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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.
..........................................................................................................
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
..........................................................................................................
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.
..........................................................................................................
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
Listening to the Demo Songs .......................................................................23
Various Performance Features ....................................................................24
Pitch Bend/Modulation Lever .................................................................................................... 24
Recalling a page............................................................................................................................. 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
Selecting the Parameter Controlled by the Realtime Controllers or D Beam Controller
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
Setting Effects for a Patch (Effects/MFX/MFX Control/Chorus/Reverb).......................... 82
Setting Effects for a Rhythm Set (Effects/MFX/MFX Control/Chorus/Reverb) ............... 96
Playing in Performance Mode ......................................................................97
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
Selecting the Parameter Controlled by the Realtime Controllers or D Beam Controller
Make Settings for the Realtime Controllers and D Beam Controller (Ctrl)........................ 114
Modifying the Sound in Real Time .............................................................121
Waving Your Hand Over the D Beam to Modify the Sound (D Beam Controller) ...................... 121
Selecting Ascending/Descending Variations (Different Ways of Playing the Sounds)
Selecting the Part that Will Play Arpeggios in Performance Mode (Arp Part).................. 130
Using the Chord Memory Function (Chord Memory) ...............................133
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
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
Correct the Timing of Your Playing as You Record (Recording Quantize) ....................... 172
Auditioning Sounds or Phrases While Recording (Rehearsal Function)............................ 173
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
Saving/Loading a song (Save/Load) ..........................................................198
Playing a Phrase at the Touch of a Finger (RPS Function) .....................203
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
Connecting to Your Computer via USB (USB Mode) ...............................218
File-Related Functions (File Utility)............................................................223
Settings Common to All Modes (System Function) .................................225
Reset to Default Factory Settings (Factory Reset) ...................................235
Restoring User Data that You Backed Up (User Restore) ................................................................ 235
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
Installation de la carte d’expansion Wave ................................................242
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. ->
[FWD]
Moves the song position to the first beat of the next measure. -> (p.
[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
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
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]
[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.
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.
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
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.
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
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”
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
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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
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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.
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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
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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
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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
There are two types of aftertouch: Polyphonic
Aftertouch, which applies aftertouch to individual notes, and Channel Aftertouch, which applies aftertouch to an
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.
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
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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”
(
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
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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.
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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.
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.
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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
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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.
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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.
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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
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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
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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.
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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
Window
Press [EXIT] to close the window. Some windows will close automatically when an operation is performed.
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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.
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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 (“ * + , . / : ; < = > ? [ \ ] |).
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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.
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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
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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.
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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.
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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.
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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].
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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.
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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
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.
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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
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.
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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
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).
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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
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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
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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
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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
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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
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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).
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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
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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
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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)”
2.
Either turn the VALUE dial or use [INC] [DEC] to set the value.
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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
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 (
).
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 (
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 (
).
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
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
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.
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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
Structure Type
LFO 1/2
Step LFO page
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)].
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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.
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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
5.
When you have finished inputting the name, press [F8
(Write)].
A screen will appear, allowing you to select the writedestination patch.
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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
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
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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
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.
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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
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
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
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.
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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
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.
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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.
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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
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.
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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.”
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Creating a Patch
Modifying Pitch (Pitch/Pitch Env)
fig.06-029_50
For details on these settings, refer to
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
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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
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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
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
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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
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
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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
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
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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
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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
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
* 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
* The output destination of the signal after passing through the reverb is
set with the Reverb Output Assign (p. 209).
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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
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.”
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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
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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.
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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
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.
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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
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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.
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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
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).
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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
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.
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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)
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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
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
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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
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].
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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
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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
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.
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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
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
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.”
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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
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
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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
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
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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
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
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
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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
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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
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
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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
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Creating a Rhythm Set
Adjusting the Volume (TVA/TVA
Env)
fig.07-013_50
For details on these settings, refer to
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.
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
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
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
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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
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
* 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
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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)
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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
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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.
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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.
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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.
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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.
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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
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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.
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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
Shown in the Mixer screen as
Level
Pan
Rev
Cho
S
M
Performance Mixer2 screen
Parameter
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.
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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.
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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.
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
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)
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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
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.
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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
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.
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Creating a Performance
[F3 (Pitch)]
fig.09-003_50
For details on these settings, refer to
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.
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Creating a Performance
[F4 (Offset)]
fig.09-004_50
For details on these settings, refer to
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
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
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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
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
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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
Parameters of Each Part” (p. 107).
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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
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
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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
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
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
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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
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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.
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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
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
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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
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
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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).
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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
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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
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.
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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
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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
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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.
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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.
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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
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
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Modifying the Sound in Real Time
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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
* 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)
particularly important. The playback pattern of the arpeggio is determined mainly by this selection.
For details regarding each parameter, refer to
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.
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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)
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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.
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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.
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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)].
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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].
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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)].
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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.
* 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.
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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].
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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
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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.
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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)].
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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)].
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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
• 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.
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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.
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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
• 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.
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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.
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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
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
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)].
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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
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.
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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.
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.
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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
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.
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.
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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
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.
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
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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
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.
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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.
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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.
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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.
A sample will not sound at a pitch higher than one octave above the original key.
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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
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.
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Editing a Sample
6.
When you’ve finished setting the Original Key of all
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)].
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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.
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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
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
12.
If you don’t want to execute Create Rhythm, press [F7
(Cancel)].
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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
* 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
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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
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.
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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 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
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
This cannot be used to switch images via V-Link.
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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
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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
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)].
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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.
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
Using the Pads
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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
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.
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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)
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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
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.
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
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
4.
When you have finished making settings, press [F8 (Close)] to close the Loop window.
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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).
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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)
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
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)].
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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
7.
Press [EXIT] to return to the previous screen.
If you are recording to a phrase track, see
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)].
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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
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.
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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
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.
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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
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.
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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.
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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
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.
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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.
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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
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.
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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.
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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 “—-.”
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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.
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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
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.
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.
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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
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: ,
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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)
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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.
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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
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.”
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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
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
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
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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.
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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
Track / Pattern (Source Track)
Specifies the track(s) or pattern into which blank measures will be inserted.
For details on the settings, refer to
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.
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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
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
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
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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
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.
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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
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
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
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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
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.
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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
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.
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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
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
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
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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
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)].
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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
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.
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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.
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.
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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.
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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
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.
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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
4.
After you have assigned a name, press [Write].
If you decide to cancel, press [F7 (Cancel)].
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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
✔
–
✔
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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
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
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
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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
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
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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.
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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.
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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
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.
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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.
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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
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.
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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.
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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
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).
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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
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
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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
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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
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
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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
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).
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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
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.
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.
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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
Type (Multi-Effects Type)
Use this parameter to select from among the 78 available multieffects. For details on multi-effects parameters, refer to
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
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
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
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.
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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
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
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).
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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
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
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
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.
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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
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
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.
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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
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
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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
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
MIDI Messages with Your Computer (MIDI Mode)” (p. 222).
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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.”
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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.
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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
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].
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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
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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.
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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)].
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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.
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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
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
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%
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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.
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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)
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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.
→
Settings (System Write)” (p. 225)
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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
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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
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
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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
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.
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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
Similarly, the function allowing you to use MIDI messages to change multi-effects settings in realtime is called the Multieffects Control
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
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
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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
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.
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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
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.
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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
* 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
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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.
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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.
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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.
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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.
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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”
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.
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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.
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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.
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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
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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”
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.
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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
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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.
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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
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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.
• Are the Effect settings correct?
Check the Effect settings ON or OFF, the Effect Balance or
• 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.
• 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 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
• Have the Coarse Tune or Fine Tune parameters been set for specific Parts?
Check the Coarse Tune parameter and Fine Tune parameter
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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
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
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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.
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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?
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
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.
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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
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.
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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.
Erase unneeded samples to increase the amount of free space.
If there is still not enough, install additional memory (DIMM
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.
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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
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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
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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.73)
Parameter
Patch Out Assign
Tone Out Assign
Tone Out Level
Tone Chorus Send (Send Level
(Output=MFX))
Tone Reverb Send (Send Level
(Output=MFX))
Tone Chorus Send (Send Level
(Output=non MFX))
Tone Reverb Send (Send Level
(Output=non MFX))
Patch Output Assign
Tone Output Assign
Tone Output Level
Tone Chorus Send Level
Tone Reverb Send Level
Tone Chorus Send Level
Tone Reverb Send Level
LFO1/2 Group (P.74)
Parameter
Waveform LFO1/LFO2 Waveform
Rate
Rate Detune
Offset
Delay Time
Delay Time KF
Fade Mode
Fade Time
Key Trigger
Pitch Depth
TVF Depth
TVA Depth
Pan Depth
LFO1/LFO2 Rate
LFO1/LFO2 Rate Detune
LFO1/LFO2 Offset
LFO1/LFO2 Delay Time
LFO1/LFO2 Delay Time Key Follow
LFO1/LFO2 Fade Mode
LFO1/LFO2 Fade Time
LFO1/LFO2 Key Trigger
LFO1/LFO2 Pitch Depth
LFO1/LFO2 TVF Depth
LFO1/LFO2 TVA Depth
LFO1/LFO2 Pan Depth
Step LFO Group (P.76)
Parameter
Step Type
Step 1–16
LFO Step Type
LFO Step1–16
Solo/Porta Group (P.77)
Parameter
Mono (Solo) /Poly
Legato Switch
Legato Retrigger
Portamento Switch
Portamento Mode
Portamento Type
Portamento Start
Portamento Time
Legato Retrigger Switch
Parameter List
Value
-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
0–127
0–127
Value
MFX, A, B, 1–4, TONE
MFX, A, B, 1–4
0–127
0–127
0–127
0–127
0–127
Value
SIN, TRI, SAW-U, SAW-D, SQR, RND, BND-U, BND-D,
TRP S&H, CHAOS, VSIN, STEP
0–127, Note
0–127
-100, -50, 0, +50, +100
0–127
-100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20,
+30, +40, +50, +60, +70, +80, +90, +100
ON <, ON >, OFF <, OFF >
0–127
OFF, ON
-63– +63
-63– +63
-63– +63
-63– +63
Value
TYPE 1, TYPE 2
-36– +36
Value
MONO (SOLO), POLY
OFF, ON
OFF, ON
OFF, ON
NORMAL, LEGATO
RATE, TIME
PITCH, NOTE
0–127
257
Fantom-X678_r_e.book 258 ページ ２００７年３月２０日 火曜日 午前１０時２０分
Parameter List
Misc Group (P.78)
Parameter
Tone Delay Mode
Tone Delay Time
Tone Env Mode
Tone Rx Bender
Tone Rx Expression
Tone Rx Hold-1
Tone Rx Pan Mode
Tone Redamper Sw
Tone Receive Pitch Bend Switch
Tone Receive Expression Switch
Tone Receive Hold Switch
Tone Receive Pan Mode
Tone Redamper Switch
CTRL 1–4 Group (P.81)
Parameter
Matrix Control 1–4 Source
CTRL Destination 1–4 Matrix Control Destination 1–4
CTRL Sens 1–4
CTRL Switch 1–4
Matrix Control Sens 1–4
Tone Control Switch 1–4
Effect Group (P.207)
Parameter
MFX
Type
MFX Output Level
MFX Chorus Send Level
MFX Reverb Send Level
MFX Output Assign
Source 1–4
Multi-Effects Type
Multi-Effects Output Level
Multi-Effects Chorus Send Level
Multi-Effects Reverb Send Level
Multi-Effects Output Assign
Multi-Effects Control Source 1–4
Multi-Effects Control Destination 1–4
Multi-Effects Control Sens 1–4
Destination 1–4
Sens 1–4
Chorus
Chorus Type
Chorus Output Select
Chorus Level
Chorus Output Assign
Reverb
Reverb Type
Reverb Level
Reverb Output Assign
Value
NORM, HOLD, OFF-N, OFF-D
0–127, Note
NO SUS, SUST
OFF, ON
OFF, ON
OFF, ON
CONT, K-ON
OFF, ON
Value
OFF, CC01–31, 33–95, PITCH BEND, AFTERTOUCH,
SYS CTRL1–SYS CTRL4, VELOCITY, KEYFOLLOW,
TEMPO, LFO1, LFO2, PITCH ENV, TVF ENV, TVA
ENV
OFF, PITCH, CUTOFF, RESONANCE, LEVEL, PAN,
OUTPUT LEVEL, CHORUS SEND, REVERB SEND,
LFO1 PITCH DEPTH, LFO2 PITCH DEPTH, LFO1 TVF
DEPTH, LFO2 TVF DEPTH, LFO1 TVA DEPTH, LFO2
TVA DEPTH, LFO1 PAN DEPTH, LFO2 PAN DEPTH,
LFO1 RATE, LFO2 RATE, PIT ENV A-TIME, PIT ENV
D-TIME, PIT ENV R-TIME, TVF ENV A-TIME, TVF
ENV D-TIME, TVF ENV R-TIME, TVA ENV A-TIME,
TVA ENV D-TIME, TVA ENV R-TIME, TMT, FXM
DEPTH, MFX CTRL1, MFX CTRL2, MFX CTRL3, MFX
CTRL4, TIME
-63– +63
OFF, ON, REVERSE
Value
00 THROUGH–78 SYMPATHETIC RESONANCE
0–127
0–127
0–127
A, B
OFF, CC01–31, 33–95, PITCH BEND, AFTERTOUCH,
SYS CTRL1–SYS CTRL4
-63– +63
0 (Off), 1 (Chorus), 2 (Delay), 3 (GM2 Chorus)
MAIN, REV, M+R
0–127
A, B
0 (Off), 1 (Reverb), 2 (SRV Room), 3 (SRV Hall), 4 (SRV
Plate), 5 (GM2 Reverb)
0–127
A, B
258
Fantom-X678_r_e.book 259 ページ ２００７年３月２０日 火曜日 午前１０時２０分
Parameter List
Rhythm Set Parameter
General Group (P.87)
Parameter
Rhythm Set Name * Specify when writing.
