Drag the Fantom-X drive icon into the trash.

Canceling USB Communication

If you want to power off the Fantom-X when it is connected to your computer in Storage mode, you must first cancel USB communication on your computer as described here.

Windows Me/2000/XP Users

1.

Use the device eject button shown in the taskbar at the lower right of your computer screen to cancel the connection with the Fantom-X.

Macintosh Users

1.

Make sure that the Fantom-X drive icon is not on your desktop.

Examples of Using Storage Mode

Importing Audio file (Import Audio)

Here’s how to import an audio file (WAV/AIFF).

In order to import a file, it must be located in the following folder found on your computer.

• Windows Me/2000 users

Removable disk/TMP/AUDIO_IMPORT folder

• Macintosh, Windows XP users

FANS USER/TMP/AUDIO_IMPORT folder

* “/” indicates a directory level.

1.

Press [Save/Load].

2.

Press [F8 (Import Audio)].

3.

Press [F1 (User)] or [F2 (Card)] to select the importdestination area.

[F1 (User)]: Import from user memory.

[F2 (CARD)]: Import from a memory card.

4.

Press or , then select the file that you want to import.

If you want to select two or more samples, press [F5 (Mark Set)] to add a check mark (

) to the files that you want to select. To remove the check mark, press [F4 (Mark Clear)].

If you hold down [SHIFT] and press [F5 (Mark Set All)], a check mark will be added to all files of the selected bank. If you hold down [SHIFT] and press [F4 (Mark Clr All)], check marks will be removed from all selected files.

5.

Press [F8 (Import Audio)].

A message will ask you for confirmation.

* To cancel, press [F7 (Cancel)].

6.

Press [F8 (Exec)].

The file will be imported, and the Sample List screen will appear.

* To cancel, press [F7 (Cancel)].

The imported file will be added to the sample list as a sample.

This sample is temporary, and will be lost when you turn off the

power. If you want to keep it, press [WRITE] to save the data (p.

159).

220

Fantom-X678_r_e.book 221 ページ 2007年3月20日 火曜日 午前10時20分

Connecting to Your Computer via USB (USB Mode)

Using a Bitmap File as a

Background in the Display

For example, you can import a favorite bitmap file into the Fantom-

X, and use it as a background in the display screen.

* The only files that can be transferred between the Fantom-X and your computer are bitmaps (320 x 240 pixels).

In order to import a file, it must be located in the following folder on your computer.

• Windows Me/2000 users

Removable disk/TMP/BMP folder

• Macintosh, Windows XP users

FANS USER/TMP/BMP folder

* “/” indicates a directory level.

Importing a Bitmap File (Import BMP)

Here’s how to import a copied file and use it as the background in the Fantom-X’s display.

1.

Press [MENU].

2.

Press

[ENTER].

or to select “System,” and then press

3.

Press [F1 (

)] or [F2 (

)] to select “Background.” fig.23-002_50

Displaying text memos in the Live

Setting screen (Import Text)

You can create a text file on your computer and display it in the Live

Setting screen (p. 42). Since this lets you add a note to each bank, it’s

a convenient way to provide reminders, such as an explanation of each screen.

1.

Create a text file on your computer, and save it with a filename extension of “.TXT”.

2.

Place the text file you created in step 1 in the following location of the Fantom-X.

• Windows Me/2000/XP users

Removable Disk/ROLAND/SNG folder

• Macintosh users

FANX USER/ROLAND/SNG folder

* “/” indicates the levels of the directory structure.

3.

Execute Importing TEXT.

For details on how to import, refer to “Importing a Text File

(Import Text)” (p. 43).

The Fantom-X has 16 pictures that can be displayed for the background. When you import a file, it replaces the currently selected picture.

4.

Press [F7 (Import BMP)].

5.

Press [F1 (User)] or [F2 (Card)] to select the importdestination area (user memory or card).

6.

Press import.

or , then select the file that you want to

7.

Press [F8 (Import BMP)].

The file you want to import will be displayed.

* To cancel, press [F7 (Cancel)].

8.

Press [F8 (Exec)].

The file will be imported.

* To cancel, press [F7 (Cancel)].

9.

Press [EXIT].

221

Fantom-X678_r_e.book 222 ページ 2007年3月20日 火曜日 午前10時20分

Connecting to Your Computer via USB (USB Mode)

Exchanging MIDI Messages with Your Computer

(MIDI Mode)

Driver Installation and Settings

In order to use the Fantom-X as a USB MIDI device from your computer, you must first install the USB MIDI driver. The USB MIDI driver is on the included “Fantom-X Driver CD-ROM.”

In order to use USB in MIDI mode, you must install the driver from the included CD-ROM into your computer.

The correct driver and the installation procedure will depend on your system and on the other programs you are using. Be sure to read the Readme file on the CD-ROM before installation.

Windows XP/2000

\Win2kXP\Readme_e.htm

Windows Me/98/98SE

\Win98Me\Readme_e.htm

Mac OS 9 (9.04 or later)

\Fantom-X Driver OS9 (E)\Readme_e.htm

Mac OS X

\Fantom-X Driver OSX (E)\Readme_e.htm

Caution when disconnecting the USB cable

You must shut down your computer before disconnecting the USB cable. Disconnecting the cable while your computer’s power is on may destabilize its operation.

What is the USB MIDI Driver?

The USB MIDI Driver is a software which passes data between the Fantom-X and the application (sequencer software, etc.) that is running on the USB-connected computer.

The USB MIDI Driver sends data from the application to the

Fantom-X, and passes data from the Fantom-X to the application.

fig.23-001_50

Application

USB

Driver

USB connector

USB cable

Computer

USB connector

Fantom-X

222

Fantom-X678_r_e.book 223 ページ 2007年3月20日 火曜日 午前10時20分

File-Related Functions (File Utility)

Here you can perform a variety of operations related to the files stored in the Fantom-X’s user memory, and on memory cards. You can copy, delete, or move files, as well as format memory cards.

The folder structure of the user area and memory card is as follows.

fig.24-000

(User, Card)

ROLAND

PNL

SEQ

SNG

SMPL

SND

TMP

AUDIO_IMPORT

BMP

TEXT

You must observe the following points when managing files with the Fantom-X connected to your computer via USB.

• Don’t use your computer to move or delete folders within the Fantom-X.

• Don’t use your computer to format or optimize the Fantom-

X’s user memory or memory card, or execute operations such as Scan Disk.

• The Fantom-X can only handle filenames consisting of single-byte alphanumeric characters.

• Don’t use your computer to delete or overwrite the files located in the ROLAND/SND folder.

When copying files from your computer into the Fantom-X’s user area or memory card, place them in the following folders.

Computer

SONG file (.SVQ)

(MRC PRO song)

Standard MIDI file

(SMF format 0, 1)

Audio file (WAV/AIFF)

Bitmap file

(320 x 240 pixels)

Text file (.TXT)

Fantom-X

ROLAND/SEQ/SNG

ROLAND/SEQ/SNG

TMP/AUDIO_IMPORT folder

TMP/BMP

TMP/TEXT

Don’t place files of any other format in the user memory or memory card.

Basic Procedure

1.

Press [MENU].

2.

Press

[ENTER].

or to select “File Utility,” and then press

The File Utility screen will appear.

fig.24-001_50

3.

Press the function buttons to select the operation you want to carry out.

[F1 (User)]:

[F2 (Card)]:

Select a file in user memory.

Select a file on the memory card.

[F3 (Card Format)]:Format (initialize) a memory card.

[F4 (Mark Clear)]: Remove check marks from the files. If you hold down [SHIFT] and press [F4 (Mark Clr

All)], check marks will be removed from all files.

[F5 (Mark Set)]: If you want to select two or more files, add a check mark (

) to the files. If you hold down

[SHIFT] and press [F5 (Mark Set All)], check marks will be added to all files.

[F6 (Delete)]: Delete a selected file or files with check marks.

[F7 (Move)]:

[F8 (Copy)]:

, :

Move a file or files with check marks to a different folder.

Copy a file or files with check marks to a different folder.

Select the folder.

, : Move between folder levels.

223

Fantom-X678_r_e.book 224 ページ 2007年3月20日 火曜日 午前10時20分

File-Related Functions (File Utility)

Copying a File (Copy)

Here’s how you can copy a file to a different folder.

1.

As described in the basic procedure, select the file that you want to copy.

[F1 (User)] [F2 (Card)]: Select the memory

, : Select the folder

, : Move between folder levels

2.

Press [F8 (Copy)].

A screen will appear, allowing you to select the folder to which the file is to be copied.

3.

View the contents of the copy-destination folder.

[F1 (User)] [F2 (Card)]: Select the memory

, : Select the folder

, : Move between folder levels

4.

To copy the file, press [F8 (Exec)].

* To cancel, press [F7 (Cancel)].

Deleting a File (Delete)

Here’s how you can delete an unwanted file from a folder.

1.

As described in the basic procedure, select the file that you want to delete.

[F1 (User)] [F2 (Card)]: Select the memory

, : Select the folder

, : Move between folder levels

2.

Press [F6 (Delete)].

A message will ask you for confirmation.

3.

To delete the file, press [F8 (Exec)].

* To cancel, press [F7 (Cancel)].

Moving a File (Move)

Here’s how you can move a file to a different folder.

1.

As described in the basic procedure, select the file that you want to move.

[F1 (User)] [F2 (Card)]: Select the memory

, : Select the folder

, : Move between folder levels

2.

Press [F7 (Move)].

A screen will appear, allowing you to select the folder to which the file is to be moved.

3.

View the contents of the move-destination folder.

[F1 (User)] [F2 (Card)]: Select the copy destination

, : Select the folder

, : Move between folder levels

4.

To move the file, press [F8 (Exec)].

* To cancel, press [F7 (Cancel)].

Initializing a Memory Card

(Card Format)

Here’s how to initialize a memory card. When you execute the

Format operation, the contents of the memory card will be completely erased.

1.

From the file Utility screen, press [F3 (Card Format)].

A message will ask you for confirmation.

2.

To format the card, press [F8 (Exec)].

* To cancel, press [F7 (Cancel)].

224

Fantom-X678_r_e.book 225 ページ 2007年3月20日 火曜日 午前10時20分

Settings Common to All Modes (System Function)

Settings that affect the entire operating environment of the Fantom-

X, such as tuning and MIDI message reception, are referred to as system functions.

This section explains how to make settings for the System functions and describes the functions of the different

System parameters.

How to Make System

Function Settings

1.

Press [MENU] to open the Menu window.

2.

Press

[ENTER].

or to select “System,” and then press

The System Setup screen appears.

fig.25-001_50

Saving the System Settings

(System Write)

Changes you make to the System function settings are only temporary—they will be discarded as soon as the power is turned off. If you want to keep any changes you’ve made in the system settings, you must save them in internal system memory.

When you perform the save procedure, the data that previously occupied the save destination will be lost. However, the factory setting data can be recovered by performing the Factory Reset procedure.

1.

Change the system function settings, and press [F8

(System Write)].

fig.25-002_50

3.

Press Function button [F3], [F4] to select the tab of the edit group.

[F3 (Setup)]

Set system parameters (p. 226).

[F4 (Info)]

View system information (p. 234).

4.

The parameters are organized into several edit groups. Use

[F1 ( ⇑ )][F2 ( ⇓ )] to switch tabs.

5.

Use [CURSOR] to move the cursor to the parameter you wish to modify.

When the cursor is located at a parameter value, you can press

[ENTER] to access a window for setting the value.

• When all the parameters cannot be shown within a single settings screen, a scroll bar will be displayed at the right side of the screen. In such cases, press downward.

to scroll the screen

6.

Turn the VALUE dial or press [INC]/[DEC] to get the value you want.

7.

Repeat steps 4–6 to set each System parameter you want to edit.

8.

To save the settings you modified, press [F8 (System

Write)] and perform the Write operation. If you do not want to save, press [EXIT] to return to the previous screen.

The display will indicate “System Write Completed!” The data will be saved, and you’re returned to the System Setup screen.

225

Fantom-X678_r_e.book 226 ページ 2007年3月20日 火曜日 午前10時20分

Settings Common to All Modes (System Function)

Functions of System

Parameters

This section explains what the different System parameters do, and also how these parameters are organized.

For details on these settings, refer to

“How to Make System

Function Settings” (p. 225).

Pedal/D Beam

D Beam Sens (D Beam Sensitivity)

This sets the D Beam controller’s sensitivity. Increasing this value will raise the sensitivity.

Value: 0–127

Control Pedal Assign

This specifies the function of each pedal connected to the PEDAL

CONTROL jacks.

Value

CC01–31, 33–95: Controller numbers 1–31, 33–95

For details on control change messages, refer to

“MIDI

Implementation” (p. 298).

BEND UP:

BEND DOWN:

The pitch will rise in semitone steps

(maximum 4 octaves) each time you press the pedal.