Rhythm Tone Name
Rhythm Level
Assign Type
Mute Group
Tone Env Mode
Tone Pitch Bend Range
Tone Receive Expression
Tone Receive Hold-1
Tone Receive Pan Mode
One Shot Mode
Aftertouch Time Ctrl Sens
Rhythm Set Level
Rhythm Tone Envelope Mode
Rhythm Tone Pitch Bend Range
Rhythm Tone Receive Expression Switch
Rhythm Tone Receive Hold-1 Switch
Rhythm Tone Receive Pan Mode
Aftertouch Time Control Sensitivity
Wave Group (P.88)
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
WMT Group (P.89)
Parameter
Wave Coarse Tune
Wave Fine Tune
Wave Level
Wave Pan
Wave Rnd Pan Sw
Wave Alter Pan Sw
WMT Velocity Control
Velo Fade Lower
Velo Range Lower
Velo Range Upper
Velo Fade Upper
Wave Random Pan Switch
Wave Alternate Pan Switch
Velocity Control Switch
Velocity Fade Width Lower
Velocity Range Lower
Velocity Range Upper
Velocity Fade Width Upper
Pitch Group (P.91)
Parameter
Tone Coarse Tune
Tone Fine Tune
Tone Random Pitch Depth
Rhythm Tone Coarse Tune
Rhythm Tone Fine Tune
Value space, A–Z, a–z, 0–9, ! ” # $ % & ’ ( ) * + , - . / : ; < = > ?
@ [ \ ] ^ _ ` { | } space, A–Z, a–z, 0–9, ! ” # $ % & ’ ( ) * + , - . / : ; < = > ?
@ [ \ ] ^ _ ` { | }
0–127
MULTI, SINGLE
OFF, 1–31
NO-SUS, SUSTAIN
0–48
OFF, ON
OFF, ON
CONTINUOUS, KEY-ON
OFF, ON
-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
-48– +48
-50– +50
0–127
L64–0–63R
OFF, ON
OFF, ON, REVS
OFF, ON, RANDOM
0–127
1–UPPER
LOWER–127
0–127
Value
C-1–G9
-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
259
Fantom-X678_r_e.book 260 ページ ２００７年３月２０日 火曜日 午前１０時２０分
Parameter List
Pitch Env Group (P.91)
Parameter
P-Env Depth
P-Env V-Sens
P-Env T1 V-Sens
P-Env T4 V-Sens
P-Env Time1–4
P-Env Level 0–4
Pitch Envelope Depth
Pitch Envelope Velocity Sensitivity
Pitch Envelope Time 1 Velocity Sensitivity
Pitch Envelope Time 4 Velocity Sensitivity
Pitch Envelope Time 1–4
Pitch Envelope Level 0–4
TVF Group (P.92)
Parameter
Filter Type
Cutoff Frequency
Resonance
Cutoff V-Curve
Cutoff V-Sens
Resonance V-Sens
Cutoff Frequency Velocity Curve
Cutoff Velocity Sensitivity
Resonance Velocity Sensitivity
TVF Env Group (P.93)
Parameter
F-Env Depth
F-Env V-Curve
F-Env V-Sens
F-Env T1 V-Sens
F-Env T4 V-Sens
F-Env Time1–4
F-Env Level0–4
TVF Envelope Depth
TVF Envelope Velocity Curve
TVF Envelope Velocity Sensitivity
TVF Envelope Time 1 Velocity Sensitivity
TVF Envelope Time 4 Velocity Sensitivity
TVF Envelope Time 1–4
TVF Envelope Level 0–4
TVA Group (P.94)
Parameter
Tone Level
Level V-Curve
Level V-Sens
Tone Pan
Random Pan Depth
Alternate Pan Depth
Rhythm Tone level
Level Velocity Curve
Level Velocity Sensitivity
Rhythm Tone Pan
TVA Env Group (P.94)
Parameter
A-Env T1 V-Sens
A-Env T4 V-Sens
A-Env Time1–4
A-Env Level1–3
TVA Envelope Time 1 Velocity Sensitivity
TVA Envelope Time 4 Velocity Sensitivity
TVA Envelope Time 1–4
TVA Envelope Level 1–3
Output Group (P.95)
Parameter
Rhythm Out Assign
Tone Out Assign
Tone Out Level
Tone Chorus Send (Send Level
(Output=MFX))
Tone Reverb Send (Send Level
(Output=MFX))
Tone Chorus Send (Send Level
(Output=non MFX))
Tone Reverb Send (Send Level
(Output=non MFX))
Rhythm Output Assign
Tone Output Assign
Tone Output Level
Tone Chorus Send Level
Tone Reverb Send Level
Tone Chorus Send Level
Tone Reverb Send Level
Value
-63– +63
FIX, 1–7
-63– +63
-63– +63
-63– +63
0–127
0–127
Value
0–127
FIXED, 1–7
-63– +63
L64–0–63R
0–63
L63–0–63R
Value
-63– +63
-63– +63
0–127
0–127
Value
-12– +12
-63– +63
-63– +63
-63– +63
0–127
-63– +63
Value
OFF, LPF BPF, HPF, PKG, LPF2, LPF3
0–127
0–127
FIXED, 1–7
-63– +63
-63– +63
Value
MFX, A, B, 1–4, TONE
MFX, A, B, 1–4
0–127
0–127
0–127
0–127
0–127
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Effect Group (P.207)
Parameter
MFX
Type
MFX Output Level
MFX Chorus Send Level
MFX Reverb Send Level
MFX Output Assign
Source 1–4
Multi-Effects Type
Multi-Effects Output Level
Multi-Effects Chorus Send Level
Multi-Effects Reverb Send Level
Multi-Effects Output Assign
Multi-Effects Control Source 1–4
Destination 1–4
Sens 1–4
Chorus
Chorus Type
Chorus Output Select
Chorus Level
Chorus Output Assign
Reverb
Reverb Type
Reverb Level
Reverb Output Assign
Multi-Effects Control Destination 1–4
Multi-Effects Control Sens 1–4
Parameter List
Value
00 THROUGH–78 SYMPATHETIC RESONANCE
0–127
0–127
0–127
A, B
OFF, CC01–31, 33–95, PITCH BEND, AFTERTOUCH,
SYS CTRL1–SYS CTRL4
-63– +63
0 (Off), 1 (Chorus), 2 (Delay), 3 (GM2 Chorus)
MAIN, REV, M+R
0–127
A, B
0 (Off), 1 (Reverb), 2 (SRV Room), 3 (SRV Hall), 4 (SRV
Plate), 5 (GM2 Reverb)
0–127
A, B
261
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Parameter List
Performance Parameter
General Group (P.120)
Parameter
Performance Name * Specify when writing.
Part View Group (P.107)
Parameter
[F1 (Level/Pan)]
Patch Type
Patch Bank
Patch Number
Keyboard Switch
Solo Switch
Mute Switch
Part Level
Part Pan
[F2 (Output Effect)]
Part Output Assign
Part Output MFX Select
Part Output Level
Part Chorus Send Level
Part Reverb Send Level
MFX1–3 Source
Chorus Source
Reverb Source
[F3 (Pitch)]
Part Octave Shift
Part Coarse Tune
Part Fine Tune
Part Mono/Poly
Part Legato Switch
Part Pitch Bend Range
Part Portamento Switch
Part Portamento Time
[F4 (Offset)]
Part Cutoff Offset
Part Resonance Offset
Part Attack Time Offset
Part Release Time Offset
Part Decay Time Offset
[F5 (Key Range)]
Keyboard Switch
Keyboard Range Lower
Keyboard Range Upper
Part Velocity Sens Offset
Part Vibrato Rate
Part Vibrato Depth
Part Vibrato Delay
Voice Reserve
[F6 (Scale Tune)]
C–B
[F7 (External)]
Receive Switch
Receive Channel
External Bank Select MSB
External Bank Select LSB
External Program Number
External Level
External Pan
Part Scale Tune C–B
External Program Change Number
Value space, A–Z, a–z, 0–9, ! ” # $ % & ’ ( ) * + , - . / : ; < = > ?
@ [ \ ] ^ _ ` { | }
Value
OFF, ON
C-1–UPPER
LOWER–G9
-63– +63
-64– +63
-64– +63
-64– +63
0–63, FULL
-64– +63
OFF, ON
1–16
0–127, OFF
0–127
1–128, OFF
0–127, OFF
L64–0–63R, OFF
Patch, Rhythm
USER, PRST, GM, CARD, XP-A–D
001–
OFF, ON
OFF, ON
OFF, ON
0–127
L64–0–63R
MFX, A, B, 1–4, PATCH
1–3 (MFX-1–MFX-3)
0–127
0–127
0–127
OFF, ON
OFF, ON
OFF, ON
-3– +3
-48– +48
-50– +50
MONO, POLY, PATCH
OFF, ON, PATCH
0–24, PATCH
OFF, ON, PATCH
0–127, PATCH
-64– +63
-64– +63
-64– +63
-64– +63
-64– +63
262
Fantom-X678_r_e.book 263 ページ ２００７年３月２０日 火曜日 午前１０時２０分
Parameter
[F8 (MIDI Filter)]
Program Change
Bank Select
Pitch Bend
Polyphonic Key Pressure
Channel Pressure
Modulation
Volume
Pan
Expression
Hold-1
Phase Lock
Velocity Curve
Range Min
Range Max
Knob
Knob 1–4 Assign
Switch
Switch 1/2 Assign
Receive Program Change Switch
Receive Bank Select Switch
Receive Pitch Bend Switch
Receive Polyphonic Key Pressure Switch
Receive Channel Pressure Switch
Receive Modulation Switch
Receive Volume Switch
Receive Pan Switch
Receive Expression Switch
Receive Hold 1 Switch
Phase Lock Switch
Control Setting Group (P.114)
Parameter
Ctrl Switch
Control Bender
Control Aftertouch
Control Modulation
Control Hold Pedal
Control Pedal
Control D Beam
Control Knob 1–4
D Beam (Pad Trigger)
Pad Number
Pad Velocity
Pad Control Mode
D Beam (Assignable)
Type
Control Pitch Bend Switch
Control Aftertouch Switch
Control Modulation Switch
Control Hold Pedal Switch
Control Pedal Switch
Control D Beam Switch
Control Knob Switch
Assignable Type
Realtime Control Knob Assign 1–4
Assignable Switch 1/2
Tempo
Recommended Tempo
MFX Ctrl Ch
MFX1–3 Control Channel
Pad Setting Group (P.161)
Parameter
Note
Velocity
Pad Note
Pad Velocity
Pad Common Velo
Pad Sens
Aftertouch Sens
Roll Resolution
Pad Common Velocity
Pad Sensitivity
Aftertouch Sensitivity
Quick Setup
Template Set
Base Note Pad Base Note
Parameter List
Value
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, 1–4
Value
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
1–16
1–127
MOMENTARY, LATCH
CC01–31, 33–95, Bend Up, Bend Down, Start/Stop, Tap
Tempo, Arp Grid, Arp Duration, Arp Motif, Arp Octave
Up, Arp Octave Down, Arp Step, Aftertouch
0–127
0–127
CC01–31, 33–95, Pitch Bend, Aftertouch, Arp Style, Arp
Grid, Arp Duration, Arp Motif, Chord Form, Master
Level, Arp Step, Digital IN
Transpose Down, Transpose Up, Tap Tempo, Mono
(Solo) /Poly, Portamento, Hold, MFX1–3 Sw, Chorus
Sw, Reverb Sw, Mastering Sw, Loop, Rhythm Start/
Stop
20–250
1–16, OFF
Value
C-1–G9
COMMON, 1–127
REAL, 1-127
LIGHT, MEDIUM, HEAVY
1–100
1/4 ( ), 1/6 ( ), 1/8 ( ), 1/12 ( ), 1/16 ( ),
1/24 ( ), 1/32 ( ), 1/48 ( )
Note, Rhythm, Multi Velo
C-1–G9
263
Fantom-X678_r_e.book 264 ページ ２００７年３月２０日 火曜日 午前１０時２０分
Parameter List
Arpeggio Group (P.128)
Parameter
Arp Switch
Arp Grid
Arpeggio Switch
Arpeggio Grid
Arp Duration
Arpeggio Switch
Arpeggio Hold
Arpeggio Style
Arpeggio Motif
Arpeggio Duration
Arpeggio Velocity
Arpeggio Part
Arpeggio Octave Range
Arpeggio Accent Rate
Rhythm Group (P.135)
Parameter
Rhy Switch
Rhythm Pattern Grid
Rhythm Switch
Rhythm Pattern Duration
Rhythm Pattern Switch
Rhythm Pattern Velocity
Rhythm Pattern Accent Rate
Rhythm Group Number
Chord Memory Group (P.133)
Parameter
Chord Switch
Chord Form
Rolled Chord Switch
Rolled Chord Type
Effect Group (P.210)
Parameter
MFX
Structure Type
MFX Type
MFX Output Level
MFX Chorus Send Level
MFX Reverb Send Level
MFX Output Assign
Source 1–4
Multi-Effects Type
Multi-Effects Output Level
Multi-Effects Chorus Send Level
Multi-Effects Reverb Send Level
Multi-Effects Output Assign
Multi-Effects Control Source 1–4
Multi-Effects Control Destination 1–4
Multi-Effects Control Sens 1–4
Multi-Effects Control Channel
Multi-Effects 1–3 Source
Destination 1–4
Sens 1–4
MFX Control Channel
MFX-1–3 Source
Chorus
Chorus Type
Chorus Output Select
Chorus Level
Chorus Output Assign
Chorus Source
Reverb
Reverb Type
Reverb Level
Reverb Output Assign
Reverb Source
264
Value
OFF, ON
1/4 ( ), 1/8 ( ), 1/8 ( ) L, 1/8 ( ) H, 1/12 ( ),
1/16 ( ), 1/16 ( ) L, 1/16 ( ) H, 1/24 ( )
30, 40, 50, 60, 70, 80, 90,100, 120, FULL
OFF, ON
OFF, ON
U001–U128, P001–P128
Up (L), Up (L&H), Up (_), Down (L), Down (L&H),
Down (_), Up&Down, Up&Down (L&H),
Up&Down (_), Random (L), Random (_), Phrase
REAL, 1–127
1–16
-3– +3
0–100
Value
OFF, ON
1/4 ( ), 1/8 ( ), 1/8 ( ) L, 1/8 ( ) H, 1/12 ( ),
1/16 ( ), 1/16 ( ) L, 1/16 ( ) H, 1/24 ( )
30, 40, 50, 60, 70, 80, 90, 100, 120, FULL
OFF, ON
REAL, 1–127
0–100
U01–U32, P01–P32
Value
OFF, ON
U01–U64, P01–P64
OFF, ON
UP, DOWN, ALTENATE
Value
1–16
0–78
0–127
0–127
0–127
A, B
OFF, CC01–31, 33–95, PITCH BEND, AFTERTOUCH,
SYS CTRL1–SYS CTRL4
-63– +63
1–16, OFF
PRF, P1–P16
0 (Off), 1 (Chorus), 2 (Delay), 3 (GM2 Chorus)
MAIN, REV, MAIN+REV
0–127
A, B
PRF, P1–P16
0 (Off), 1 (Reverb) 2 (SRV Room), 3 (SRV Hall) 4 (SRV
Plate), 5 (GM2 Reverb)
0–127
A, B
PRF, P1–P16
Fantom-X678_r_e.book 265 ページ ２００７年３月２０日 火曜日 午前１０時２０分
Rhythm Group Parameter
Rhythm Group Group (P.139)
Parameter
Recommended Rhy
Pad Mode
Rhy Ptn Number
Rhy Ptn Velocity
Pad Note
Pad Velocity
Recommended Rhythm Set
Rhythm Pattern Number
Rhythm Pattern Velocity
Sample Parameters
Sample Group (P.150)
Parameter
Sample Name
Loop Mode
Loop Tune
Original Key
BPM
Time Stretch Type
Start Fine
Loop Start Fine
Loop End Fine tempo
Parameter List
Value
USER, PRST, GM, CARD, XP-A–D
OFF, NOTE, PATTERN
U001–U256, P001–P256
REAL, 1–127
C-1–G9
REAL, 1–127
Value space, A–Z, a–z, 0–9, ! ” # $ % & ’ ( ) * + , - . / : ; < = > ?
@ [ \ ] ^ _ ` { | }
FWD, ONE-SHOT, REV, REV-ONE
-50– +50
0 (C-1) –127 (G9)
5.00–300.00
TYPE01–TYPE10
0–255
0–255
0–255
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Parameter List
System Parameters
Pedal/D Beam Group (P.226)
Parameter
D Beam Sens
Control Pedal Assign
D Beam Sensitivity
Control Pedal Polarity
Hold Pedal Polarity
Continuous Hold Pedal
Keyboard Group (P.226)
Parameter
Keyboard Velocity
Keyboard Sens
Aftertouch Sens
Keyboard Sensitivity
Aftertouch Sensitivity
Sync/Tempo Group (P.227)
Parameter
Sync Mode
Sync Output
Tempo Override
Arp/Rhythm Sync Switch
MMC Mode
MMC Output
MTC Sync Output
MTC Frame Rate
MTC Offset Time Hour
MTC Offset Time Minute
MTC Offset Time Second
MTC Offset Time Frame
MTC Error Level
Sync Output switch
Arpeggio/Rhythm Sync Switch
MMC Output switch
MTC Sync Output switch
Metronome Group (P.228)
Parameter
Metronome Mode
Metronome Level
Metronome Sound
Beat Indicator Mode
Sound (P.229)
Parameter
Local Switch
Master Tune
Master Level
Output Gain
Mix/Parallel
Master Key Shift
Patch Remain Patch Remain Switch
Value
0–127
CC01–31, 33–95, BEND-UP, BEND-DOWN, AFTER-
TOUCH, OCT UP, OCT DOWN, START/STOP,
PUNCH IN/OUT, TAP TEMPO, PROG UP, PROG
DOWN, FAVORITE UP, FAVORITE DOWN, ARP /
RHY SW, RHY START/STOP, CHORD SW, LIVE SET
UP, LIVE SET DOWN, LOOP
STANDARD, REVERSE
STANDARD, REVERSE
OFF, ON
Value
REAL, 1–127
LIGHT, MEDIUM, HEAVY
0–100
Value
MASTER, SLAVE-MIDI, SLAVE-MTC, REMOTE
OFF, ON
OFF, ON
OFF, ON
MASTER, SLAVE
OFF, ON
OFF, ON
24, 25, 29N, 29D, 30
0–23 hours
0–59 minutes
0–59 seconds
0–29 frames
0 –10
Value
OFF, PLAY-ONLY, REC-ONLY, PLAY&REC, AL-
WAYS
0–10
TYPE 1, TYPE 2, TYPE 3, TYPE 4
REC&PLAY, ALWAYS
Value
OFF, ON
415.3–466.2 Hz
0–127
-12– +12 dB
MIX, PARALLEL
-24– +24
OFF, ON
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MIDI Group (P.230)
Parameter
Device ID
Performance Control Channel
Kbd Patch Rx/Tx Ch
Pad Patch Rx/Tx Ch
Transmit Program Change
Transmit Bank Select
Transmit Active Sensing
Transmit Edit Data
Soft Through
Remote Keyboard Sw
Receive Program Change
Receive Bank Select
Receive Exclusive
Receive GM System On
Receive GM2 System On
Receive GS Reset
USB (P.231)
Parameter
USB Mode
USB-MIDI Thru
Device ID Number
Keyboard Patch Receive/Transmit Channel
Pad Patch Receive/Transmit Channel
Transmit Program Change Switch
Transmit Bank Select Switch
Transmit Active Sensing Switch
Transmit Edit Data Switch
Soft Through Switch
Remote Keyboard Switch
Receive Program Change Switch
Receive Bank Select Switch
Receive System Exclusive Switch
Receive GM System On Switch
Receive GM2 System On Switch
Receive GS Reset Switch
Scale Tune Group (P.232)
Parameter
Scale Tune Switch
Patch Scale Tune for C–B
Preview Group (P.232)
Parameter
Preview Mode
Preview 1–4 Note Number
Preview 1–4 Velocity
System Ctrl Group (P.233)
Parameter
Sys Ctrl 1–4 Source System Control1–4 Source
Background Group (P.233)
Parameter
Background Picture
Screen Saver Group (P.233)
Parameter
Screen Saver Type
Screen Saver Time
Sampling Group (P.233)
Parameter
Default File Type
Pre Sample Time
Trigger Level
Gap Time
Input Select
Trimming Switch
Skip Back Time
Parameter List
Value
17–32
1–16, OFF
1–16
1–16
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
Value
MIDI, STORAGE
OFF, ON
Value
OFF, ON
-64– +63
Value
SINGLE, CHORD, PHRASE
C-1–G9
OFF, 1–127
Value
OFF, CC01–31, 33–95, BEND, AFT
Value
1–16
Value
1–16
OFF, 5–60 min
Value
WAV, AIFF
0–1000 ms
0–7
500, 1000, 1500, 2000 ms
DIGITAL LINE-L-R, LINE-L, MIC
OFF, ON
5s–40s
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Parameter List
Startup Group (P.234)
Parameter
Load Preset Samples at Startup
Load User Samples at Startup
Load Demo Song at Startup
Rec Track Sellect
Power Up Mode
System Information Group (P.234)
Parameter
Features
Memory Info
SRX Info
Version Info
Displays the main features of the Fantom-X.