The pitch will fall in semitone steps

(maximum 4 octaves) each time you press the pedal.

AFTERTOUCH:

OCT UP:

OCT DOWN:

Aftertouch

Each pedal press raises the key range in octave steps (up to 3 octaves higher).

Each pedal press lowers the key range in octave steps (up to 3 octaves lower).

The sequencer will start/stop.

START/STOP:

PUNCH IN/OUT:

TAP TEMPO:

PROG UP:

Manual punch-in/out recording will start/ stop.

Tap tempo (a tempo specified by the interval at which you press the pedal).

The next sound number will be selected.

The previous sound number will be selected.

PROG DOWN:

FAVORITE UP:

FAVORITE DOWN:

LIVE SET UP:

The favorite patch/performance of the next number or bank will be selected.

The favorite patch/performance of the previous number or bank will be selected.

ARP SW: Switches the Arpeggio/Rhythm function on/off.

RHY START/STOP: Switch Rhythm pattern playback on/off.

CHORD SW: Chord function on/off.

Switches to the next step within a Live

Setting list.

226

LIVE SET DOWN:

LOOP:

Switches to the previous step within a Live

Setting list.

Loop play On/Off

Control Pedal Polarity

Selects the polarity of the pedal. On some pedals, the electrical signal output by the pedal when it is pressed or released is the opposite of other pedals. If your pedal has an effect opposite of what you expect, set this parameter to “REVERSE.” If you are using a Roland pedal

(that has no polarity switch), set this parameter to “STANDARD.”

Value: STANDARD, REVERSE

Hold Pedal Polarity

Select the polarity of the Hold pedal. On some pedals, the electrical signal output by the pedal when it is pressed or released is the opposite of other pedals. If your pedal has an effect opposite of what you expect, set this parameter to “REVERSE.” If you are using a

Roland pedal (that has no polarity switch), set this parameter to

“STANDARD.”

Range: STANDARD, REVERSE

Continuous Hold Pedal

This setting determines whether the HOLD PEDAL jack will provide support for half-pedaling (ON), or not (OFF). When this is set to support use of half-pedaling techniques, you can then connect an optional expression pedal (DP-8, etc.), and employ pedal work to achieve even finer control in performances in which piano tones are used.

Value: OFF, ON

Keyboard

Keyboard Velocity

Specifies the velocity value that will be transmitted when you play the keyboard. If you want actual keyboard velocity to be transmitted, set this to “REAL.” If you want a fixed velocity value to be transmitted regardless of how you play, specify the desired value

(1–127).

Value: REAL, 1–127

Keyboard Sens (Keyboard Sensitivity)

Adjusts the keyboard’s touch.

Value

LIGHT:

MEDIUM:

HEAVY:

Light weight synthesizer keyboard like

Standard

Acoustic piano simulation

Aftertouch Sens (Aftertouch Sensitivity)

Specifies the Aftertouch sensitivity. Higher values will allow

Aftertouch to be applied more easily. Normally you will leave this at

“100.”

Value: 0–100%

Fantom-X678_r_e.book 227 ページ 2007年3月20日 火曜日 午前10時20分

Settings Common to All Modes (System Function)

Sync/Temp

Sync Mode

Specify the synchronization message that the Fantom-X’s sequencer will use for operation.

Value

MASTER:

SLAVE-MIDI:

SLAVE-MTC:

REMOTE:

The Fantom-X will be the master. Choose this setting when using the Fantom-X by itself without synchronizing to another device, or when you want other MIDI devices to synchronize to the Fantom-X.

The Fantom-X will be the slave. Choose this setting when you want the Fantom-X to synchronize to

MIDI Clock messages received from another MIDI device.

The Fantom-X will be the slave. Choose this setting when you want the Fantom-X to synchronize to

MTC (MIDI Time Code) received from an external device.

Use this setting when you wish an external MIDI device to have remote start/stop control. The tempo will be in accord with what has been set on the

Fantom-X.

MIDI Clock and MTC

MIDI Clock and MTC (MIDI Time Code) are both messages used for synchronization. Select either of them depending on the application.

MIDI Clock transmits and synchronizes operations to a sequencer’s performance tempo, whereas MTC synchronizes operations between devices based on an absolute time. Since

Roland VS Series workstations are hard disk recorders, they cannot send MIDI Clock. Therefore, using a MTC is convenient for synchronization of the hard disk recorder and the Fantom-X.

However, VS Series devices also feature specialized tracks for recording MIDI Clock, so with the Fantom-X’s MIDI Clock recorded in this manner, we have another synchronizing technique in which the VS device appears to be sending MIDI

Clock (although it is actually playing back tracks to which MIDI

Clock has been recorded). However, since the tempo must be recorded to the VS sync track beforehand, MTC is only convenient in synchronizing with songs that do not contain great amounts of tempo data.

Sync Output (Sync Output Switch)

Set this parameter ON when you want synchronization related MIDI messages (MIDI Clock, Start, Continue, Stop, Song Position Pointer and Song Select) to be transmitted to an external MIDI device. If not, set it OFF.

Value: OFF, ON

Tempo Override

Specify whether the sequencer tempo will change (ON), or will not change (OFF) when you switch performance.

Value: ON, OFF

Arpeggio/Rhythm Sync Switch

Specifies whether the arpeggio or rhythm pattern will start/stop in synchronization with the sequencer. This parameter does nothing if the sequencer is stopped.

Value

OFF:

ON:

Start/stop will not synchronize to the synthesizer.

While the sequencer is running, the arpeggio will start at the beginning of the next measure. When you stop the sequencer, the arpeggios will also stop.

MMC Mode

When synchronizing the Fantom-X with a hard disk recorder, such as one from the Roland VS series, specify which synchronization signal the Fantom-X’s sequencer will use for operation.

Value

MASTER:

SLAVE:

The Fantom-X will be the master. Use this setting when you want other devices to follow the operation of the Fantom-X.

The Fantom-X will be the slave. Use this setting when you want the Fantom-X to receive MMC

(MIDI Machine Control) from an external device and operate accordingly.

MMC (MIDI Machine Control) is a specification that allows

MIDI messages to be used to control devices such as tape recorders, VTR’s, and digital recording systems. Thirty-seven

MMC commands are available, including Stop and Play.

MMC Output (MMC Output Switch)

Turn this “ON” if you want to synchronize with a hard disk recorder, such as one from the Roland VS series. When set “ON,”

MMC (MIDI Machine Control) related commands (Play, Stop and

Locate) will be transmitted.

Value: OFF, ON

MTC Sync Output (MTC Sync Output Switch)

Set this parameter ON when you want MTC (MIDI Time Code) to be transmitted to an external MIDI device. If not, set it OFF.

Value: OFF, ON

MTC Frame Rate

Specify the MTC frame rate. Make sure that the same mode is set in both master and slave devices.

Value

24:

25:

29N:

29D:

30:

24 frames per second

25 frames per second

29 frames per second

29 frames per second

30 frames per second

When synchronizing with a hard disk recorder such as the

Roland VS series, any frame rate is all right—as long as the setting matches that of the Fantom-X. However, when synchronizing operation with video devices such as video decks, the video device’s frame rate is fixed, so the Fantom-X’s setting must correspond to that frame rate.

227

Fantom-X678_r_e.book 228 ページ 2007年3月20日 火曜日 午前10時20分

Settings Common to All Modes (System Function)

Types of MTC

The types of MTC that can be selected by the Fantom-X are shown below. Select the same frame rate as that set for the external device. When not using a video device, then any frame rate may be selected as long as the rates are the same on both devices being synchronized.

30: This is 30 frames per second, non-drop format. This is used by audio devices such as analog tape recorders, and for NTSC format black and white video (used in

Japan and the U.S.).

29N: This is 29.97 frames per second, non-drop format. This is used for NTSC format color video (used in Japan and the U.S.).

29D: 29.97 frames per second drop format. This is used for

NTSC format color video (used in Japan and the U.S.).

25: 25 frame per second frame rate. This is used for SECAM or PAL format video, audio equipment, and film (used in Europe and elsewhere).

24: 24 frame per second frame rate. This is used for video, audio devices, and film in the US.

Non-Drop Format and Drop Format

There are two types of format used by NTSC video cassette recorders, non-drop and drop. Non-drop format features continuous time code, whereas in drop format, which is used for NTSC color video format, the first two frames of every minute are dropped, except for those at ten-minute intervals. In most video and audio production, since formats with continuous frames are easier to deal with, non-drop is generally used. In contrast, in situations such as in broadcast, where the time code must match actual clock time, drop is used.

MTC Offset Time Hour

Coordinates the playback timing of the Fantom-X and the external device in an hour units.

Value: 00–23 hours

MTC Offset Time Minute

Coordinates the playback timing of the Fantom-X and the external device in a minute units.

Value: 00–59 minutes

MTC Offset Time Second

Coordinates the playback timing of the Fantom-X and the external device in a second units.

Value: 00–59 seconds

MTC Offset Time Frame

Coordinates the playback timing of the Fantom-X and the external device in a frame units.

Value: 00–29 frames

MTC Error Level

Determines how often the reception status is checked when MTC is being received from an external device. Stop synchronization if a problem becomes apparent with the check.

Value: 0–10 (the checking interval will be longer for larger values)

In strict terms, the lower the numerical value set, the more accurate the check is. However, playback may be stopped overly frequently if too rigorous a check is made, and this soon becomes inconvenient. By raising the Error Level setting, then even if problems with the reception of MTC do occur, synchronization can then continue as long as such problems remain at a level that does not cause undue problems.

Metronome

Metronome Mode

Specifies when you want the metronome to sound.

* If [F7 (Click)] in the Tempo window which appears when you press

[TEMPO] is lit in red, the metronome will always sound.

Value

OFF:

PLAY ONLY:

REC ONLY:

PLAY&REC:

ALWAYS:

Will not sound.

Will sound only during playback.

Metronome will sound only for recording.

Metronome will sound for playback and recording.

Metronome will always sound.

Metronome Level

You can adjust the volume of the metronome.

Value: 0–10

Metronome Sound

Selects the metronome sound.

Value

TYPE 1:

TYPE 2:

TYPE 3:

TYPE 4:

A conventional metronome sound will be heard. A bell will sound on the first beat.

Clicks will sound.

Beeps will sound.

Cowbell will sound.

Beat Indicator Mode

You can specify how the beat indicator on the panel will blink.

Value

ALWAYS (always blinks at the specified tempo)

PLAY&REC (blinks only during playback and recording)

228

Fantom-X678_r_e.book 229 ページ 2007年3月20日 火曜日 午前10時20分

Settings Common to All Modes (System Function)

Sound

Local Switch

The Local Switch determines whether the internal sound generator is disconnected (OFF) from the controller section (keyboard, Pad, pitch bend/modulation lever, knobs, buttons, D Beam controller, pedal, and so on); or not disconnected (ON). Normally this is left “ON,” but if you wish to use the Fantom-X’s keyboard and controllers to control only external sound modules, set it to “OFF.”

Value: OFF, ON

Using the Local Switch

When you're using the Fantom-X with external sequencer software, leave the Local Switch turned off. Read the following for details.

Connecting the Fantom-X to an external sequencer

fig.25-003b_50

Local Off

Fantom-X

Keyboard

Fantom-X

Sound Generator

(External)

Sequencer

Typically, things are hooked up so the data travels as follows: the Fantom-X's keyboard → your external sequencer software

→ the Fantom-X's sound generator. Normally, the Fantom-X's keyboard section is internally connected to its sound generator section; this internal connection is controlled by the Local

Switch. If you turn the Local Switch off, the Fantom-X's keyboard and sound generator sections will be independent, allowing you to use the connection described above with your external sequencer software.

Master Tune

Adjusts the overall tuning of the Fantom-X. The display shows the frequency of the A4 note (center A).

Value: 415.3–466.2 Hz

Master Level

Adjusts the volume of the entire Fantom-X.

Value: 0–127

How Do I Adjust the Volume?

MASTER LEVEL adjusts the volume of both the OUTPUT A jacks and the DIGITAL OUT jack. The front panel VOLUME knob adjusts only the volume of the OUTPUT A jacks. Here’s an explanation of what you need to adjust depending on the output jacks you’re using.

fig.25-003_50

Sound Generator

(OUTPUT A in the Routing screen)

Master Level

Volume knob

OUTPUT A (MIX)/PHONES DIGITAL OUT

When using the OUTPUT A jacks: adjust using the VOLUME knob

The front panel VOLUME knob controls the volume of the

OUTPUT A jacks. This means that if you’re outputting from the

OUTPUT A jacks, the simplest way is to leave the Master Level fixed at 127 (the default setting), and use the VOLUME knob to control the volume.

When using the DIGITAL OUT jack: adjust using Master Level

Master Level controls both the OUTPUT A jacks and the

DIGITAL OUT jack. This means that if you’re outputting from

DIGITAL OUT, use Master Level to adjust the volume.