Memory Information
SRX Information
Version Information
D Beam (Solo Synth) Group (P.123)
Parameter
OSC1/2 Waveform
OSC1/2 Pulse Width
OSC1/2 Coarse Tune
OSC1/2 Fine Tune
OSC2 Level
OSC Sync Switch
Filter Type
Cutoff
Resonance
Level
Chorus Send Level
Reverb Send Level
LFO Rate
LFO Osc 1 Pitch Depth
LFO Osc 2 Pitch Depth
LFO Osc 1 Pulse Width Depth
LFO Osc 2 Pulse Width Depth
Range Solo Synth Range
Mastering Effect Group (P.217)
Parameter
HIGH/MID/LOW ATTACK
HIGH/MID/LOW RELEASE
HIGH/MID/LOW THRESHOLD
HIGH/MID/LOW RATIO
HIGH/MID/LOW LEVEL
Split Frequency High
Split Frequency Low
Input Setting Group (P.141)
Parameter
Input Select
Mix-In
Mix In Output Assign
Mix In Output Level
Mix In Chorus Send Level
Mix In Reverb Send Level
Input Effect Switch
Input Effect Type
Value
OFF, ON
OFF, ON
OFF, ON
Manual, Auto
PATCH, PERFORMANCE
Value
SAW, SQR
0–127
-48– +48
-50– +50
0–127
OFF, ON
OFF, LPF, BPF, HPF, PKG
0–127
0–127
0–127
0–127
0–127
0–127
-63– +63
-63– +63
-63– +63
-63– +63
2 OCTAVE, 4 OCTAVE, 8 OCTAVE
Value
0–100 ms
50–5000 ms
-36–0 dB
1.00:1–INF:1 (INF: Infinity)
0–24 dB
2000–8000 Hz
200–800 Hz
Value
DIGITAL IN, LINE IN L/R, LINE IN L, MICROPHONE
ON, OFF
DRY, MFX
0–127
0–127
0–127
ON, OFF
EQ, ENHANCER, COMP, LIMITER, NOISE SUP, C
CANCELER
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V-LINK Group (P.239)
Parameter
Note Tx Ch
Clip 1 Note No.
Play Speed Ctrl
Note Transmit Channel
Clip 1 Note Number
Play Speed Control
Dissolve Time
Ctrl Tx Ch
Color Cb Ctrl
Color Cr Ctrl
Brightness Ctrl
VFX Ctrl
PAD MODE
Local Sw
CLIP FILTER 1–32
Control Transmit Channel
Color Cb Control
Color Cr Control
Brightness Control
VFX Control
Local Switch
D Beam (Assignable) Group (P.50)
* If Patch mode is selected, this is saved as part of the system settings.
Parameter
Type Assignable Type
Range Min
Range Max
Knob Group (P.51)
* If Patch mode is selected, this is saved as part of the system settings.
Parameter
Knob 1–4 Assign Realtime Control Knob Assign 1–4
Switch Group (P.51)
* If Patch mode is selected, this is saved as part of the system settings.
Parameter
Switch 1/2 Assign Assignable Switch 1/2
Pad Setting Group (P.161)
Parameter
Pad Common Velo
Pad Sens
Aftertouch Sens
Roll Resolution
Pad Common Velocity
Pad Sensitivity
Aftertouch Sensitivity
* If Patch mode is selected, this is saved as part of the system settings.
Parameter
Pad Set
Base
Note
Velocity
Pad Base Note
Pad Note
Pad Velocity
Parameter List
Value
1–16
0 (C-1)–127 (G9)
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
OFF, CC1, CC5, CC7, CC10, CC11, CC71–74, CC91–93,
Channel Aftertouch
1–16
OFF, CC1, CC5, CC7, CC10, CC11, CC71–74, CC91–93,
Channel Aftertouch
OFF, CC1, CC5, CC7, CC10, CC11, CC71–74, CC91–93,
Channel Aftertouch
OFF, CC1, CC5, CC7, CC10, CC11, CC71–74, CC91–93,
Channel Aftertouch
OFF, CC1, CC5, CC7, CC10, CC11, CC71–74, CC91–93,
Channel Aftertouch
CLIP, PALETT
OFF, ON
OFF, ON
Value
CC01–31, 33–95, Bend Up, Bend Down, Start/Stop, Tap
Tempo, Arp Grid, Arp Duration, Arp Motif, Arp Octave
Up, Arp Octave Down
0–127
0–127
Value
CC01–31, 33–95, Pitch Bend, Aftertouch, Arp Style, Arp
Grid, Arp Duration, Arp Motif, Chord Form, Master
Level
Value
Transpose Down, Transpose¬ Up, Tap Tempo, Mono
(Solo)/Poly, Portamento, Hold, MFX1–3 Sw, Chorus
Sw, Reverb Sw, Mastering Sw, Loop, Rhythm Start/
Stop
Value
REAL, 1–127
LIGHT, MEDIUM, HEAVY
0–100
1/4 ( ), 1/6 ( ), 1/8 ( ), 1/12 ( ), 1/16 ( ),
1/24 ( ), 1/32 ( ), 1/48 ( )
Value
User, Note, Rhythm
C-1–G9
C-1–G9
REAL, 1–127
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Effects List
Multi-Effects Parameter
The multi-effects feature 78 different kinds of effects. Some of the effects consist of two or more different effects connected in series.
Parameters marked with a sharp “#” can be controlled using a specified controller (Two setting items will change simultaneously for “#1” and “#2”).
FILTER
(10 types)
05
06
07
08
01
02
03
04
09
10
EQUALIZER
SPECTRUM
ISOLATOR
LOW BOOST
SUPER FILTER
STEP FILTER
ENHANCER
AUTO WAH
HUMANIZER
SPEAKER SIMULATOR
MODULATION
(12 types)
15
16
17
18
11
12
13
14
19
20
21
22
PHASER
STEP PHASER
MULTI STAGE PHASER
INFINITE PHASER
RING MODULATOR
STEP RING MODULATOR
TREMOLO
AUTO PAN
STEP PAN
SLICER
ROTARY
VK ROTARY
CHORUS
(12 types)
27
28
29
30
23
24
25
26
31
32
33
34
CHORUS
FLANGER
STEP FLANGER
HEXA-CHORUS
TREMOLO CHORUS
SPACE-D
3D CHORUS
3D FLANGER
3D STEP FLANGER
2BAND CHORUS
2BAND FLANGER
2BAND STEP FLANGER
DYNAMICS
(8 types)
47
48
49
50
51
43
44
45
46
39
40
41
42
35
36
37
38
OVERDRIVE
DISTORTION
VS OVERDRIVE
VS DISTORTION
GUITAR AMP SIMULATOR
COMPRESSOR
LIMITER
GATE
DELAY
(13 types)
DELAY
LONG DELAY
SERIAL DELAY
MODULATION DELAY
3TAP PAN DELAY
4TAP PAN DELAY
MULTI TAP DELAY
REVERSE DELAY
SHUFFLE DELAY
270
52
53
54
55
3D DELAY
TIME CTRL DELAY
LONG TIME CTRL DELAY
TAPE ECHO
LO-FI
(5 types)
56
57
58
59
60
LOFI NOISE
LOFI COMPRESS
LOFI RADIO
TELEPHONE
PHONOGRAPH
PITCH
(3 types)
61
62
63
PITCH SHIFTER
2VOICE PITCH SHIFTER
STEP PITCH SHIFTER
REVERB
(2 types)
64
65
REVERB
GATED REVERB
COMBINATION
(12 types)
66
67
68
69
70
71
72
73
74
75
76
77
OVERDRIVE → CHORUS
OVERDRIVE → FLANGER
OVERDRIVE → DELAY
DISTORTION → CHORUS
DISTORTION → FLANGER
DISTORTION → DELAY
ENHANCER → CHORUS
ENHANCER → FLANGER
ENHANCER → DELAY
CHORUS → DELAY
FLANGER → DELAY
CHORUS → FLANGER
PIANO
(1 type)
78 SYMPATHETIC RESONANCE
About Note
Some effect parameters (such as Rate or Delay Time) can be set in terms of a note value.
Such parameters have a num/note switch that lets you specify whether you will set the value as a note value or as a numerical value.
If you want to set Rate (Delay Time) as a numerical value, set the num/note switch to “Hz” (“msec”). If you want to set it as a note value, set the num/note switch to “NOTE.” num/note switch
If a parameter whose num/note switch is set to “NOTE” is specified as a destination for multi-effect control, you will not be able to use multi-effect control to control that parameter.
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Effects List
01: EQUALIZER
This is a four-band stereo equalizer (low, mid x 2, high).
fig.MFX-01
L in 4-Band EQ L out
R in 4-Band EQ R out
Parameter
Low Freq
Low Gain #
Mid1 Freq
Mid1 Gain
Mid1 Q
Mid2 Freq
Mid2 Gain
Mid2 Q
High Freq
High Gain #
Level #
Value
200, 400 Hz
-15– +15 dB
200–8000 Hz
-15– +15 dB
0.5, 1.0, 2.0, 4.0, 8.0
200–8000 Hz
-15– +15 dB
0.5, 1.0, 2.0, 4.0, 8.0
2000, 4000, 8000 Hz
-15– +15 dB
0–127
Description
Frequency of the low range
Gain of the low range
Frequency of the middle range 1
Gain of the middle range 1
Width of the middle range 1
Set a higher value for Q to narrow the range to be affected.