Adjusting the Master Level: method 1

1.

In the Patch or Performance screen, hold down [SHIFT] and press [F3 (Master Level)].

The Master Level screen will appear.

2.

Turn the VALUE dial or use [DEC][INC] to adjust the master level.

Adjusting the Master Level: method 2

With the factory settings, Master Level can be controlled by

REALTIME CONTROL “ASSIGNABLE” knob number 1 (p.

122). This makes it easy to adjust the level using the knob.

* By changing the assignment you can use any “ASSIGNABLE”

knob 1–4 to control Master Level (p. 122).

The Master Level setting is temporary, and will be lost when you turn off the power. If you want to keep the

Master Level setting you edited, save the master level in the internal system memory.

“Saving the System

Settings (System Write)” (p. 225)

229

Fantom-X678_r_e.book 230 ページ 2007年3月20日 火曜日 午前10時20分

Settings Common to All Modes (System Function)

Output Gain

This adjusts the output gain from the Fantom-X’s Analog Out and

Digital Out. When, for example, there are relatively few voices being sounded, boosting the output gain can let you attain the most suitable output level for recording and other purposes.

Value: -12–+12

Mix/Parallel

Specifies how the sound of the entire Fantom-X will be output.

Value

MIX: Set this to have the collective output of all sounds output from the OUTPUT A (MIX) jacks. When you want to check the final overall sound being output, set to MIX.

Sounds which are set in the respective Output Assign to be output from the INDIVIDUAL 3 jack are output from the left

OUTPUT A (MIX) jack; sounds which are set to be output from the INDIVIDUAL 4 jack are output from the right OUTPUT A

(MIX) jack.

Sounds output from the PHONES jack are the same as those output from the OUTPUT A (MIX) jacks. Therefore, any sounds set with Output Assign to be output from the OUTPUT B jacks is not output from the PHONES jack. Be sure to have any sound you want to hear through the headphones set to “MIX.”

PARALLEL: Output according to each Output Assign settings.

Master Key Shift

Shifts the overall pitch of the Fantom-X in semitone steps.

Value: -24– +24

Patch Remain (Patch Remain Switch)

Specifies whether currently sounding notes will continue sounding when another patch or rhythm set is selected (ON), or not (OFF).

Also, when this is “ON,” changes produced by incoming MIDI messages such as Volume or Pan (CC 5, 7, 10, 65, 68, 71–74, RPN 0, 1,

2, MONO ON, POLY ON), as well as tonal quality and volume changes produced by the various controllers will be inherited.

Value: OFF, ON

Effects settings change as soon as you switch to a new patch or rhythm set, without being influenced by the Patch Remain setting. Because of this, certain effects settings can cause notes that were until then sounding to no longer be heard, even though Patch Remain has been set to on.

MIDI

Device ID (Device ID Number)

When you want to transmit or receive System Exclusive messages, set this parameter to match the Device ID number of the other MIDI device.

Value: 17–32

Performance Control Channel

Performance Ctrl Ch selects the MIDI receive channel used during switching of performances when MIDI messages (Program Change/

Bank Select) are sent from an external MIDI device. Set this to “OFF” if performances are not to be switched from an external MIDI device.

Value: 1–16, OFF

If only a program change is received, and if the Performance

Ctrl Ch parameter setting coincides with the MIDI receive channel of a part, priority will be given to switching the performance.

Kbd Patch Rx/Tx Ch (Keyboard Patch Receive/

Transmit Channel)

Specifies the channel used to transmit and receive MIDI messages for the Keyboard part in Patch mode.

Value: 1–16

Pad Patch Rx/Tx Ch (Pad Patch Receive/

Transmit Channel)

Specifies the channel used to transmit and receive MIDI messages for the Pad part in Patch mode.

Value: 1–16

Transmit Program Change (Transmit Program

Change Switch)

Specifies whether Program Change messages will be transmitted

(ON) or not (OFF).

Value: OFF, ON

Transmit Bank Select (Transmit Bank Select

Switch)

Specifies whether Bank Select messages will be transmitted (ON) or not (OFF).

Value: OFF, ON

Transmit Active Sensing (Transmit Active

Sensing Switch)

Specifies whether Active Sensing messages will be transmitted (ON) or not (OFF).

Value: OFF, ON

Transmit Edit Data (Transmit Edit Data Switch)

Specify whether changes you make in the settings of a patch, performance will be transmitted as system exclusive messages (ON), or will not be transmitted (OFF).

Value: OFF, ON

230

Fantom-X678_r_e.book 231 ページ 2007年3月20日 火曜日 午前10時20分

Settings Common to All Modes (System Function)

Soft Through (Soft Through Switch)

Thru function re-transmits all messages received at the MIDI IN connector to the MIDI OUT connector without modifying them in any way.

Value: OFF, ON

Remote Keyboard Sw (Remote Keyboard

Switch)

Set this parameter “ON” when you want to use an external MIDI keyboard instead of the Fantom-X’s keyboard. In this case, the MIDI transmit channel of the external MIDI keyboard can be set to any channel. Normally you will leave this parameter “OFF.”

Value: OFF, ON

Turn this “ON” when you want to control the Fantom-X from an external MIDI device when performing with the Arpeggio or

RPS function.

Receive Program Change (Receive Program

Change Switch)

Specifies whether Program Change messages will be received (ON) or not (OFF).

Value: OFF, ON

Receive Bank Select (Receive Bank Select

Switch)

Specifies whether Bank Select messages will be received (ON) or not

(OFF).

Value: OFF, ON

Receive Exclusive (Receive System Exclusive

Switch)

Specifies whether System Exclusive messages will be received (ON) or not (OFF).

Value: OFF, ON

Receive GM System On (Receive GM System

On Switch)

Specifies whether General MIDI System On messages will be received (ON) or not (OFF).

Value: OFF, ON

Receive GM2 System On (Receive GM2 System

On Switch)

Specifies whether General MIDI 2 System On messages will be received (ON) or not (OFF).

Value: OFF, ON

Receive GS Reset (Receive GS Reset Switch)

Specifies whether GS Reset messages will be received (ON) or not

(OFF).

Value: OFF, ON

USB

USB Mode

Selects the mode in which the USB connector will be used.

Value:

Storage: Storage mode. Select this if you want to transfer files.

MIDI: MIDI mode. Select this if you want to exchange MIDI messages with a sequencer or other program.

You must switch the USB Mode before you connect the Fantom-

X to your computer via the USB cable. If you change this setting while the Fantom-X is connected, the computer may fail to recognize it correctly.

For details on connections to your computer in each USB Mode, refer to

“Connections” (p. 219)

USB-MIDI Thru Sw (USB-MIDI Thru Switch)

When USB Mode is set to “MIDI,” this switch specifies whether

MIDI messages received at the MIDI connector will be retransmitted from the MIDI OUT connector (ON) or not (OFF).

Value: OFF, ON

231

Fantom-X678_r_e.book 232 ページ 2007年3月20日 火曜日 午前10時20分

Settings Common to All Modes (System Function)

Scale Tune

Scale Tune Switch

Turn this on when you wish to use a tuning scale other than equal temperament.

Value: OFF, ON

One set of Scale Tune settings can be created in Patch mode. In

Performance mode, this can be set for each part of the performance

(p. 111).

In Patch mode, this is valid only for the keyboard part.

The Fantom-X allows you to play the keyboard using temperaments other than equal temperament. The pitch is specified in one-cent units relative to the equal tempered pitch.

One-cent is 1/100th of a semitone.

• The selected scale applies to MIDI messages received from an external MIDI device.

Equal Temperament

This tuning divides the octave into 12 equal parts, and is the most widely used method of temperament used in Western music. The Fantom-X employs equal temperament when the

Scale Tune Switch is set to “OFF.”

Just Temperament (Tonic of C)

Compared with equal temperament, the principle triads sound pure in this tuning. However, this effect is achieved only in one key, and the triads will become ambiguous if you transpose.

Arabian Scale

In this scale, E and B are a quarter note lower and C#, F# and G# are a quarter-note higher compared to equal temperament. The intervals between G and B, C and E, F and G#, Bb and C#, and

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

<Example>

Note name

F

F#

G

G#

A

Bb

B

C

C#

D

Eb

E

0

0

0

0

Equal temperament

0

0

0

0

0

0

0

0

Just Temperament

(tonic C)

0

-8

+4

+16

-14

-2

-10

+2

+14

-16

+14

-12

Arabian

Scale

-6

+45

-2

-12

-51

-8

+43

-4

+47

0

-10

-49

Patch Scale Tune for C–B

Make scale tune settings for Patch mode.

Value: -64– +63

Preview

Preview Mode

SINGLE:

CHORD:

PHRASE:

The notes specified by Note Number 1–4 parameter will sound successively one by one.

The notes specified by Note Number 1–4 parameter will sound simultaneously.

The Phrase associated with the patch’s type/ category is played.

Preview 1–4 Note Number

Specify the pitch of the four notes that will sound when the Preview

Mode parameter is set to “SINGLE” or “CHORD.”

Value: C-1–G9

If “PHRASE” is selected for the Preview Mode parameter, these settings will have no effect.

Preview 1–4 Velocity

Specify the velocity of the four notes that will sound when the

Preview Mode parameter is set to “SINGLE” or “CHORD.”

Value: 0–127

If “PHRASE” is selected for the Preview Mode parameter, these settings will have no effect.

232

Fantom-X678_r_e.book 233 ページ 2007年3月20日 火曜日 午前10時20分

Settings Common to All Modes (System Function)

System Ctrl

Sys Ctrl 1–4 Source

System Control Assign selects the MIDI message used as the System

Control.

System Control

This function, which departs from previously used methods, and instead allows you to use MIDI messages to change tone settings in realtime, is called the Matrix Control

(p. 80).

Similarly, the function allowing you to use MIDI messages to change multi-effects settings in realtime is called the Multieffects Control

(p. 214).

Normally, the Matrix Control is used for making patch settings, and the Multi-effects Control for making settings to patches, rhythm sets, and performances. However, if you do not need to change the MIDI messages used for matrix control or multieffects control by each patch/rhythm set/performance, or if you want to use a specific MIDI message for matrix control or multi-effects control, you will want to make use of System

Control.

In other words, you could call the System Controls global Matrix Control/Multi-effects Control for the entire

Fantom-X.

You can use up to four System Controls.

Value

OFF:

CC01–31, 33–95:

The system control knob will not be used.

Controller numbers 1–31, 33–95

For details on control change messages, refer to

“MIDI

Implementation” (p. 298).

PITCH BEND:

AFTERTOUCH:

Pitch Bend

Aftertouch

Background

Background Picture

Select the file that is to be displayed as the screen background.

Value: 1–16

Screen Saver

Screen Saver Type

Select the type of screen saver.

Value: 1–16

Screen Saver Time

Set the time (minutes) until the screen saver begins working.

If this is OFF, the screen saver will not appear.

Value: OFF, 5–60 min.

Sampling

Default File Type

Specifies the file format used when saving a sample.

Value: WAV, AIFF

Pre Sample Time

The length of sound preceding the moment at which sampling was manually or automatically initiated that will be captured in the sample. This lets you prevent the attack portion of the sound from being omitted from the sample.

Value: 0–1000 ms

Trigger Level

Volume level at which sampling will begin when Auto Trig is ON

A setting of 0 is the minimum.

Value: 0–7

Gap Time

Length of silence at which the sample will be divided

Whenever there is a silent region longer than the specified time, the sample will be divided at that point, and the next sample number will be assigned to the sound that follows. This parameter is valid only when you are using Auto Divide Sampling.

Value: 500, 1000, 1500, 2000 ms

Input Select

Input source of the external input sound

Value

DIGITAL IN:

LINE-L-R:

LINE-L:

MIC:

DIGITAL INPUT jack

INPUT jacks L/R (stereo)

INPUT jack L (mono)

INPUT jack (mono, mic level)

Trimming Switch

If this is turned on, the Start point and End point settings will be automatically adjusted after sampling is performed, so any silent portions at the beginning or end of the sampled sound are excluded.

Value: OFF, ON

Skip Back Time

Specifies how much earlier in time that you want sampling to take place when you use Skip Back Sampling. If “OFF” selected, skipback sampling cannot be performed.

Value: OFF, 5s–40s

233

Fantom-X678_r_e.book 234 ページ 2007年3月20日 火曜日 午前10時20分

Settings Common to All Modes (System Function)

Start up

Load Preset Samples at Startup

Specifies whether the preset samples will be loaded into memory at power-on (ON) or not (OFF).

Value: OFF, ON

Load User Samples at Startup

Specifies whether the samples of the user area and memory card will be loaded into memory at power-on (ON) or not (OFF).

Value: OFF, ON

Load Demo Song at Startup

Specifies whether the demo song will be loaded into the temporary area when you power up the Fantom-X (ON), or will not be loaded

(OFF).

Rec Track Select (Recording Track Select)

This specifies whether track selection will be automatic or manual when recording on the sequencer.

Value

Manual:

Auto:

You’ll be able to select the track number manually. This is convenient when you want to record a performance that consists of more than one channel.

The phrase track of the same number as the current part will be selected automatically. This is convenient when you want to record only one channel in a track.

Power Up Mode

This setting allows you to choose the mode that you want the

Fantom-X to be in when it is powered up.

Value

PATCH:

PERFORMANCE:

The Fantom-X will be in Patch mode when you turn on the power.

The Fantom-X will be in Performance mode when you turn on the power.

System Information

For details on the indicating, refer to “How to Make System

Function Settings” (p. 225).

Features

Displays the main features of the Fantom-X.

Memory Info (Memory Information)

Displays the amount of memory installed.

SRX Info (SRX Information)

Displays the name of the wave expansion board that is installed.

Version Info (Version Information)

Displays the version of the Fantom-X.

234

Fantom-X678_r_e.book 235 ページ 2007年3月20日 火曜日 午前10時20分

Data Management Functions

Reset to Default Factory Settings (Factory Reset)

Basic Procedure

1.

Press [MENU].

2.

Press or to select “Utility.”

3.

Press [ENTER].

The Utility menu screen will appear.

fig.26-001_50

4.

Press [F1]–[F4] to select the operation that you want to execute.

[F1 (User Backup)]

Save user data to a memory card.

[F2 (User Restre)]

Load user data from a memory card.

[F3 (Factry Reset)]

Restore the factory settings.

[F4 (Librarian)]

When you want to use the included Fantom-X Librarian software, or when you want to receive system exclusive messages from an external device to rewrite the user memory, press [F4 (Librarian)] to put the Fantom-X in Librarian mode.

* For details on using Fantom-X Librarian, refer to “Using Fantom-X

Librarian” (p. 236).

Backing Up User Data

(User Backup)

Here’s how all user data in the user area can be saved on a memory card.

The following user data will be saved.

• Performances

• Patches

• Rhythm sets

Rhythm Groups

Multisamples

Songs

• Rhythm Patterns • Samples

• Arpeggio styles

• Chord forms

• System settings

* You need to have a sufficient amount of free space available on the memory card in order to perform a User Backup; up to 64 MB may be required.

1.

Insert a memory card into the slot.

2.

In the Utility screen, press [F1 (User Backup)].

A message will ask you for confirmation.

3.

To execute the backup, press [F8 (Exec)].

* To cancel, press [F7 (Cancel)].

Fantom-X backup data must not be used to perform a Restore into other models in the Fantom-X series (i.e., models other than the Fantom-X6/X7/X8).

Restoring User Data that You

Backed Up (User Restore)

Here’s how user data saved on a memory card by the User Backup operation can be reloaded back into the user memory of the Fantom-X.

When you execute User Restore, the current contents of the user area will be completely erased.

1.

Into the slot, insert the memory card on which user data has been saved.

2.

In the Utility screen, press [F2 (User Restre)].

A message will ask you for confirmation.

3.

To proceed with the restoration, press [F8 (Exec)].

* To cancel, press [F7 (Cancel)].

4.

When the display indicates “Please Power Off,” turn the power off, then on again.

If you have added files to the Fantom-X's internal memory (such as the TMP folder) after executing the User Backup operation, the "User Area Full!!" message may appear when you attempt to execute the User Restore operation, and the Restore may not be successful. If this occurs, delete the files you added after the

backup (p. 224), and then try the Restore operation again.

Factory Reset

This restores all data in the Fantom-X to the factory-set condition

( Factory Reset ).

If there is important data you’ve created that’s stored in the

Fantom-X’s User memory, all such data is discarded when a

Factory Reset is performed ( the data of the internal user memory will be lost ). If you want to keep the existing data,

save it on a memory card (p. 235) or save it via USB to your

computer ( Using Fantom-X Librarian (p. 236)).

1.

Press [MENU] to open the Menu window.

2.

Press

[ENTER].

or to select “Utility,” and then press

3.

Press [F3 (Factry Reset)].

A message will ask confirmation.

4.

Press [F8 (Exec)] to execute the Factory Reset.

* To cancel, press [F7 (Cancel)].

5.

When the display indicates “Please Power Off,” turn the power off, then on again.

235

Fantom-X678_r_e.book 236 ページ 2007年3月20日 火曜日 午前10時20分

Using Fantom-X Editor

To help you take even greater advantage of its functionality, the

Fantom-X comes with Fantom-X Editor software. Fantom-X Editor assigns parameters to sliders and knobs in the computer screen, allowing you to work efficiently in a graphical editing environment.

Installing Fantom-X Editor into Your Computer

Detailed instructions on installing the software can be found in the online manual contained on the Fantom-X Editor CD-ROM.

• Windows users

In the Fantom-X Editor CD-ROM, open the Readme_E.txt.

Macintosh users

In the Fantom-X Editor CD-ROM, open the

Readme(English).txt.

Making Connections

1.

Make sure that the System USB setting is set to MIDI.

Refer to

Selecting MIDI Mode (p. 218).

* If it is set to Storage, you cannot use the editor via a USB connection.

2.

In order to use Fantom-X Editor, use an USB cable (sold separately) to connect the Fantom-X and your computer.

fig.28-001

Fantom-X

Using Fantom-X Librarian

Fantom-X Librarian is software that lets you manage libraries of

Fantom-X parameter data on your computer. It provides an efficient way to manage patch, rhythm set, and performance data.

In order to use the librarian included on the “Fantom-X Editor” CD-

ROM, you will need to put the Fantom-X in Librarian mode.

* The same is true when you want to use a separately sold librarian.

1.

Press [MENU].

2.

Use or to select “Utility” and then press [ENTER].

3.

Press [F4 (Librarian)].

fig.28-002_50

Librarian mode will be selected. In Librarian mode, system exclusive messages sent from an external MIDI device can overwrite the settings in user memory. You will be unable to operate the panel of the Fantom-X.

4.

Press [EXIT] or [F8 (EXIT)] to exit Librarian mode and return to the normal state.

USB

USB

Windows

Macintosh

236

Fantom-X678_r_e.book 237 ページ 2007年3月20日 火曜日 午前10時20分

Using Fantom-X Editor

Fantom-X Editor System

Requirements

System Requirements (Windows)

• Operating System

Microsoft® Windows® XP

Microsoft® Windows® Me

Microsoft® Windows® 2000 Professional

Microsoft® Windows® 98

• CPU/Clock

Pentium®/Celeron™ processor 400 MHz or higher

Pentium® III 500 MHz or higher (recommended)

• Memory (RAM)

128 M bytes or more

256 M bytes or more (recommended)

• Display/Colors

800 x 600 or higher/65,536 colors (16 bit High Color) or more

1024 x 768 or higher (recommended)

• Hard Disk

120 MB or more

204

* Microsoft and Windows are registered trademarks of Microsoft

Corporation.

* Windows® is known officially as: “Microsoft® Windows® operating system.”

* Pentium is a registered trademark of Intel Corporation.

System Requirements (Mac OS)

• Operating System

Mac OS (Classic) 8.6 and 9.x

Mac OS (X) 10.2 or later

• CPU/Clock

PowerPC G3 233 MHz or higher (Classic)

PowerPC G3 500 MHz or higher (Mac OS X)

• Memory (RAM)

128 MB or more

256 MB or more (recommended)

• Display/Colors

800 x 600 or higher/32,000 colors or more

1024 x 768 or higher (recommended)

• Hard Disk

120 M bytes or more

• Others

OMS 2.0 or later (Classic)

* Apple and Macintosh are registered trademark of Apple Computer,

Inc.

* MacOS is a trademark of Apple Computer, Inc.

* OMS is a registered trademark of Opcode Systems, Inc.

237

Fantom-X678_r_e.book 238 ページ 2007年3月20日 火曜日 午前10時20分

About V-LINK

What is V-LINK?

V-LINK ( ) is a function that allows music and images to be performed together. By using MIDI to connect two or more V-LINK compatible devices, you can easily enjoy performing a wide range of visual effects that are linked to the expressive elements of a music performance.

(Examples)

By using the Fantom-X and Edirol DV-7PR together, you can:

• Make Edirol DV-7PR playback settings remotely from the

Fantom-X.

• Use the Fantom-X’s sequencer to enjoy synchronized music and video.

• Use the Fantom-X to switch the Edirol DV-7PR’s images (clips/ palettes).

• Use the Fantom-X’s knobs to adjust the brightness or color of the image.

* In order to use V-LINK with the Fantom-X and Edirol DV-7PR, you will need to make connections using an Edirol UM1/UM-1S (sold separately).

Connection Examples

Use a UM-1 to connect the Fantom-X’s MIDI OUT connector to the

DV-7PR’s remote jack.

Before connecting this unit to other devices, turn off the power to all units. This will help prevent malfunctions and/or damage to speakers or other devices.

fig.29-001.e

Fantom-X

Turning the V-LINK ON/OFF

1.

In the left of the panel, press [V-LINK] so the indicator is lighted.

The V-LINK setting will be on.

In this state, you can operate the Fantom-X to manipulate images in sync with your performance.

Each mode will function as usual even if V-LINK is on.

2.

Press [V-LINK] again.

The V-LINK button will go out, and the V-LINK setting will be off.

V-LINK Settings

1.

Holding down [SHIFT] and pressing [V-LINK] to access the

V-LINK SETUP screen.

2.

Press [CURSOR] to move the cursor to a parameter, and turn the VALUE dial or use [INC][DEC] to set the value.

fig.29-002_50

MIDI OUT

Edirol UM-1

REMOTE

Edirol DV-7PR

Projector Display

* Specify the Pad Mode by pressing [F1 (Clip)] or [F2 (Palett)].

3.

If you want to keep your settings, press [F8 (System Write)].

4.

Press [F7 (Exit)] or [EXIT].

You’re returned to the previous screen.

238

Fantom-X678_r_e.book 239 ページ 2007年3月20日 火曜日 午前10時20分

About V-LINK

V-LINK Parameters

Note Tx Ch

Value: 1-16

MIDI channel that will switch Edirol DV-7PR clips/palettes and will control dissolve time.

Clip 1 Note No.

Pads 1–16 correspond to Edirol DV-7PR clips (or palettes). We recommend that you press [PAD SETTING] to access the Pad setting

screen, and set to “Note,” using Quick Setup (p. 161) and set Clip1

Note No. to the same value as the “Pad Base Note” setting.

Value: 0(C-1)-127(G9)

Dissolve Time

Control change number that controls the dissolve time (time over which the image switches)

Value: OFF, CC1, CC5, CC7, CC10, CC11, CC71-74, CC91-

93, Channel Aftertouch

Ctrl Tx Ch

MIDI channel that will control the Edirol DV-7PR color Cb/Cr, brightness, and video effect switching

Value: 1-16

Play Speed Ctrl

Range of video playback speed The three values are the playback speeds (multiples of normal speed) at the left, center, and right positions of the pitch bend.

Value: 0.0-1.0-2.0, 0.5-1.0-2.0, 0.0-1.0-4.0, 0.5-1.0-4.0, 0.0-1.0-

8.0, 0.5-1.0-8.0, 0.0-1.0-16.0, 0.5-1.0-16.0, 0.0-1.0-32.0,

0.5-1.0-32.0,0.0-2.0-4.0, 0.0-4.0-8.0, 0.0-8.0-16.0, 0.0-

16.0-32.0, -2.0-1.0-4.0, -6.0-1.0-8.0

Color Cb Ctrl

Control change number that controls the Cb color of the image

Color Cr Ctrl

Control change number that controls the Cr color of the image

Brightness Ctrl

Control change number that controls the brightness of the image

VFX1–4 Ctrl

Control change number that controls the video effect

* VFX2–4 are not supported by the Edirol DV-7PR.

Fade Ctrl

Control change number that controls the output fade

Value: OFF, CC1, CC5, CC7,CC10, CC11, CC71-74, CC91-

93, Channel Aftertouch

PAD MODE

Selects whether the pads will switch clips or palettes.

Value: PALETT

Press [F1 (Clip)]: switch clips

Press [F2 (Palett)]: switch palettes

Local Sw

Specifies whether the internal sound generator is disconnected (OFF) from the pads, or not (OFF).

Procedure: Press [F5 (Local Sw)].

Value: OFF, ON

Clip filter

(check boxes 1-32)

Clips that are checked can be switched. Enable/disable switching for each clip

Value: OFF, ON

Using the Clip Filter

For example, suppose that of the rhythm set you input in the part used for V-LINK (i.e., the part of the same number as the

Note Tx Channel), you want only the kick and snare to switch clips. In this case, check only the clips that correspond to the note numbers of the kick and snare. The clips will switch when the kick or snare plays.

Resetting the Image

Clip Reset

Turn off the image (solid black).

Procedure: Press [F3 (Clip Reset)].