Frequency of the middle range 2
Gain of the middle range 2
Width of the middle range 2
Set a higher value for Q to narrow the range to be affected.
Frequency of the high range
Gain of the high range
Output Level
02: SPECTRUM
This is a stereo spectrum. Spectrum is a type of filter which modifies the timbre by boosting or cutting the level at specific frequencies.
fig.MFX-02
L in Spectrum L out
R in Spectrum R out
Parameter
Band1 (250Hz)
Band2 (500Hz)
Band3 (1000Hz)
Band4 (1250Hz)
Band5 (2000Hz)
Band6 (3150Hz)
Band7 (4000Hz)
Band8 (8000Hz)
Q
Value
-15– +15 dB
Level #
Description
Gain of each frequency band
0.5, 1.0, 2.0, 4.0, 8.0
0–127
Simultaneously adjusts the width of the adjusted ranges for all the frequency bands.
Output Level
03: ISOLATOR
This is an equalizer which cuts the volume greatly, allowing you to add a special effect to the sound by cutting the volume in varying ranges.
fig.MFX-03
L in Isolator Low Boost L out
R in Isolator Low Boost R out
Parameter
Boost/
Cut Low #
Boost/
Cut Mid #
Boost/
Cut High #
Anti Phase
Low Sw
Anti Phase
Low Level
Anti Phase
Mid Sw
Anti Phase
Mid Level
Low Boost Sw
OFF, ON
0–127
OFF, ON
Low Boost
Level
Value
-60– +4 dB
OFF, ON
0–127
0–127
Description
These boost and cut each of the High,
Middle, and Low frequency ranges.
At -60 dB, the sound becomes inaudible. 0 dB is equivalent to the input level of the sound.
Turns the Anti-Phase function on and off for the Low frequency ranges.
When turned on, the counterchannel of stereo sound is inverted and added to the signal.
Adjusts the level settings for the Low frequency ranges.
Adjusting this level for certain frequencies allows you to lend emphasis to specific parts. (This is effective only for stereo source.)
Settings of the Anti-Phase function for the Middle frequency ranges
The parameters are the same as for the Low frequency ranges.
Turns Low Booster on/off.
This emphasizes the bottom to create a heavy bass sound.
Increasing this value gives you a heavier low end.
* Depending on the Isolator and filter settings this effect may be hard to distinguish.
Output Level Level 0–127
04: LOW BOOST
Boosts the volume of the lower range, creating powerful lows.
fig.MFX-04
L in Low Boost 2-Band EQ L out
R in Low Boost 2-Band EQ R out
Parameter
Boost
Frequency #
Boost Gain #
Boost Width
Low Gain
High Gain
Level
Value
50–125 Hz
0– +12 dB
WIDE, MID,
NARROW
-15– +15 dB
-15– +15 dB
0–127
Description
Center frequency at which the lower range will be boosted
Amount by which the lower range will be boosted
Width of the lower range that will be boosted
Gain of the low frequency range
Gain of the high frequency range
Output level
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Effects List
05: SUPER FILTER
This is a filter with an extremely sharp slope. The cutoff frequency can be varied cyclically.
fig.MFX-05
L in Super Filter L out
R in Super Filter R out
Parameter
Filter Type
Filter Slope
Filter
Cutoff #
Filter
Resonance #
Filter Gain
Modulation
Sw
Modulation
Wave
Value
LPF, BPF,
HPF, NOTCH
-12, -24, -36 dB
0–127
0–127
0– +12 dB
OFF,ON
TRI, SQR,
SIN, SAW1,
SAW2
SAW1
Description
Filter type
Frequency range that will pass through each filter
LPF : frequencies below the cutoff
BPF: frequencies in the region of the cutoff
HPF: frequencies above the cutoff
NOTCH: frequencies other than the region of the cutoff
Amount of attenuation per octave
-36 dB: extremely steep
-24 dB: steep
-12 dB: gentle
Cutoff frequency of the filter
Increasing this value will raise the cutoff frequency.
Filter resonance level
Increasing this value will emphasize the region near the cutoff frequency.
Amount of boost for the filter output
On/off switch for cyclic change
How the cutoff frequency will be modulated
TRI: triangle wave
SQR: square wave
SIN: sine wave
SAW1: sawtooth wave (upward)
SAW2: sawtooth wave (downward)
SAW2
Rate #
Depth
Attack #
Level
0.05–10.00 Hz, note
0–127
0–127
0–127
Rate of modulation
Depth of modulation
Speed at which the cutoff frequency will change
This is effective if Modulation Wave is SQR, SAW1, or SAW2.
Output level
06: STEP FILTER
This is a filter whose cutoff frequency can be modulated in steps.
You can specify the pattern by which the cutoff frequency will change.
fig.MFX-06
L in Step Filter L out
R in Step Filter R out
Parameter Value
Step 01–16
Rate #
Attack #
0–127
0.05–10.00 Hz, note
0–127
Filter Type LPF, BPF,
HPF, NOTCH
Filter Slope
Filter
Resonance #
Filter Gain
Level
-12, -24, -36 dB
0–127
0– +12 dB
0–127
Description
Cutoff frequency at each step
Rate of modulation
Speed at which the cutoff frequency changes between steps
Filter type
Frequency range that will pass through each filter
LPF: frequencies below the cutoff
BPF: frequencies in the region of the cutoff
HPF: frequencies above the cutoff
NOTCH: frequencies other than the region of the cutoff
Amount of attenuation per octave
-12 dB: gentle
-24 dB: steep
-36 dB: extremely steep
Filter resonance level
Increasing this value will emphasize the region near the cutoff frequency.
Amount of boost for the filter output
Output level
07: ENHANCER
Controls the overtone structure of the high frequencies, adding sparkle and tightness to the sound.
fig.MFX-07
L in Enhancer
Mix
2-Band
EQ
L out
R in Enhancer
Mix
2-Band
EQ
R out
Parameter
Sens #
Mix #
Low Gain
High Gain
Level
Value
0–127
0–127
-15– +15 dB
-15– +15 dB
0–127
Description
Sensitivity of the enhancer
Level of the overtones generated by the enhancer
Gain of the low range
Gain of the high range
Output Level
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Effects List
08: AUTO WAH
Cyclically controls a filter to create cyclic change in timbre.
fig.MFX-08
L in Auto Wah 2-Band EQ L out
R in Auto Wah 2-Band EQ R out
Parameter Value
Filter Type LPF, BPF
Manual #
Peak
Sens #
Polarity
0–127
0–127
0–127
UP, DOWN
Description
Type of filter
LPF: The wah effect will be applied over a wide frequency range.
BPF: The wah effect will be applied over a narrow frequency range.
Adjusts the center frequency at which the effect is applied.
Adjusts the amount of the wah effect that will occur in the range of the center frequency.
Set a higher value for Q to narrow the range to be affected.
Adjusts the sensitivity with which the filter is controlled.
Sets the direction in which the frequency will change when the auto-wah filter is modulated.
UP: The filter will change toward a higher frequency.
DOWN: The filter will change toward a lower frequency.
Frequency of modulation Rate #
Depth #
Phase #
Low Gain
High Gain
Level
0.05–10.00 Hz, note
0–127
0–180 deg
-15– +15 dB
-15– +15 dB
0–127
Depth of modulation
Adjusts the degree of phase shift of the left and right sounds when the wah effect is applied.
Gain of the low range
Gain of the high range
Output Level
09: HUMANIZER
Adds a vowel character to the sound, making it similar to a human voice.
fig.MFX-09
L in
Pan L
L out
Overdrive Formant
2-Band
EQ
R in
Pan R
R out
Parameter Value
Drive Sw
Drive #
OFF, ON
0–127
Vowel1
Vowel2
Rate #
Depth #
Input Sync
Sw
Input Sync
Threshold
Manual # a, e, i, o, u a, e, i, o, u
0.05–10.00 Hz, note
0–127
OFF, ON
0–127
0–100
Low Gain
High Gain
Pan #
Level
-15– +15 dB
-15– +15 dB
L64–63R
0–127
Description
Turns Drive on/off.
Degree of distortion
Also changes the volume.
Selects the vowel.
Frequency at which the two vowels switch
Effect depth
Determines whether the LFO for switching the vowels is reset by the input signal (ON) or not (OFF).
Volume level at which reset is applied
Point at which Vowel 1/2 switch
49 or less: Vowel 1 will have a longer duration.
50: Vowel 1 and 2 will be of equal duration.
51 or more: Vowel 2 will have a longer duration.
Gain of the low frequency range
Gain of the high frequency range
Stereo location of the output
Output level
10: SPEAKER SIMULATOR
Simulates the speaker type and mic settings used to record the speaker sound.
fig.MFX-10
L in Speaker L out
R in Speaker R out
Parameter
Speaker Type
Mic Setting
Mic Level #
Direct Level #
Level #
Value
(See the table right.)
1, 2, 3
0–127
0–127
0–127
Description
Type of speaker
Adjusts the location of the mic that is recording the sound of the speaker.
This can be adjusted in three steps, with the mic becoming more distant in the order of 1, 2, and 3.
Volume of the microphone
Volume of the direct sound
Output Level
Specifications of each Speaker Type
The speaker column indicates the diameter of each speaker unit (in inches) and the number of units.
Type
SMALL 1
SMALL 2
MIDDLE
JC-120
BUILT-IN 1
BUILT-IN 2
BUILT-IN 3
BUILT-IN 4
BUILT-IN 5
BG STACK 1
BG STACK 2
MS STACK 1
MS STACK 2
METAL STACK
2-STACK
3-STACK
Cabinet small open-back enclosure small open-back enclosure open back enclosure open back enclosure open back enclosure open back enclosure open back enclosure open back enclosure open back enclosure sealed enclosure large sealed enclosure large sealed enclosure large sealed enclosure large double stack large double stack large triple stack
12 x 2
12 x 2
12 x 2
12 x 2
12 x 4
12 x 4
12 x 4
12 x 4
12 x 4
10
10
12 x 1
12 x 2
12 x 2
12 x 2
12 x 2
Speaker Microphone dynamic dynamic dynamic dynamic dynamic condenser condenser condenser condenser condenser condenser condenser condenser condenser condenser condenser
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Effects List
11: PHASER
A phase-shifted sound is added to the original sound and modulated.
fig.MFX-11
L in Phaser
2-Band
EQ
L out
Mix
Mix
R in Phaser
2-Band
EQ
R out
Parameter
Mode
Value
4-STAGE, 8-
STAGE, 12-STAGE
0–127
Description
Number of stages in the phaser
Manual #
Rate #
Depth
Polarity
Resonance #
Cross
Feedback
Mix #
Low Gain
High Gain
Level
0.05–10.00 Hz, note
0–127
INVERSE,
SYNCHRO
0–127
-98– +98 %
0–127
-15– +15 dB
-15– +15 dB
0–127
Adjusts the basic frequency from which the sound will be modulated.
Frequency of modulation
Depth of modulation
Selects whether the left and right phase of the modulation will be the same or the opposite.
INVERSE: The left and right phase will be opposite. When using a mono source, this spreads the sound.
SYNCHRO: The left and right phase will be the same. Select this when inputting a stereo source.
Amount of feedback
Adjusts the proportion of the phaser sound that is fed back into the effect. Negative (-) settings will invert the phase.
Level of the phase-shifted sound
Gain of the low range
Gain of the high range
Output Level
12: STEP PHASER
The phaser effect will be varied gradually.
fig.MFX-12
L in
2-Band
EQ
L out
R in
Step Phaser
Step Phaser
Mix
Mix
2-Band
EQ
R out
Parameter
Mode
Manual #
Rate #
Depth
Polarity
Value
4-STAGE, 8-
STAGE, 12-STAGE
0–127
0.05–10.00 Hz, note
0–127
INVERSE,
SYNCHRO
0–127
Description
Number of stages in the phaser
Adjusts the basic frequency from which the sound will be modulated.
Frequency of modulation
Depth of modulation
Selects whether the left and right phase of the modulation will be the same or the opposite.
INVERSE: The left and right phase will be opposite. When using a mono source, this spreads the sound.
SYNCHRO: The left and right phase will be the same. Select this when inputting a stereo source.
Amount of feedback Resonance #
274
Parameter
Cross
Feedback
Step Rate #
Mix #
Low Gain
High Gain
Level
Value
-98– +98 %
0.10–20.00 Hz, note
0–127
-15– +15 dB
-15– +15 dB
0–127
Description
Adjusts the proportion of the phaser sound that is fed back into the effect. Negative (-) settings will invert the phase.
Rate of the step-wise change in the phaser effect
Level of the phase-shifted sound
Gain of the low range
Gain of the high range
Output Level
13: MULTI STAGE PHASER
Extremely high settings of the phase difference produce a deep phaser effect.
fig.MFX-13
L in L out
Pan L
R in
Multi Stage
Phaser
Resonance
Mix
2-Band
EQ
Pan R
R out
Parameter
Mode
Manual #
Rate #
Depth
Resonance #
Mix #
Pan #
Low Gain
High Gain
Level
Value
4-STAGE, 8-
STAGE,
12-STAGE, 16-
STAGE, 20-
STAGE, 24-STAGE
0–127
Description
Number of phaser stages
0.05–10.00 Hz, note
0–127
0–127
0–127
L64–63R
-15– +15 dB
-15– +15 dB
0–127
Adjusts the basic frequency from which the sound will be modulated.
Frequency of modulation
Depth of modulation
Amount of feedback
Level of the phase-shifted sound
Stereo location of the output sound
Gain of the low range
Gain of the high range
Output Level
14: INFINITE PHASER
A phaser that continues raising/lowering the frequency at which the sound is modulated.
fig.MFX-14
L in
Pan L
L out
Infinite Phaser 2-Band EQ
R in
Pan R
R out
Parameter
Mode
Speed #
Resonance #
Mix #
Pan #
Low Gain
High Gain
Level
Range
1, 2, 3, 4
-100– +100
0–127
0–127
L64–63R
-15– +15 dB
-15– +15 dB
0–127
Explanation
Higher values will produce a deeper phaser effect.
Speed at which to raise or lower the frequency at which the sound is modulated
(+: upward / -: downward)
Amount of feedback
Volume of the phase-shifted sound
Panning of the output sound
Amount of boost/cut for the low-frequency range
Amount of boost/cut for the high-frequency range
Output volume
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Effects List
15: RING MODULATOR
This is an effect that applies amplitude modulation (AM) to the input signal, producing bell-like sounds. You can also change the modulation frequency in response to changes in the volume of the sound sent into the effect.
fig.MFX-15
L in Ring Mod 2-Band EQ L out
R in Ring Mod 2-Band EQ R out
Parameter Value
Frequency # 0–127
Sens # 0–127
Polarity UP, DOWN
Low Gain
High Gain
Balance #
Level
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
Description
Adjusts the frequency at which modulation is applied.
Adjusts the amount of frequency modulation applied.
Determines whether the frequency modulation moves towards higher frequencies ( UP ) or lower frequencies ( DOWN ).
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct sound (D) and the effect sound (W)
Output level
16: STEP RING MODULATOR
This is a ring modulator that uses a 16-step sequence to vary the frequency at which modulation is applied.
fig.MFX-16
L in Step Ring Mod 2-Band EQ L out
R in Step Ring Mod 2-Band EQ R out
Parameter Range
Step 01–16 0–127
Rate #
Attack #
0.05–10.00 Hz, note
0–127
Low Gain
High Gain
Balance #
Level
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
Explanation
Frequency of ring modulation at each step
Rate at which the 16-step sequence will cycle
Speed at which the modulation frequency changes between steps
Amount of boost/cut for the low-frequency range
Amount of boost/cut for the high-frequency range
Volume balance of the original sound (D) and effect sound (W)
Output volume
17: TREMOLO
Cyclically modulates the volume to add tremolo effect to the sound.
fig.MFX-17a
L in Tremolo 2-Band EQ L out
R in Tremolo 2-Band EQ R out
Parameter
Mod Wave
Value
TRI, SQR, SIN,
SAW1, SAW2
SAW1
Description
Modulation Wave
TRI: triangle wave
SQR: square wave
SIN: sine wave
SAW1/2: sawtooth wave
SAW2
Rate #
Depth #
Low Gain
High Gain
Level
0.05–10.00 Hz, note
0–127
-15– +15 dB
-15– +15 dB
0–127
Frequency of the change
Depth to which the effect is applied
Gain of the low range
Gain of the high range
Output Level
18: AUTO PAN
Cyclically modulates the stereo location of the sound.
fig.MFX-18a
L in Auto Pan 2-Band EQ L out
R in Auto Pan 2-Band EQ R out
Parameter
Mod Wave
Value
TRI, SQR, SIN,
SAW1, SAW2
SAW1
R
Description
Modulation Wave
TRI: triangle wave
SQR: square wave
SIN: sine wave
SAW1/2: sawtooth wave
SAW2
R
Rate #
Depth #
Low Gain
High Gain
Level
L
0.05–10.00 Hz, note
0–127
-15– +15 dB
-15– +15 dB
0–127
L
Frequency of the change
Depth to which the effect is applied
Gain of the low range
Gain of the high range
Output Level
19: STEP PAN
This uses a 16-step sequence to vary the panning of the sound.
fig.MFX-19
L in Step Pan L out
R in Step Pan R out
Parameter Range
Step 01–16
Rate #
L64–63R
0.05–10.00 Hz, note
Attack #
Input Sync
Sw
0–127
OFF, ON
Input Sync
Threshold
Level
0–127
0–127
Explanation
Pan at each step
Rate at which the 16-step sequence will cycle
Speed at which the pan changes between steps
Specifies whether an input note will cause the sequence to resume from the first step of the sequence (ON) or not (OFF)
Volume at which an input note will be detected
Output volume
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Effects List
20: SLICER
By applying successive cuts to the sound, this effect turns a conventional sound into a sound that appears to be played as a backing phrase. This is especially effective when applied to sustaintype sounds.
fig.MFX-20
L in Slicer L out
R in Slicer R out
Parameter Value
Step 01–16
Rate #
Attack #
L64–63R
0.05–10.00
Hz, note
0–127
Input Sync
Sw
OFF, ON
Input Sync
Threshold
Mode
Shuffle #
Level
0–127
LEGATO,
SLASH
0–127
0–127
Description
Level at each step
Rate at which the 16-step sequence will cycle
Speed at which the level changes between steps
Specifies whether an input note will cause the sequence to resume from the first step of the sequence (ON) or not
(OFF)
Volume at which an input note will be detected
Sets the manner in which the volume changes as one step progresses to the next.
LEGATO: The change in volume from one step’s level to the next remains unaltered. If the level of a following step is the same as the one preceding it, there is no change in volume.
SLASH: The level is momentarily set to 0 before progressing to the level of the next step. This change in volume occurs even if the level of the following step is the same as the preceding step.
Timing of volume changes in levels for even-numbered steps (step 2, step 4, step
6...).
The higher the value, the later the beat progresses.
Output level
21: ROTARY
The Rotary effect simulates the sound of the rotary speakers often used with the electric organs of the past. Since the movement of the high range and low range rotors can be set independently, the unique type of modulation characteristic of these speakers can be simulated quite closely. This effect is most suitable for electric organ
Patches.
fig.MFX-21
L in L out
Rotary
R in R out
Parameter
Speed #
Value
SLOW, FAST
Woofer Slow
Speed
Woofer Fast
Speed
0.05–10.00 Hz
0.05–10.00 Hz
Description
Simultaneously switch the rotational speed of the low frequency rotor and high frequency rotor.
SLOW: Slows down the rotation to the Slow Rate.
FAST: Speeds up the rotation to the Fast Rate.
Slow speed (SLOW) of the low frequency rotor
Fast speed (FAST) of the low frequency rotor
276
Parameter
Woofer
Acceleration
Woofer Level
Tweeter Slow
Speed
Tweeter Fast
Speed
Tweeter
Acceleration
Tweeter Level
Separation
Level #
Value
0–15
0–127
0.05–10.00 Hz
0.05–10.00 Hz
0–15
0–127
0–127
0–127
Description
Adjusts the time it takes the low frequency rotor to reach the newly selected speed when switching from fast to slow (or slow to fast) speed. Lower values will require longer times.
Volume of the low frequency rotor
Settings of the high frequency rotor
The parameters are the same as for the low frequency rotor
Spatial dispersion of the sound
Output Level
22: VK ROTARY
This type provides modified response for the rotary speaker, with the low end boosted further.
This effect features the same specifications as the VK-7’s built-in rotary speaker.
fig.MFX-22
L in 2-Band EQ L out
Rotary
R in
2-Band EQ R out
Parameter
Speed #
Brake #
Woofer Slow
Speed
Woofer Fast
Speed
Woofer Trans
Up
0.05–10.00 Hz
0.05–10.00 Hz
0–127
Woofer Trans
Down
0–127
Woofer Level
Tweeter Slow
Speed
Tweeter Fast
Speed
Tweeter Trans
Up
Tweeter Trans
Down
Tweeter Level
Spread
0–127
0.05–10.00 Hz
0.05–10.00 Hz
0–127
0–127
0–127
0–10
Low Gain
High Gain
Level #
Value
SLOW, FAST
OFF, ON
-15– +15 dB
-15– +15 dB
0–127
Description
Rotational speed of the rotating speaker
Switches the rotation of the rotary speaker.
When this is turned on, the rotation will gradually stop. When it is turned off, the rotation will gradually resume.
Low-speed rotation speed of the woofer
High-speed rotation speed of the woofer
Adjusts the rate at which the woofer rotation speeds up when the rotation is switched from Slow to Fast.
Adjusts the rate at which the woofer rotation speeds up when the rotation is switched from Fast to Slow.
Volume of the woofer
Settings of the tweeter
The parameters are the same as for the woofer.
Sets the rotary speaker stereo image. The higher the value set, the wider the sound is spread out.