All Reset

The effect applied to the image will be reset, and brightness, color difference, etc. will all return to the default value.

Procedure: Press [F4 (All Reset)].

* For details on clips/palettes, dissolve time, color difference signals (Cb/

Cr), refer to the Edirol DV-7PR manual.

The Fantom-X does not support the Edirol DV-7PR’s dual stream mode.

239

Fantom-X678_r_e.book 240 ページ 2007年3月20日 火曜日 午前10時20分

Installing the Wave Expansion Board

Up to four optional Wave Expansion Boards (SRX series; sold separately) can be installed in the Fantom-X.

Wave Expansion Boards store Wave data, patches, and rhythm sets, and by equipping the Fantom-X with these boards, you can greatly expand your sound palette.

Cautions When Installing an

Wave Expansion Board

5

2

1

901

• To avoid the risk of damage to internal components that can be caused by static electricity, please carefully observe the following whenever you handle the board.

• Before you touch the board, always first grasp a metal object

(such as a water pipe), so you are sure that any static electricity you might have been carrying has been discharged.

• When handling the board, grasp it only by its edges. Avoid touching any of the electronic components or connectors.

• Save the bag in which the board was originally shipped, and put the board back into it whenever you need to store or transport it.

• Use a Phillips screwdriver that is suitable for the size of the screw (a number 2 screwdriver, Fantom-X6/X7 only). If an unsuitable screwdriver is used, the head of the screw may be stripped.

• To remove a screw, rotate the screwdriver counter-clockwise.

To tighten the screws, rotate the screwdriver clockwise.

fig.30-001.e

loosen tighten

• When installing Wave Expansion Boards, remove only the specified screws.

• Be careful that the screws you remove do not drop into the interior of the Fantom-X.

• Do not leave the bottom cover removed. After installation of the

Wave Expansion Boards is complete, be sure to replace the cover.

• Be careful not to cut your hand on the opening for installing the board.

• Do not touch any of the printed circuit pathways or connection terminals.

911

• Do not touch any of the printed circuit pathways or connection terminals.

912

• Never use excessive force when installing a circuit board. If it doesn’t fit properly on the first attempt, remove the board and try again.

913

• When circuit board installation is complete, double-check your work.

914

• Always turn the unit off and unplug the power cord before attempting installation of the circuit board (SRX series).

915

• Install only the specified circuit board(s) (SRX series). Remove only the specified screws.

How to Install a Wave

Expansion Board

Install the Wave Expansion Boards after removing the panel cover.

Boards can be installed in the EXP A–EXP D slots. These slots correspond with the Wave Expansion Board groups (XP-A–XP-D) when the expansion Wave, patches, and rhythm sets are used.

1.

Before installing the Wave Expansion Board, turn off the power of the Fantom-X and all connected devices, and disconnect all cables, including the Power cable, from the

Fantom-X.

2.

From the Fantom-X, remove only the screws shown in the following diagram, and detach the cover. On the Fantom-

X6/X7, the cover is located on the bottom panel. On the

Fantom-X8, it is located on the front panel.

* A hex wrench is included with the Fantom-X8. When removing screws, you must use this hex wrench.

fig.30-002.e

Fantom-X6/X7 : bottom

Screws to be removed fig.30-003.e

Fantom-X8 : Front

Screws to be removed

5mm Hexagonal

Wrench

When turning the unit upside-down, get a bunch of newspapers or magazines, and place them under the four corners or at both ends to prevent damage to the buttons and controls. Also, you should try to orient the unit so no buttons or controls get damaged.

When turning the unit upside-down, handle with care to avoid dropping it, or allowing it to fall or tip over.

240

Fantom-X678_r_e.book 241 ページ 2007年3月20日 火曜日 午前10時20分

Installing the Wave Expansion Board

fig.30-004

3.

There are four slots inside. As shown in the following illustration, plug the connector of the Wave Expansion

Board into the connector of the relevant slot, and at the same time insert the board holder through the hole of the

Wave Expansion Board.

fig.30-005.e

Wave Expansion Board (SRX series)

Checking the Installed Wave

Expansion Boards

After installation of the Wave Expansion Boards has been completed, check to confirm that the installed boards are being recognized correctly.

1.

Turn on the power, as described in “Turning On the Power”

(p. 21).

2.

Press [MENU] to open the Menu window.

3.

Press

[ENTER].

or to select “System,” and then press

4.

Press [F4 (System Info)].

5.

Press [F1 ( ⇑ )] or [F2 ( ⇓ )] to select “SRX Info.”

The System screen appears. Verify that the name of the installed

Wave Expansion Board is displayed.

fig.30-007_50

Board holder

Position them as shown before you install the board.

Connector

If you install expansion boards of the same type, only one board will be detected.

4.

Use the Installation Tool supplied with the Wave Expansion

Board to turn the holders in the LOCK direction, so the board will be fastened in place.

fig.30-006.e

LOCK

Installation tool

If an indication of “NOT INSTALLED” appears for a slot in which you installed a wave expansion board, it is possible that the board is not being recognized correctly. Re-install the Wave

Expansion Board correctly.

6.

Press [EXIT] to exit the System Menu screen.

5.

Use the screws that you removed in step 2 to fasten the cover back in place.

241

Fantom-X678_r_e.book 242 ページ 2007年3月20日 火曜日 午前10時20分

Installation de la carte d’expansion Wave

(French Language for Canadian Safety Standard)

Un maximum de trois cartes d’expansion Wave (quatre cartes SRX) peuvent être installées dans le Fantom-X.

Les cartes d’expansion Wave emmagasinent des données Wave, correctifs et rythmes, et en ajoutant ces cartes au Fantom-X, il est possible d’élargir considérablement la palette de sons.

Précautions à prendre lors de l’installation d’une carte d’expansion Wave

2

1

901

• Veuillez suivre attentivement les instructions suivantes quand vous manipulez la carte afin d’éviter tout risque d’endommagement des pièces internes par l’électricité statique.

• Toujours toucher un objet métallique relié à la terre (comme un tuyau par exemple) avant de manipuler la carte pour vous décharger de l’électricité statique que vous auriez pu accumuler.

• Lorsque vous manipulez la carte, la tenir par les côtés.

Évitez de toucher aux composants ou aux connecteurs.

5 • Conservez le sachet d’origine dans lequel était la carte lors de l’envoi et remettez la carte dedans si vous devez la ranger ou la transporter.

• Utilisez un tournevis de type Phillips de la taille adaptée à celle des vis (tournevis numéro 2, Fantom-X6/X7 uniquement). Un tournevis inadéquat peut endommager la tête de la vis.

• Pour retirer une vis, tourner le tournevis dans le sens contraire des aiguilles d’une montre. Pour serrer les vis, tourner le tournevis dans le sens des aiguilles d’une montre.

fig.30-001.f

desserrer resserrer

• Pour installer les cartes d’expansion Wave, retirer uniquement les vis mentionnées.

• Assurez-vous que les vis retirées ne tombent pas dans le

Fantom-X.

• Ne pas laisser le panneau de protection avant detache. S’assurer de l’avoir rattacher apres avoir installe le disque dur.

• Faites attention de ne pas vous couper sur l’ouverture d’installation de la carte.

911(F)

• Ne pas toucher aux circuits imprimés ou aux connecteurs.

912(F)

• Ne jamais forcer lors de l’installation de la carte de circuits imprimés. Si la carte s’ajuste mal au premier essai, enlevez la carte et recommencez l’installation.

913(F)

• Quand l’installation de la carte de circuits imprimés est terminée, revérifiez si tout est bien installé.

914(F)

• Toujours éteindre et débrancher l’appareil avant de commencer l’installation de la carte. (SRX series).

915(F)

• N’installez que les cartes de circuits imprimes spécifiées (SRX series). Enlevez seulement les vis indiquées.

Installation d’une carte d’expansion Wave

Avant d’installer la carte d’expansion Wave, retirez le panneau inférieur. Les cartes peuvent être installées dans les emplacements

SRX-A– SRX-D. Ces fentes correspondent aux groupes de cartes d’expansion Wave (XP-A– XP-D) lorsque l’expansion Wave, les correctifs et rythmes sont utilisés.

1.

Avant d’installer la carte d’expansion Wave, coupez l’alimentation du Fantom-X et de tous les appareils branchés, et débranchez tous les câbles du Fantom-X, y compris le câble d’alimentation.

2.

Sur les modèles Fantom-X, retirer uniquement les vis illustrées dans le schéma ci-dessous et retirer le couvercle.

Sur le modèle Fantom-X6/X7, le couvercle est situé sur le panneau inférieur. Sur le modèle Fantom-X8, il est placé sur le panneau avant.

* Une clé hexagonale est fournie avec le Fantom-X8. Il faut utiliser cette clé pour retirer les vis. fig.30-002.f

Fantom-X6/X7 : Panneau inférieur

Vis à enlever fig.30-003.f

Fantom-X8 : Panneau avant

Vis à enlever

Clé hexagonale 5 mm

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

En plaçant l’appareil sens dessus dessous, manipulez-le avec soin pour éviter de l’échapper, de le laisser tomber ou de se renverser.

242

Fantom-X678_r_e.book 243 ページ 2007年3月20日 火曜日 午前10時20分

Installation de la carte d’expansion Wave

fig.30-004

3.

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

fig.30-005.f

Carte d’extension Wave (serie SRX)

Vérification des cartes d’extension audio aprés installation

Lorsque l’installation des cartes d’extension audio est terminée, procéder à une vérification pour s’assurer que l’ordinateur les identifie correctement.

1.

Mettre sous tension de la façon décrite sous “Turning On the Power” (p. 21).

2.

Appuyez sur la touche [MENU] pour ouvrir la fenêtre Menu.

3.

Appuyer sur ou sur pour sélectionner “System” et appuyer ensuite sur [ENTER].

4.

Appuyer sur [F4 (System Info)].

5.

Appuyer sur [F1 (

)] ou sur [F2 (

)] pour sélectionner “SRX

Info.”

L’écran System Edit s’affiche. Vérifiez que le nom de la carte d’expansion Wave installeé s’est affiché.

fig.30-007_50

Support à carte

Avant l’installation, orienter les supports à carte tel qu’indiqué sur le schéma.

Connecteur

Si plusieurs cartes d’expansion du même type sont installées, une seule sera détectée.

4.

Utilisez l’outil d’installation fourni avec la carte d’expansion

Wave pour tourner les supports en position LOCK

(verrouillé) afin de retenir la carte en place.

fig.30-006.f

LOCK

Outil d’installation

Si “NOT CONNECTED“ est affiché à côté du nom de la fente dans laquelle la carte est installée, il est possible que la carte d’extension audio installée ne soit pas reconnue correctement.

Réinstaller correctement la carte d’extension audio.

6.

Appuyer sur [EXIT] pour quitter la fenêtre du menu du système.

5.

Remettez le couvercle en place à l’aide des vis retirées à l’étape 2.

243

Fantom-X678_r_e.book 244 ページ 2007年3月20日 火曜日 午前10時20分

Expanding the Memory

The Fantom-X comes with 32 MB of memory into which audio samples can be loaded. However, in some cases, 32 MB of memory will be insufficient for loading large amounts of data. In such a case, you will have to add separately sold memory (DIMM). Memory can be expanded up to 64/128/256/512 MB.

Before expanding the memory, consult with your retailer, the nearest

Roland Service Center, or an authorized Roland distributor.

Precautions for Expanding

Memory

901 • To avoid the risk of damage to internal components that can be caused by static electricity, please carefully observe the following whenever you handle the board.

1 • Before you touch the board, always first grasp a metal object

(such as a water pipe), so you are sure that any static electricity you might have been carrying has been discharged.

2 • When handling the board, grasp it only by its edges. Avoid touching any of the electronic components or connectors.

5 • Save the bag in which the board was originally shipped, and put the board back into it whenever you need to store or transport it.

• Use a Phillips screwdriver that is suitable for the size of the screw (a number 2 screwdriver, Fantom-X6/X7 only). If an unsuitable screwdriver is used, the head of the screw may be stripped.

• To remove a screw, rotate the screwdriver counter-clockwise.

To tighten the screws, rotate the screwdriver clockwise.

loosen tighten

• Be careful that the screws you remove do not drop into the interior of the Fantom-X.

• Be careful not to cut your hand on the edge of the cover or the opening edge while removing the cover.

• Do not touch any of the printed circuit pathways or connection terminals.

• Never use excessive force when installing a circuit board. If it doesn’t fit properly on the first attempt, remove the board and try again.

• When circuit board installation is complete, double-check your work.

• Always turn the unit off and unplug the power cord before attempting installation of the memory DIMM board.

• Install only the specified memory DIMM board. Remove only the specified screws.

• When turning the unit upside-down, get a bunch of newspapers or magazines, and place them under the four corners or at both ends to prevent damage to the buttons and controls. Also, you should try to orient the unit so no buttons or controls get damaged.