Gain of the low range
Gain of the high range
Output Level
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Effects List
23: CHORUS
This is a stereo chorus. A filter is provided so that you can adjust the timbre of the chorus sound.
fig.MFX-23
Balance D
L in
Chorus
2-Band
EQ
Balance W
L out
R in
Chorus
Balance D
Balance W
2-Band
EQ
R out
Parameter
Filter Type
Cutoff Freq
Pre Delay
Rate #
Depth
Phase
Low Gain
High Gain
Balance #
Level
Value
OFF, LPF, HPF
200–8000 Hz
0.0–100.0 ms
0.05–10.00 Hz, note
0–127
0–180 deg
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
Description
Type of filter
OFF: no filter is used
LPF: cuts the frequency range above the Cutoff Freq
HPF: cuts the frequency range below the Cutoff Freq
Basic frequency of the filter
Adjusts the delay time from the direct sound until the chorus sound is heard.
Frequency of modulation
Depth of modulation
Spatial spread of the sound
Gain of the low range
Gain of the high range
Volume balance between the direct sound (D) and the chorus sound (W)
Output Level
24: FLANGER
This is a stereo flanger. (The LFO has the same phase for left and right.) It produces a metallic resonance that rises and falls like a jet airplane taking off or landing. A filter is provided so that you can adjust the timbre of the flanged sound.
fig.MFX-24
Balance D
L in
Flanger
2-Band
EQ
Balance W
L out
Feedback
Feedback
Flanger
R in
Balance W
2-Band
EQ
R out
Parameter
Filter Type
Balance D
Value
OFF, LPF, HPF
Cutoff Freq
Pre Delay
Rate #
Depth
Phase
Feedback #
Low Gain
200–8000 Hz
0.0–100.0 ms
0.05–10.00 Hz, note
0–127
0–180 deg
-98– +98 %
-15– +15 dB
Description
Type of filter
OFF: no filter is used
LPF: cuts the frequency range above the Cutoff Freq
HPF: cuts the frequency range below the Cutoff Freq
Basic frequency of the filter
Adjusts the delay time from when the direct sound begins until the flanger sound is heard.
Frequency of modulation
Depth of modulation
Spatial spread of the sound
Adjusts the proportion of the flanger sound that is fed back into the effect. Negative (-) settings will invert the phase.
Gain of the low range
Parameter
High Gain
Balance #
Level
Value
-15– +15 dB
D100:0W–
D0:100W
0–127
Description
Gain of the high range
Volume balance between the direct sound (D) and the flanger sound (W)
Output Level
25: STEP FLANGER
This is a flanger in which the flanger pitch changes in steps. The speed at which the pitch changes can also be specified in terms of a note-value of a specified tempo.
fig.MFX-25
Balance D
L in
Step Flanger
2-Band
EQ
Balance W
L out
Feedback
Feedback
Step Flanger
R in
Balance W
2-Band
EQ
R out
Balance D
Parameter
Filter Type
Cutoff Freq
Pre Delay
Rate #
Depth
Phase
Feedback #
Step Rate #
Low Gain
High Gain
Balance #
Level
Value
OFF, LPF, HPF
200–8000 Hz
0.0–100.0 ms
0.05–10.00 Hz, note
0–127
0–180 deg
-98– +98 %
0.10–20.00 Hz, note
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
0–127
Description
Type of filter
OFF: no filter is used
LPF: cuts the frequency range above the Cutoff Freq
HPF: cuts the frequency range below the Cutoff Freq
Basic frequency of the filter
Adjusts the delay time from when the direct sound begins until the flanger sound is heard.
Frequency of modulation
Depth of modulation
Spatial spread of the sound
Adjusts the proportion of the flanger sound that is fed back into the effect. Negative (-) settings will invert the phase.
Rate (period) of pitch change
Gain of the low range
Gain of the high range
Volume balance between the direct sound (D) and the flanger sound (W)
Output Level
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Effects List
26: HEXA-CHORUS
Uses a six-phase chorus (six layers of chorused sound) to give richness and spatial spread to the sound.
fig.MFX-26
L in L out
Balance D
Balance W
Hexa Chorus
Balance W
R in R out
Balance D
Parameter
Pre Delay
Balance #
Level
Value
0.0–100.0 ms
Rate #
Depth
Pre Delay
Deviation
Depth
Deviation
Pan Deviation
0.05–10.00 Hz, note
0–127
0–20
-20– +20
0–20
D100:0W–D0:100W
0–127
Description
Adjusts the delay time from the direct sound until the chorus sound is heard.
Frequency of modulation
Depth of modulation
Adjusts the differences in Pre
Delay between each chorus sound.
Adjusts the difference in modulation depth between each chorus sound.
Adjusts the difference in stereo location between each chorus sound.
0: All chorus sounds will be in the center.
20: Each chorus sound will be spaced at 60 degree intervals relative to the center.
Volume balance between the direct sound (D) and the chorus sound (W)
Output Level
27: TREMOLO CHORUS
This is a chorus effect with added Tremolo (cyclic modulation of volume).
fig.MFX-27
L in L out
Balance D
Balance W
Tremolo Chorus
Balance W
R in R out
Balance D
Parameter
Pre Delay
Value
0.0–100.0 ms
Chorus Rate #
Chorus Depth
Tremolo Rate #
Tremolo
Separation
Tremolo Phase
Balance #
0.05–10.00 Hz, note
0–127
0.05–10.00 Hz, note
0–127
0–180 deg
D100:0W–D0:100W
Level 0–127
Description
Adjusts the delay time from the direct sound until the chorus sound is heard.
Modulation frequency of the chorus effect
Modulation depth of the chorus effect
Modulation frequency of the tremolo effect
Spread of the tremolo effect
Spread of the tremolo effect
Volume balance between the direct sound (D) and the tremolo chorus sound (W)
Output Level
28: SPACE-D
This is a multiple chorus that applies two-phase modulation in stereo. It gives no impression of modulation, but produces a transparent chorus effect.
fig.MFX-28
Balance D
L in
Space D
2-Band
EQ
Balance W
L out
R in
Space D Balance W
2-Band
EQ
R out
Balance D
Parameter
Pre Delay
Rate #
Depth
Phase
Low Gain
High Gain
Balance #
Level
Value
0.0–100.0 ms
0.05–10.00 Hz, note
0–127
0–180 deg
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
0–127
Description
Adjusts the delay time from the direct sound until the chorus sound is heard.
Frequency of modulation
Depth of modulation
Spatial spread of the sound
Gain of the low range
Gain of the high range
Volume balance between the direct sound (D) and the chorus sound (W)
Output Level
29: 3D CHORUS
This applies a 3D effect to the chorus sound. The chorus sound will be positioned 90 degrees left and 90 degrees right.
fig.MFX-29
L
2-Band
EQ
L out
3D Chorus
R
2-Band
EQ
R out
Parameter
Filter Type
Cutoff Freq
Pre Delay
Value
OFF, LPF, HPF
Rate #
Depth
Phase
Output Mode
0.05–10.00 Hz, note
0–127
0–180 deg
SPEAKER, PHONES
Low Gain
High Gain
Balance #
Level
200–8000 Hz
0.0–100.0 ms
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
0–127
Description
Type of filter
OFF: no filter is used
LPF: cuts the frequency range above the Cutoff Freq
HPF: cuts the frequency range below the Cutoff Freq
Basic frequency of the filter
Adjusts the delay time from the direct sound until the chorus sound is heard.
Frequency of modulation
Modulation depth of the chorus effect
Spatial spread of the sound
Adjusts the method that will be used to hear the sound that is output to the OUTPUT jacks.
The optimal 3D effect will be achieved if you select SPEAK-
ER when using speakers, or
PHONES when using headphones.
Gain of the low range
Gain of the high range
Volume balance between the direct sound (D) and the chorus sound (W)
Output Level
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Effects List
30: 3D FLANGER
This applies a 3D effect to the flanger sound. The flanger sound will be positioned 90 degrees left and 90 degrees right.
fig.MFX-30
L
2-Band
EQ
L out
3D Flanger
R
2-Band
EQ
R out
Parameter
Filter Type
Cutoff Freq
Pre Delay
Rate #
Depth
Phase
Feedback #
Value
OFF, LPF, HPF
Output Mode SPEAKER, PHONES
Low Gain
High Gain
Balance #
Level
200–8000 Hz
0.0–100.0 ms
0.05–10.00 Hz, note
0–127
0–180 deg
-98– +98 %
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
0–127
Description
Type of filter
OFF: no filter is used
LPF: cuts the frequency range above the Cutoff Freq
HPF: cuts the frequency range below the Cutoff Freq
Basic frequency of the filter
Adjusts the delay time from when the direct sound begins until the flanger sound is heard.
Frequency of modulation
Depth of modulation
Spatial spread of the sound
Adjusts the proportion of the flanger sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the method that will be used to hear the sound that is output to the OUTPUT jacks.
The optimal 3D effect will be achieved if you select SPEAK-
ER when using speakers, or
PHONES when using headphones.
Gain of the low range
Gain of the high range
Volume balance between the direct sound (D) and the flanger sound (W)
Output Level
31: 3D STEP FLANGER
This applies a 3D effect to the step flanger sound. The flanger sound will be positioned 90 degrees left and 90 degrees right.
fig.MFX-31
L
2-Band
EQ
L out
3D Step Flanger
R
2-Band
EQ
R out
Parameter
Filter Type
Value
OFF, LPF, HPF
Cutoff Freq
Pre Delay
Rate #
Depth
Phase
200–8000 Hz
0.0–100.0 ms
0.05–10.00 Hz, note
0–127
0–180 deg
Description
Type of filter
OFF: no filter is used
LPF: cuts the frequency range above the Cutoff Freq
HPF: cuts the frequency range below the Cutoff Freq
Basic frequency of the filter
Adjusts the delay time from when the direct sound begins until the flanger sound is heard.
Frequency of modulation
Depth of modulation
Spatial spread of the sound
Parameter
Feedback #
Step Rate #
Output Mode
Low Gain
High Gain
Balance #
Level
Value
-98– +98 %
0.10–20.00 Hz, note
SPEAKER, PHONES
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
0–127
Description
Adjusts the proportion of the flanger sound that is fed back into the effect. Negative (-) settings will invert the phase.
Rate (period) of pitch change
Adjusts the method that will be used to hear the sound that is output to the OUTPUT jacks.
The optimal 3D effect will be achieved if you select SPEAK-
ER when using speakers, or
PHONES when using headphones.