• When turning the unit upside-down, handle with care to avoid dropping it, or allowing it to fall or tip over.

• Do not leave the bottom cover removed. After installation of the memory module is complete, be sure to replace the cover.

How to Expand the Memory

Install the memory module after removing the bottom panel cover.

1.

Before expanding the memory, turn off the power of the

Fantom-X and all connected devices, and disconnect all cables, including the Power cable, from the Fantom-X.

2.

From the Fantom-X, remove only the screws shown in the following diagram, and detach the cover. On the Fantom-

X6/X7, the cover is located on the bottom panel. On the

Fantom-X8, it is located on the front panel. From the

Fantom-X, remove only the screws shown in the following diagram, and detach the cover.

* A hex wrench is included with the Fantom-X8. When removing screws, you must use this hex wrench.

fig.30-002.e

Fantom-X6/X7 : bottom

Screws to be removed fig.30-003.e

Fantom-X8 : Front fig.31-002

Screws to be removed

5mm Hexagonal

Wrench

3.

Press outward on the white clips at either end of the socket so they are in their downward position.

fig.31-003

244

Fantom-X678_r_e.book 245 ページ 2007年3月20日 火曜日 午前10時20分

Expanding the Memory

4.

Paying attention to the location of the notches on the memory module and the correct orientation, insert the module vertically within the guides at either side of the socket.

fig.31-004

If you have difficulty inserting the memory module, try tilting it a bit and inserting one end at a time.

5.

Move the white clips upward, and press them until the memory module is locked in place.

fig.31-005

Checking that memory is installed correctly

1.

Turn on the power, as described in “Turning On the Power”

(p. 21).

2.

Press [MENU] to open the Menu window.

3.

Press

[ENTER].

or to select “System,” and then press

4.

Press [ENTER].

5.

Press [F4 (System Info)].

6.

Press [F1 ( ⇑ )] or [F2 ( ⇓ )] to select “SRX Info.”

Verify that the screen correctly shows the amount of memory you installed.

fig.31-007_50

6.

Use the screws that you removed in step 2 to fasten the cover back in place.

Removing the Memory

To remove the memory module, reverse the installation procedure.

1.

Simultaneously press outward the white clips located at either end of the socket.

fig.31-006

7.

Press [EXIT] to exit the System screen.

* If the correct amount of memory is not shown, it is possible that the memory is not being recognized properly. Turn off the power as described in

“Turning Off the Power” (p. 22), and re-install the

memory correctly.

Specifications of the expansion memory

(DIMM) that can be used

Number of pins: 168-pin

Speed: 100 MHz (PC100 CL=2)

Voltage:

133 MHz (PC133 CL=3)

3.3 V

Capacity:

Board height:

64/128/256/512 MB

38 mm or less

The Fantom-X has been confirmed to work with standard memory that meets the above specifications. However, we cannot guarantee that all memory of these specifications will work correctly. Please be aware that even with identical specifications, differences in the design of the memory module or the conditions of use may mean that a memory module may not be usable.

2.

Remove the memory module from the socket.

245

Fantom-X678_r_e.book 246 ページ 2007年3月20日 火曜日 午前10時20分

Ajouter de la mémoire

Le Fantom-X est livré avec une mémoire de 32 Mo dans laquelle les

échantillons audio peuvent être chargés. Toutefois, dans certains cas, une mémoire de 32 Mo sera insuffisante pour charger de grandes quantités de données. Il faudra alors ajouter des modules de mémoire vendus séparément (DIMM). La mémoire est extensible jusqu’à 64/128/256/512 Mo.

Avant d’ajouter de la mémoire, consulter le détaillant, le centre de service Roland le plus proche ou un distributeur autorisé Roland.

fig.French-CSA

Précautions à prendre lors de l’ajout de mémoire

901 (F)

• Veuillez suivre attentivement les instructions suivantes quand vous manipulez la carte afin d’éviter tout risque d’endommagement des pièces internes par l’électricité statique.

1 • Toujours toucher un objet métallique relié à la terre (comme un tuyau par exemple) avant de manipuler la carte pour vous décharger de l’électricité statique que vous auriez pu accumuler.

2 • Lorsque vous manipulez la carte, la tenir par les côtés. Évitez de toucher aux composants ou aux connecteurs.

5 • Conservez le sachet d’origine dans lequel était la carte lors de l’envoi et remettez la carte dedans si vous devez la ranger ou la transporter.

• Utilisez un tournevis de type Phillips de la taille adaptée à celle des vis (tournevis numéro 2, Fantom-X6/X7 uniquement). Un tournevis inadéquat peut endommager la tête de la vis.

• Pour retirer une vis, tourner le tournevis dans le sens contraire des aiguilles d’une montre. Pour serrer les vis, tourner le tournevis dans le sens des aiguilles d’une montre.

fig.31-001.f

desserrer resserrer

• Assurez-vous que les vis que vous retirez ne tombent pas à l’intérieur du Fantom-X.

• Faites attention de ne pas vous couper sur le bord du couvercle ou de l’ouverture lorsque vous retirez le couvercle.

Installation du module de mémoire

Installez le module de mémoire après avoir retiré le couvercle inférieur.

1.

Avant d’installer la mémoire additionnelle, mettez hors tension le Fantom-X et tous les périphériques connectés et débranchez tous les câbles, y compris le câble d’alimentation du Fantom-X.

2.

Sur les modèles Fantom-X, retirer uniquement les vis illustrées dans le schéma ci-dessous et retirer le couvercle.

Sur le modèle Fantom-X6/X7, le couvercle est situé sur le panneau inférieur. Sur le modèle Fantom-X8, il est placé sur le panneau avant.

* Une clé hexagonale est fournie avec le Fantom-X8. Il faut utiliser cette clé pour retirer les vis. fig.30-002.f

Fantom-X6/X7 : Panneau inférieur

Vis à enlever fig.30-003.f

Fantom-X8 : Panneau avant

Vis à enlever

Clé hexagonale 5 mm imprimés. Si la carte s’ajuste mal au premier essai, enlevez la carte et recommencez l’installation.

terminée, revérifiez si tout est bien installé.

mettre l’unité hors tension et débrancher le câble d’alimentation.

uniquement les vis spécifiées.

piles de journaux ou de magazines sous les quatre coins (ou des deux côtés) pour le soutenir. Ainsi, les boutons, manettes et autres pièces ne seront pas endommagés.

pour éviter de l’échapper, de le laisser tomber ou de se renverser.

• Une fois l’installation du module terminée, remettez le couvercle en place.

3.

Appuyez sur les clips blancs à l’extrémité de la prise qui devraient être orientés vers le bas.

fig.31-003

246

Fantom-X678_r_e.book 247 ページ 2007年3月20日 火曜日 午前10時20分

Ajouter de la mémoire

4.

Prenez bien note de l’emplacement et de l’orientation de l’encoche du module de mémoire et insérez-le verticalement à l’intérieur des guides qui se trouvent de chaque côté de la prise.

fig.31-004

* Si vous éprouvez de la difficulté à insérer le module de mémoire, inclinez-le légèrement et insérez une extrémité à la fois.

5.

Ramenez les clips blancs vers le haut et appuyez dessus jusqu’à ce que le module de mémoire soit verrouillé en place.

fig.31-005

Vérifier que la mémoire est installée correctement

1.

Mettre sous tension de la façon décrite sous “Turning On the Power” (p. 21).

2.

Appuyez sur la touche [MENU] pour ouvrir la fenêtre Menu.

3.

Appuyer sur ou sur pour sélectionner “System” et appuyer ensuite sur [ENTER].

4.

Appuyer sur [ENTER].

5.

Appuyer sur [F4 (System Info)].

6.

Appuyer sur [F1 ( ⇑ )] ou sur [F2 ( ⇓ )] pour sélectionner “SRX

Info.”

S’assurer de lire dans la fenêtre la taille de la mémoire que vous avez installée.

fig.31-007_50

6.

À l’aide des vis retirées à l’étape 2, remettez le couvercle en place.

Retrait du module de mémoire

Pour retirer le module de mémoire, procédez à l’inverse de la procédure d’installation.

1.

Appuyez simultanément, vers l’extérieur, sur les clips blancs situés aux extrémités de la prise.

fig.31-006

2.

Retirez le module de mémoire de la prise.

7.

Appuyer sur [EXIT] pour quitter la fenêtre du menu du système.

* Si la taille de la mémoire dans la fenêtre n’est pas exacte, il est possible que la mémoire n’ait pas été détectée correctement. Éteindre tel que décrit sous

“Turning Off the Power” (p. 22), et réinstaller la

mémoire conformément aux instructions.

Spécifications des modules de mémoire

(DIMM) qui peuvent être utilisés

Nombre de broches: 168-pin

Vitesse: 100 MHz (PC100 CL=2)

133 MHz (PC133 CL=3)

Tension:

Capacité:

Hauteur de la carte:

3.3 V

64/128/256/512 MB

38 mm ou moins

Il a été confirmé que le Fantom-X fonctionne avec la mémoire standard possédant les spécifications ci-dessus. Nous ne pouvons toutefois pas certifier que toutes les mémoires possédant ces spécifications fonctionneront correctement. Il faut se rappeler que même si les spécifications sont identiques, des différences dans la conception du module de mémoire ou les conditions d’utilisation peuvent faire en sorte qu’il n’est pas possible d’utiliser le module de mémoire.

247

Fantom-X678_r_e.book 248 ページ 2007年3月20日 火曜日 午前10時20分

Using a Memory Card

The Fantom-X features a PC card slot, allowing you to use not only

PC card type memory cards, but also other types of media, such as

CompactFlash and Smart Media, via the appropriate PC card adaptor.

Before Using the Memory

Card

Make sure that the correct side of the card is facing upward, and insert it into the Fantom-X's PC card slot. When you need to remove the card, press the eject button located beside the card.

fig.31a-001

Eject

Installing the PC Card

Protector

The Fantom-X provides a PC card protector to prevent theft of the memory card. To install the PC card protector, use the following procedure.

1.

Use a screwdriver to remove both of the screws from the bottom side of the PC CARD slot.

2.

Insert the memory card into the PC CARD card slot.

3.

Use the screws to fasten the PC card protector as shown below.

fig.31a-002

Memory card

Fantom-X Rear Panel

memory card

Writing data to the card

Patches, rhythm sets, performances, samples, and song data can be written to the card. For details on the writing procedure, refer to the explanation for the corresponding parameters.

PC card protector

248

Fantom-X678_r_e.book 249 ページ 2007年3月20日 火曜日 午前10時20分

Troubleshooting

If the Fantom-X does not function in the way you expect, first check the following points. If this does not resolve the problem, consult your dealer or a nearby Roland Service Station.

* If any sort of message is being displayed on the screen during an

operation, refer to Error Messages (p. 296).

Problems Concerning the Entire

Fantom-X

The power does not turn on.

Make sure that the Fantom-X’s AC cord is connected correctly

to its power inlet and to the AC outlet (p. 19).

Issues Related to Sound

Turning the VOLUME knob doesn’t change the volume.

If you’re using the DIGITAL OUT, the VOLUME knob will not

change the volume. Adjust the “Master Level” (p. 229).

There is no sound.

Check the following points.

• Is the power for connected amps and speakers turned on? Is the volume turned all the way down?

• Is the VOLUME knob turned all the way down?

• Have connections been made correctly?

• Can you hear sound through headphones?

If there is sound in the headphones, it is possible that the connection cables are broken, or that your amp/mixer has malfunctioned. Check your cables and amp/mixer system once again.

• If you do not hear sound when you play the keyboard, check whether the Local Switch is turned OFF.

Make sure that the Local Switch parameter is turned on (p. 229).

• Have all tones in the patch been turned off?

Turn on “Tone Switch.”

• The Part level settings may be too low.

Access the Level parameter, and check the level of each part (p.

108).

• Are the Effect settings correct?

Check the Effect settings ON or OFF, the Effect Balance or

Level. (p. 206)]

• Are the settings for the output destination correct?

Check the various output assign settings (p. 108).

• Is the Wave Expansion Board properly installed?

When selecting the settings that stipulate the use of EXP-A–D waves, Patches, or Rhythm Sets, check that the specified Wave

Expansion Board is installed properly in the specified slot (p.

240, p. 242).

• Has the volume been lowered by pedal operations or by MIDI messages (volume messages or expression messages) received from an external MIDI device?

In the case of Performance mode, the value of volume messages

(Volume) and expression messages (Expression) can be viewed

in the Part Information window (p. 106).

• Have the samples been loaded correctly? (p. 201)

A specific Part does not sound

Check the following points.

• Has the volume level of the part been lowered?

Adjust the Level parameter to raise the volume of the part that

is not heard (p. 108).

• Is the part being muted?

Set the Mute Switch parameter to “OFF” (p. 107).

Specific pitch ranges do not sound

Has a restricted range of notes been set?

If a specific range of notes does not sound, check the Key Range settings for the Patch Tone, the Performance Part.

Tone Key Range

Key Range Lower/Upper parameter (p. 65)

Part Key Range

Key Range Lower/Upper parameter (p. 111)

The sound is distorted.

Check the following points.

• Is an effect which distorts the sound being applied?

If the sound for a specific patch or part is distorted, lower the volume level on that part.

• If all sounds are distorted, use the VOLUME knob to lower the volume level.

• Could the Output Gain be excessively high?

In “System,” check the “Sound” parameter.

Pitch is incorrect.

Check the following points.

• Is the tuning of the Fantom-X incorrect?

Check the Master Tune parameter setting (p. 229).

• Has the pitch been changed by pedal operations or by Pitch

Bend messages received from an external MIDI device?

In the case of Performance mode, the value of Pitch Bend messages (Pitch Bend) can be viewed in the Part Information

window (p. 106).

• Have the Coarse Tune or Fine Tune parameters been set for specific Parts?

Check the Coarse Tune parameter and Fine Tune parameter

settings (p. 109).

249

Fantom-X678_r_e.book 250 ページ 2007年3月20日 火曜日 午前10時20分

Troubleshooting

The sound is interrupted.

Sounds will be interrupted if more than 128 voices are used simultaneously.

• Reduce the number of Tones that you are using.

• Increase the Voice Reserve setting for parts that must not drop

out. (p. 111)

When I play the keyboard, notes do not stop.

Is the pedal polarity of the Hold Pedal reversed?

Check the Hold Pedal Polarity parameter setting (p. 226).

When I press a pad, the sound does not stop sounding.

Could the [HOLD] pad be lit?

Press the [HOLD] pad once again so the light goes out.

The sound cuts off when I switch Patches in Patch mode...

Although you can apply a wide variety of multi-effects with the

Fantom-X’s multi-effects, switching the Patch also switches the type of multi-effects used.

In such instances, discrepancies between the sound being produced and the multi-effects type can arise, which may result in sounds being different than intended, so sounds produced when Patches are switched may be muted when factory settings are in effect. In certain situations, such as when not using multieffects that have a great influence on the sound, remembering to

set Patch Remain parameter (p. 230) to “ON” allows you to

switch Patches without sounds being muted.

When switching Patches in Patch mode, the volume and other parameters set with Control Changes end up being reset.

Set Patch Remain parameter (p. 230) to “ON.” Even once they

have switched Patches, Control Change messages that have been received are carried forward, so even when switching a

Patch whose level is turned all the way down by a Control

Change volume message, the level remains unchanged.

If the Tone Delay time value is set to the note, then does the delay time not change beyond a fixed length when the tempo is slowed down?

There is a maximum permissible value for the Delay Time

parameter (p. 75). So, if the time setting is specified in terms of a

note value, and the tempo is slowed down, this maximum permissible value will be reached, and it cannot be increased further. The upper time limit for each is the maximum value that can be set other than the numerical value for the beat.

Even when I set the Pan for a Patch completely to one side, sound still comes from the other channel...

The Fantom-X’s internal effects are in stereo, so if you have effects applied to a Patch, even if the Pan is set all the way to one side, you will still be able to hear sounds of the effect component from the other channel.

Sometimes, when playing legato, the pitch won’t rise. Why is this?

When the Legato Switch parameter (p. 77) is “ON,” and the

Legato Retrigger parameter (p. 77) is “OFF,” and you hold

down keys in the high register to play legato, the upper pitch limit of the wave may be exceeded, so that the pitch does not rise as far as you expect, but will stop rising at a certain point.

Additionally, if differing upper pitch limits are used for the waves of a Patch that uses multiple tones, it may stop being heard in MONO. When making large pitch changes, set the

Legato Retrigger parameter to “ON.”

The notes sound strange in the upper registers of the keyboard.

Sometimes when playing the keys in the upper part of the

Fantom-X’s keyboard, the sound may stop, or the pitch may stop rising; or with certain keys, there may be intermittent noise. This occurs mainly when the Fantom-X’s upper pitch limit is exceeded, so this issue doesn’t arise in the ranges normally used. But, in any case, it does not indicate a malfunction.

Although the same Patch is selected, it sounds different when I listen to it in the Performance.

In Performance mode, the parameters of each part of the performance can apply further modification to parameters such as pan, octave, and filter, relative to the settings specified by the patch. Thus, Patches in a Performance may sound different than they do when heard in Patch mode. To return these settings to their initial conditions, select the Patch after execute Factory

Reset Temporary for the Performance. (p. 235)

Additionally, although a Patch may comprise tones created with the use of the multi-effects, the multi-effects used in the

Performance may differ from the multi-effects selected by the

Patch. Check the multi-effect settings of the performance. Also do the same for the Chorus and Reverb settings.

The volume level of the instrument connected to Fantom-X is too low.

Could you be using a connection cable that contains a resistor?

Use a connection cable that does not contain a resistor

250

Fantom-X678_r_e.book 251 ページ 2007年3月20日 火曜日 午前10時20分

Troubleshooting

Issues Related to Effects

Effects not applied.

Check the following points.

• The “MFX,” “CHO,” “REV” or “MASTER” effect switches located in the upper part of the PLAY screen may have been turned off.

Press [EFFECTS]/[F8 (Effect Sw)] to turn them on.

• Are the various effect settings correct? (p. 206)

• If the send level of each effect is set to 0, the effect will not be applied. Check the settings.

• Even with send levels to each effect set at 0, effects are not applied if the Multi-effects Output Level, the Chorus Level, or the Reverb Level is set to 0. Check each setting.

• If Output Assign is set to other than “MFX,” the Multi-effects sound will not be output.

• If Output Assign is set to “PATCH” for each Part of the

Performance, the sound will be output according to the Output

Assign settings of the Patch (for each Tone) which is assigned to those Parts. This means that if Output Assign for the Patch

(each Tone) is set to other than “MFX,” the Multi-effects sound will not be output.

The Modulation or other controller is always on.

Check the Matrix Controller settings. (p. 80)

The Fantom-X allows you to use the Matrix Control to control

Patches in real time. The Matrix Control functions as the control source for the Control Change and other MIDI messages received by the Fantom-X, and makes changes to the various

Patch parameters based on these messages.

Depending on these settings, the Fantom-X may be responding to MIDI messages sent from external MIDI devices, and may result the Patches sounding different than intended.

Raising the chorus or reverb send level for each part of a performance still does not cause the effect to be applied sufficiently.

Although you can make Send level settings to the Chorus and

Reverb for each individual Part in a Performance, these values only set the upper limit of the Chorus and Reverb Send levels for the Patch used. Accordingly, even when the value is set to the maximum of 127, if the Send level is lowered in the Patch being used, there will be no effect. In addition, different Patch

Chorus and Reverb Send level settings can be used according to whether or not the multi-effects are used.

Using the Matrix Control or other such means to control the

LFO results in noise when the Pan is changed suddenly.

Lower the change in speed (LFO Rate).

Due to the specialized processing used for the Pan, which alters the volume level in each of the left and right sides, sudden Pan movements causing rapid changes in these levels creates large changes in volume, and noise from this may be audible as a result.

Multi-effect 43: TAP DELAY or other delay time value is set to the note, and then the tempo is slowed down, does the delay time not change beyond a fixed length?

Such Delay time settings have an upper limit, so if the upper limit of a value set to the note is exceeded when the tempo is retarded, that upper value cannot rise any further. The upper time limit for each is the maximum value that can be set other than the numerical value for the beat.

Issues Related to Saving Data

The Performance sounds different than when it was written.

Check the following points.

• If you have modified the settings of a patch used by a performance, or if the temporary patch of the performance has been modified by an external MIDI device, these patches must also be saved.

If patches used by a performance have been edited when you write that performance, the Fantom-X will display a message asking whether you want to discard these patches. In such

cases, first save the patch (p. 59) or rhythm set (p. 86), and then

save the performance (p. 120) again.

• The Mastering Effect settings may have changed. (These settings are not stored as part of a performance.)

Patches sound different than when written.

Check the following points.

• The write operation cannot be used to save Patches as changed in Patch mode using Control Change messages from an external

MIDI device.

Refer to

MIDI Implementation (p. 298) for more on the Control

Change messages that are received.

• The Mastering Effect settings may have changed. (These settings are not stored as part of a patch.)

The Arpeggio and D Beam controller settings in the

Performance are different than those for the Patch.

Since the Fantom-X stores arpeggio and D Beam controller settings for each performance, it will operate according to the arpeggio and D Beam controller settings that were specified for each performance.

251

Fantom-X678_r_e.book 252 ページ 2007年3月20日 火曜日 午前10時20分

Troubleshooting

Issues Related to Sequencer

Song data does not play back correctly

Check the following points.

• Has the Receive General MIDI/General MIDI 2 System On

Switch been turned ON?

Set the Rx GM System ON/Rx GM2 System ON parameter

(SYSTEM/MIDI) to “ON” (p. 231).

• Are you trying to start playback from midway through the song?

The beginning of a GM score song contains a General MIDI/

General MIDI 2 System On message. In some cases, a GM Score cannot be played back correctly unless this message is received.

• Are you trying to play song data designed for the GS Format?

When the Fantom-X receives a GS Reset message, the Fantom-X is enabled for the GS format. This permits playback of music data bearing the GS logo (GS music data). However, data created exclusively for the Sound Canvas Series may not play back properly on the Fantom-X.

After recording, the song does not sound when I play it back.

Have the tracks been muted?

Defeat muting (p. 107).

The tempo is different than the last time I played back the song.

If a song is played back after the tempo is changed, then the new tempo is not saved unless the song is saved to the user memory or memory card. Conversely, the previous tempo will be erased when you save the song. When saving songs, carefully check the current tempo.

Locate Positions set in song have disappeared.

Check the following points.

• Was the disk saved in a format other than MRC-Pro format

(SMF 0 or 1)? Locate positions will be saved with the song data only when saving in MRC-Pro format.

• Are you using Quick Play? In order to use locate positions, the song must be loaded into the Fantom-X.

Sound Device Tones Are Switched Arbitrarily

Use the Microscope (p. 192) to check the following points.

• Has an unneeded program change been input? Or are there duplicate program changes?

• Were any mistakes made in setting the data MIDI channels when Program Change messages were input?

Data supposed to be present does not appear in microscope.

Check the following points.

• Are the wrong tracks selected?

• In View Select (p. 194), is any data set not to be displayed?

After using a MIDI sequencer to play a song, sounds stopped playing, and no sound is played even when Program Changes are sent.

It could be that a Bank Select in the song data that is not specified by the Fantom-X was encountered in the song. No sound is played if the tone group is not one designated by the

Fantom-X with Bank Select MSB/LSB. Note that if you omit the

Bank Select, and send only the Program Change, the tone in the currently selected group that has the specified Program Change number will play. Try reselecting the tone using the panel controls. Furthermore, when selecting tones from an external

MIDI device, be sure to send the Bank Select MSB/LSB and the

Program Change as a single set for reliable reproduction. First sending the MSB and LSB (the order in which these are sent does not matter), followed by the Program Change.

For more about the relationship between the Bank Select MSB/

LSB and corresponding tone groups, refer to

<Bank Select and

Program Change Correspondence Chart> (p. 330).

In some cases, you may be unable to hear any sound after playing the last song that was faded-out. This may be because the volume has been lowered by volume messages or expression messages. Check the value of these messages, and set them to appropriate values.

Performances are sluggish, or have interruptions.

Problems of sluggish and interrupted performances can crop up very easily when the sequencer or sound generator used for the performance has to handle heavy data loads.

Main causes and possible corrective measures are considered below.

• Are more than 128 voices playing simultaneously?

Reduce the number of voices. The composition of Fantom-X

Patches is such that up to eight Waves may be used for one

Patch. When using such Patches, even though only one sound may be heard, it is actually eight sounds that are being played simultaneously. In addition, with certain sounds like continuous sounds with long releases, even though the actual sound may not be audible to you, processing for playing the sound is still underway, so in these cases as well, the performance data can differ from the actual number of voices being played.

In the Part Information window you can check the number of

notes for which sound is actually being processed (p. 106).

• Are you using a Patch that uses a lot of LFO?

Try changing to a different Patch. LFO processing invariably places a big load on the machine, so heavy use of the LFO slows down processing for the Fantom-X overall, which can end up having affecting the expression of sounds themselves.

252

Fantom-X678_r_e.book 253 ページ 2007年3月20日 火曜日 午前10時20分

Troubleshooting

• Is the data concentrated at the beginning of the beats in the sequence data?

Avoid overlapping data with the same timing by setting an offset of 1–2 clocks instead. Data may easily become concentrated at the beginning of the beats in the song data when, for example, the song data is input using Step Recording, or if the data is quantized after being input with a keyboard in real time. Because of this, large amounts of data are sent to the

Fantom-X, and the processing for expressing sounds becomes bogged down.

• Is there a Program Change at the point where the song performance is sluggish?

Change the position of the Program Change. When Program

Changes are inserted in songs, processing time for switching patches increases, which may then cause the performance to become sluggish.

• Is there a System Exclusive message at the point where the song performance is sluggish?

Move the location of the data. System Exclusive messages contain large amounts of data, thus placing a heavy burden on sequencers and sound modules. Try repositioning data and changing System Exclusive messages to Control Changes for any data for which Control Changes can be substituted.

• Is there an Aftertouch or other such large Control Change at the point where the song performance is sluggish?

Move the location of the data. If the data is no longer needed, delete the data. In some cases, when using a keyboard that features aftertouch to input data, you may end up inputting huge amounts of data before realizing this is happening. Such large amounts of data can place an excessive load on your sequencer and sound module.

You can use the Track Edit operation Data Thin (p. 190) to thin

out unwanted messages.

Issues Related to MIDI and

External Devices

No Sound from connected MIDI device.

Check the following points.

• Is the instrument set to transmit MIDI messages?

• In Patch Mode

Kbd Patch Rx/Tx Channel parameter (Keyboard part) (p. 230)

Pad Patch Rx/Tx Channel (Pad part) (p. 230)

• In Performance Mode

KBD switch -> Performance Layer, Mixer screen/KBD

Exclusive messages are not received.

Check the following points.

• Is the instrument set to receive Exclusive messages?

Set the Rx Exclusive parameter to “ON” (p. 231).

• Does the Device ID number of the transmitting device match the Device ID number of the Fantom-X?

Check the Device ID parameter (p. 230).

• Are you attempting to write to the User area? Data can be written to the User area only in Librarian mode.

I connected an external sequencer or MIDI keyboard to the

MIDI IN connector, and attempted to play a Fantom-X rhythm set, but there was no sound. Why?

Check to make sure that the MIDI Transmit channel of the external MIDI device and the Fantom-X’s MIDI Receive channel are matched. The MIDI Receive channel used by the Fantom-X in Patch mode is set with the Kbd Patch RX/TX Channel parameter (keyboard part) and Pad Patch RX/TX Channel parameter (pad part). Rhythm Set performance data is generally received on MIDI Channel 10.

Messages from MIDI IN are not being received.

Additionally, the MIDI IN connector cannot be used if USB

mode (p. 218) is set to MIDI. Set the USB mode to Storage.

When using sequencing software, operating the knobs or other controls does not affect the sound.

For some sequencing programs, System Exclusive messages are not transmitted by the Thru function. If you are using such sequencer software and want to record system exclusive messages, turn on the following parameters.

In Patch Mode

Local Switch parameter (p. 229).

In Performance Mode

KBD switch (p. 101).

When the Bend Range for a Patch is increased (48), the pitch does not rise sufficiently, even when a MIDI Pitch Bend message is received.

While Patch Bend Ranges can be set anywhere between 0 and

48, when certain Waves in which the pitch is raised (in the + direction) are used, the pitch may stop rising at a fixed point, rather than continuing to go up. Although a value of 12 is ensured for the upper limit of raised pitches, use caution when setting the Bend Range above this figure.

253

Fantom-X678_r_e.book 254 ページ 2007年3月20日 火曜日 午前10時20分

Troubleshooting

Issues Related to Sampling

External input sound cannot be heard/volume is too low

Check the following points.

• Could [MIX IN] be unlit?

Press [MIX IN] so it is lit.

• The level of the external input may be lowered.

When you sample, use the EXT SOURCE “VOLUME” knob to adjust the level appropriately.

• Hold down [SHIFT] and press [MIX IN] to access the Input

Setting screen, and check the Level settings.

• The volume of the device connected to AUDIO INPUT may be lowered.

Adjust it to an appropriate level.

• Are the audio cables connected correctly?

Check the connections.

• An audio cable may be broken.

• Could you be using an audio cable with a built-in resistor?

Use a connection cable that does not contain a resistor (e.g.,

Roland PCS series).

External input sound is not stereo/is not monaural

Check the following points.

• Stereo Switch parameter (p. 143) may be set to monaural

(stereo).

• Could the Input Select parameter be set to “LINE IN L,” or

“Microphone”?

Hold down [SHIFT] and press [MIX IN] to access the Input

Setting screen, and set “Input Select” to “LINE IN L/R.”

Mic sound is not output/is too weak

Check the following points.

• Is the mic cable connected correctly?

Check the connection.

• The mic cable may be broken.

• The input source may be set to something other than mic.

Hold down [SHIFT] and press [MIX IN] to access the Input

Setting screen, and set “Input Select” to “Microphone.”

• The mic level may have been lowered.

When sampling, use the EXT SOURCE “LEVEL” knob to adjust the level appropriately.

Can’t record a sample

Check the following points.

• Is there enough memory capacity?

If there is insufficient sample memory, a message of “Sample

Memory Full!” will appear when you attempt to sample. (p.

147)

Erase unneeded samples to increase the amount of free space.

If there is still not enough, install additional memory (DIMM

modules). (p. 244, p. 246)

254

Sampled sound contains excessive noise or distortion

Check the following points.

• Is the input level appropriate? If the input level is too high, the sampled sound will be distorted. If it is too low, noise will be heard. When sampling, turn the LEVEL knob in the Sampling

Standby screen (p. 142) to adjust the level while watching the

level meter displayed in the upper part of the display. Adjust the level so that the “CLIP” indication in the upper right of the display does not appear.

• Are the effect settings appropriate?

Some types of effect may increase the level louder than the original sample, or may intentionally distort the sound. Some effects will also cause noise to be emphasized.

Temporarily turn off effects, and check whether the sample itself contains noise or distortion. Then adjust the effect settings appropriately.

• Are multiple samples being played simultaneously?

Even if the level of each individual sample is appropriate, simultaneously playing multiple samples may cause the overall level to be excessively high, causing distortion. Lower the level of each sample so that the sound is not distorted.

Issues Related to a Memory Card

Can’t select data from a memory card

Check the following points.

• Is the memory card inserted correctly?

Turn off the power, remove the memory card, then re-insert the memory card correctly.

• Is the memory card an appropriate type?

The Fantom-X can use either PC card type memory cards, or another type of memory card via a PC card adaptor.

I can’t use a memory card

Is the memory card formatted?

An unformatted floppy disk cannot be used. Perform the

Format procedure.

Fantom-X678_r_e.book 255 ページ 2007年3月20日 火曜日 午前10時20分

Parameter List

Patch Parameter

General Group (P.60)

Parameter

Patch Name * Specify when writing.

Patch Category

Patch Level

Patch Pan

Patch Priority

Octave Shift

Patch Coarse Tune

Patch Fine Tune

Stretch Tune Depth

Analog Feel

Cutoff Offset

Resonance Offset

Attack Time Offset

Release Time Offset

Velocity Sens Offset

Analog Feel Depth

Wave Group (P.62)

Parameter

Wave Group

Wave Bank

Wave No. L (Mono)

Wave No. R

Wave Gain

Wave Tempo Sync

FXM Switch

FXM Color

FXM Depth

Wave Number L (Mono)

Wave Number R

TMT Group (P.63)

Parameter

Structure Type 1 & 2, 3 & 4

Booster 1 & 2, 3 & 4

Key Fade Lower

Key Range Lower

Key Range Upper

Key Fade Upper

TMT Velocity Control

Velo Fade Lower

Velo Range Lower

Velo Range Upper

Velo Fade Upper

TMT Control Sw

Booster Gain 1 & 2, 3 & 4

Keyboard Fade Width Lower

Keyboard Range Lower

Keyboard Range Upper

Keyboard Fade Width Upper

TMT Velocity Control Switch

Velocity Fade Width Lower

Velocity Range Lower

Velocity Range Upper

Velocity Fade Width Upper

TMT Control Switch

Value space, A–Z, a–z, 0–9, ! ” # $ % & ’ ( ) * + , - . / : ; < = > ?

@ [ \ ] ^ _ ` { | }

0–127

L64–0–63R

LAST, LOUDEST

-3– +3

-48– +48

-50– +50

OFF, 1–3

0–127

-63– +63

-63– +63

-63– +63

-63– +63

-63– +63

Value

INT, EXP, SAMP, MSAM

When the wave group is INT: A or B, EXP: A–D, When the wave group is SAMP: PRST, USER, CARD, When the wave group is MSAM: USER, CARD

----, 1–1228 (The upper limit will depend on the wave group.)

----, 1–1228 (The upper limit will depend on the wave group.)

-6, 0, +6, +12

OFF, ON

OFF, ON

1–4

0–16

Value

1–10

0, +6, +12, +18

0–127

C-1–UPPER

LOWER–G9

0–127

OFF, ON, RANDOM, CYCLE

0–127

1–UPPER

LOWER–127

0–127

OFF, ON

255

Fantom-X678_r_e.book 256 ページ 2007年3月20日 火曜日 午前10時20分

Parameter List

Pitch Group (P.67)

Parameter

Tone Coarse Tune

Tone Fine Tune

Random Pitch Depth

Pitch Key Follow

Bend Range Up

Bend Range Down

P-Env V-Sens

P-Env T1 V-Sens

P-Env T4 V-Sens

P-Env Time KF

Pitch Bend Range Up

Pitch Bend Range Down

Pitch Envelope Velocity Sensitivity

Pitch Envelope Time 1 Velocity Sensitivity

Pitch Envelope Time 4 Velocity Sensitivity

Pitch Envelope Time Key Follow

Pitch Env Group (P.68)

Parameter

P-Env Depth

P-Env Time1–4

P-Env Level0–4

Pitch Envelope Depth

Pitch Envelope Time 1–4

Pitch Envelope Level 0–4

TVF Group (P.69)

Parameter

Filter Type

Cutoff Frequency

Resonance

Cutoff Key Follow Cutoff Frequency Key follow

Cutoff V-Curve

Cutoff V-Sens

Resonance V-Sens

F-Env V-Curve

F-Env V-Sens

F-Env T1 V-Sens

F-Env T4 V-Sens

Cutoff Frequency Velocity Curve

Cutoff Velocity Sensitivity

Resonance Velocity Sensitivity

TVF Envelope Velocity Curve

TVF Envelope Velocity Sensitivity

TVF Envelope Time 1 Velocity Sensitivity

TVF Envelope Time 4 Velocity Sensitivity

TVF Env Group (P.71)

Parameter

F-Env Depth

F-Env Time KF

TVF Envelope Depth

TVF Envelope Time Key Follow

F-Env Time1–4

F-Env Level 0–4

TVF Envelope Time 1–4

TVF Envelope Level 0–4

TVA Group (P.71)

Parameter

Tone Level

Level V-Curve

Level V-Sens

Bias Level

TVA Level Velocity Curve

TVA Level Velocity Sensitivity

Bias Position

Bias Direction

Tone Pan

Pan Key follow

Random Pan Depth

Alter Pan Depth Alternate Pan Depth

Value

-48– +48

-50– +50

0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 20, 30, 40, 50, 60, 70, 80, 90, 100,

200, 300, 400, 500, 600, 700, 800, 900, 1000, 1100, 1200

-200, -190, -180, -170, -160, -150, -140, -130, -120, -110,

-100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20,

+30, +40, +50, +60, +70, +80, +90, +100, +110, +120, +130,

+140, +150, +160, +170, +180, +190, +200

0– +48

-48–0

-63– +63

-63– +63

-63– +63

-100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20,

+30, +40, +50, +60, +70, +80, +90, +100

Value

-12– +12

0–127

-63– +63

Value

OFF, LPF BPF, HPF, PKG, LPF2, LPF3

0–127

0–127

-200, -190, -180, -170, -160, -150, -140, -130, -120, -110,

-100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20,

+30, +40, +50, +60, +70, +80, +90, +100, +110, +120, +130,

+140, +150, +160, +170, +180, +190, +200

FIXED, 1–7

-63– +63

-63– +63

FIXED, 1–7

-63– +63

-63– +63

-63– +63

Value

-63– +63

-100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20,

+30, +40, +50, +60, +70, +80, +90, +100

0–127

0–127

Value

0–127

FIXED, 1–7

-63– +63

-100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20,

+30, +40, +50, +60, +70, +80, +90, +100

C-1–G9

LOWER, UPPER, LO&UP, ALL

L64–0–63R

-100– +100

0–63

L63–0–63R

256

Fantom-X678_r_e.book 257 ページ 2007年3月20日 火曜日 午前10時20分

TVA Env Group (P.72)

Parameter

A-Env T1 V-Sens

A-Env T4 V-Sens

A-Env Time KF

TVA Envelope Time 1 Velocity Sensitivity

TVA Envelope Time 4 Velocity Sensitivity

TVA Envelope Time Key Follow

A-Env Time1–4

A-Env Level1–3

TVA Envelope Time 1–4

TVA Envelope Level 1–3

Output Group (P.