Gain of the low range
Gain of the high range
Volume balance between the direct sound (D) and the flanger sound (W)
Output Level
32: 2BAND CHORUS
A chorus effect that lets you apply an effect independently to the low-frequency and high-frequency ranges.
fig.MFX-32
L in L out
High Band Chorus
Split
Low Band Chorus
High Band Chorus
Split
Low Band Chorus
R in R out
Parameter
Split Freq
Low Pre Delay 0.0–100.0 ms
Low Rate #
Low Depth
Low Phase
High Pre Delay
0.05–10.00 Hz, note
0–127
0–180 deg
0.0–100.0 ms
High Rate #
High Depth
High Phase
Balance #
Level
Range
200–8000 Hz
0.05–10.00 Hz, note
0–127
0–180 deg
D100:0W–D0:100W
0–127
Explanation
Frequency at which the low and high ranges will be divided
Delay time from when the original sound is heard to when the low-range chorus sound is heard
Rate at which the low-range chorus sound is modulated
Modulation depth for the lowrange chorus sound
Spaciousness of the low-range chorus sound
Delay time from when the original sound is heard to when the high-range chorus sound is heard
Rate at which the low-range chorus sound is modulated
Modulation depth for the high-range chorus sound
Spaciousness of the highrange chorus sound
Volume balance of the original sound (D) and chorus sound (W)
Output volume
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Effects List
33: 2BAND FLANGER
A flanger that lets you apply an effect independently to the lowfrequency and high-frequency ranges.
fig.MFX-33
L in L out
High Band Flanger
Split
High Band Feedback
Low Band Flanger
Split
Low Band Feedback
High Band Feedback
High Band Flanger
Low Band Feedback
Low Band Flanger
R in R out
Parameter
Split Freq
Range
200–8000 Hz
Low Pre Delay 0.0–100.0 ms
Low Rate #
Low Depth
Low Phase
Low
Feedback #
0.05–10.00 Hz, note
0–127
0–180 deg
-98– +98%
High Pre Delay 0.0–100.0 ms
High Rate #
High Depth
High Phase
High
Feedback #
Balance #
Level
0.05–10.00 Hz, note
0–127
0–180 deg
-98– +98%
D100:0W–D0:100W
0–127
Explanation
Frequency at which the low and high ranges will be divided
Delay time from when the original sound is heard to when the low-range flanger sound is heard
Rate at which the low-range flanger sound is modulated
Modulation depth for the lowrange flanger sound
Spaciousness of the low-range flanger sound
Proportion of the low-range flanger sound that is to be returned to the input (negative values invert the phase)
Delay time from when the original sound is heard to when the high-range flanger sound is heard
Rate at which the high-range flanger sound is modulated
Modulation depth for the high-range flanger sound
Spaciousness of the highrange flanger sound
Proportion of the high-range flanger sound that is to be returned to the input (negative values invert the phase)
Volume balance of the original sound (D) and flanger sound (W)
Output volume
34: 2BAND STEP FLANGER
A step flanger that lets you apply an effect independently to the lowfrequency and high-frequency ranges.
fig.MFX-34
L in L out
High Band Step Flanger
Split
High Band Feedback
Low Band Step Flanger
Split
Low Band Feedback
High Band Feedback
High Band Step Flanger
Low Band Feedback
Low Band Step Flanger
R in R out
Parameter
Split Freq
High Rate #
High Depth
High Phase
High
Feedback #
High Step
Rate #
Balance #
Level
Range
200–8000 Hz
Low Pre Delay 0.0–100.0 ms
Low Rate #
Low Depth
Low Phase
Low
Feedback #
0.05–10.00 Hz, note
0–127
0–180 deg
-98– +98%
Low Step
Rate #
High Pre Delay
0.10–20.00 Hz, note
0.0–100.0 ms
0.05–10.00 Hz, note
0–127
0–180 deg
-98– +98%
0.10–20.00 Hz, note
D100:0W–D0:100W
0–127
Explanation
Frequency at which the low and high ranges will be divided
Delay time from when the original sound is heard to when the low-range flanger sound is heard
Rate at which the low-range flanger sound is modulated
Modulation depth for the lowrange flanger sound
Spaciousness of the low-range flanger sound
Proportion of the low-range flanger sound that is to be returned to the input (negative values invert the phase)
Rate at which the steps will cycle for the low-range flanger sound
Delay time from when the original sound is heard to when the high-range flanger sound is heard
Rate at which the high-range flanger sound is modulated
Modulation depth for the high-range flanger sound
Spaciousness of the highrange flanger sound
Proportion of the high-range flanger sound that is to be returned to the input (negative values invert the phase)
Rate at which the steps will cycle for the high-range flanger sound
Volume balance of the original sound (D) and flanger sound (W)
Output volume
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Effects List
35: OVERDRIVE
Creates a soft distortion similar to that produced by vacuum tube amplifiers.
fig.MFX-35
L in
Pan L
L out
Over drive
Amp
Simulator
2-Band
EQ
R in
Pan R
R out
Parameter
Drive #
Amp Type
Low Gain
High Gain
Pan #
Level
Value
0–127
SMALL,
BUILT-IN,
2-STACK,
3-STACK
-15– +15 dB
-15– +15 dB
L64–63R
0–127
Description
Degree of distortion
Also changes the volume.
Type of guitar amp
SMALL: small amp
BUILT-IN: single-unit type amp
2-STACK: large double stack amp
3-STACK: large triple stack amp
Gain of the low range
Gain of the high range
Stereo location of the output sound
Output Level
36: DISTORTION
Produces a more intense distortion than Overdrive. The parameters are the same as for “35: OVERDRIVE.” fig.MFX-36
L in
Pan L
L out
Distortion
Amp
Simulator
2-Band
EQ
R in
Pan R
R out
37: VS OVERDRIVE
This is an overdrive that provides heavy distortion.
fig.MFX-37
L in
Overdrive
Amp
Simulator
2-Band
EQ
R in
Pan L
L out
Pan R
R out
Parameter
Drive #
Tone #
Amp Sw
Amp Type
Low Gain
High Gain
Pan #
Level
Value
0–127
0–127
OFF, ON
SMALL,
BUILT-IN,
2-STACK,
3-STACK
-15– +15 dB
-15– +15 dB
L64–63R
0–127
Description
Degree of distortion
Also changes the volume.
Sound quality of the Overdrive effect
Turns the Amp Simulator on/off.
Type of guitar amp
SMALL: small amp
BUILT-IN: single-unit type amp
2-STACK: large double stack amp
3-STACK: large triple stack amp
Gain of the low range
Gain of the high range
Stereo location of the output sound
Output Level
38: VS DISTORTION
This is a distortion effect that provides heavy distortion. The parameters are the same as for “37: VS OVERDRIVE.” fig.MFX-38
L in
Pan L
L out
Distortion
Amp
Simulator
2-Band
EQ
R in
Pan R
R out
39: GUITAR AMP SIMULATOR
This is an effect that simulates the sound of a guitar amplifier.
fig.MFX-39
L in
Pan L
L out
Pre Amp Speaker
R in
Pan R
R out
Type
SMALL 1
SMALL 2
MIDDLE
JC-120
BUILT-IN 1
BUILT-IN 2
BUILT-IN 3
BUILT-IN 4
BUILT-IN 5
BG STACK 1
BG STACK 2
MS STACK 1
MS STACK 2
METAL
STACK
2-STACK
3-STACK
Parameter Value
Pre Amp Sw
Pre Amp
Type
OFF, ON
JC-120, CLEAN TWIN,
MATCH DRIVE,
BG LEAD, MS1959I,
MS1959II, MS1959I+II,
SLDN LEAD,
METAL5150,
METAL LEAD, OD-1,
OD-2 TURBO,
DISTORTION, FUZZ
0–127 Pre Amp
Volume #
Pre Amp
Master #
Pre Amp
Gain
Pre Amp
Bass
Pre Amp
Middle
Pre Amp
Treble
Pre Amp
Presence
Pre Amp
Bright
0–127
LOW, MIDDLE, HIGH
0–127
0–127
(MATCH DRIVE:
-127 - 0)
OFF, ON
Description
Turns the amp switch on/off.
Type of guitar amp
Volume and amount of distortion of the amp
Volume of the entire pre-amp
Amount of pre-amp distortion
Tone of the bass/mid/treble frequency range
* Middle cannot be set if
“Match Drive” is selected as the Pre Amp Type.
Tone for the ultra-high frequency range
Speaker Sw OFF, ON
Turning this “On” produces a sharper and brighter sound.
* This parameter applies to the “JC-120,” “Clean Twin,” and “BG Lead” Pre Amp
Types.
Determines whether the signal passes through the speaker
(ON), or not (OFF).
Type of speaker Speaker
Type
Mic Setting
(See the table below.)
Mic Level
Direct Level
Pan #
Level #
1, 2, 3
0–127
0–127
L64–63R
0–127
Adjusts the location of the mic that’s capturing the sound of the speaker.
This can be adjusted in three steps, from 1 to 3, with the mic becoming more distant as the value increases.
Volume of the microphone
Volume of the direct sound
Stereo location of the output
Output level
Specifications for each Speaker Type
The speaker column indicates the diameter of each speaker unit (in inches) and the number of units.
Cabinet small open-back enclosure small open-back enclosure open back enclosure open back enclosure open back enclosure open back enclosure open back enclosure open back enclosure open back enclosure sealed enclosure large sealed enclosure large sealed enclosure large sealed enclosure large double stack large double stack large triple stack
Speaker
10
10
12 x 1
12 x 2
12 x 2
12 x 2
12 x 2
12 x 2
12 x 2
12 x 2
12 x 2
12 x 4
12 x 4
12 x 4
12 x 4
12 x 4
Microphone dynamic dynamic dynamic dynamic dynamic condenser condenser condenser condenser condenser condenser condenser condenser condenser condenser condenser
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Effects List
40: COMPRESSOR
Flattens out high levels and boosts low levels, smoothing out fluctuations in volume.
fig.MFX-40
L in Compressor 2-Band EQ L out
R in Compressor 2-Band EQ R out
Parameter Value
Attack # 0–127
Threshold # 0–127
Post Gain
Low Gain
High Gain
Level #
0– +18 dB
-15– +15 dB
-15– +15 dB
0–127
Description
Sets the speed at which compression starts
Adjusts the volume at which compression begins
Adjusts the output gain.
Gain of the low frequency range
Gain of the high frequency range
Output level
41: LIMITER
Compresses signals that exceed a specified volume level, preventing distortion from occurring.
fig.MFX-41
L in Limiter 2-Band EQ L out
R in Limiter 2-Band EQ R out
Parameter
Release #
Threshold #
Ratio
Post Gain
Low Gain
High Gain
Level #
Value
0–127
0–127
1.5:1, 2:1, 4:1,
100:1
0– +18 dB
-15– +15 dB
-15– +15 dB
0–127
Description
Adjusts the time after the signal volume falls below the Threshold Level until compression is no longer applied.
Adjusts the volume at which compression begins
Compression ratio
Adjusts the output gain.
Gain of the low frequency range
Gain of the high frequency range
Output level
42: GATE
Cuts the reverb’s delay according to the volume of the sound sent into the effect. Use this when you want to create an artificialsounding decrease in the reverb’s decay.
fig.MFX-42
L in Gate L out
R in Gate
Parameter Value
Threshold # 0–127
Mode GATE,
DUCK
Attack 0–127
R out
Description
Volume level at which the gate begins to close
Type of gate
GATE: The gate will close when the volume of the original sound decreases, cutting the original sound.
DUCK (Ducking): The gate will close when the volume of the original sound increases, cutting the original sound.
Adjusts the time it takes for the gate to fully open after being triggered.
Parameter Value
Hold 0–127
Release
Balance #
Level
0–127
D100:0W–
D0:100W
0–127
Description
Adjusts the time it takes for the gate to start closing after the source sound falls beneath the Threshold.
Adjusts the time it takes the gate to fully close after the hold time.
Volume balance between the direct sound (D) and the effect sound (W)
Output level
43: DELAY
This is a stereo delay.
When Feedback Mode is NORMAL: fig.MFX-43a
Balance D
L in
Delay
2-Band
EQ
Balance W
Feedback
Feedback
Delay
R in
Balance D
When Feedback Mode is CROSS: fig.MFX-43b
Balance D
L in
Delay
Feedback
Feedback
Balance W
2-Band
EQ
2-Band
EQ
Balance W
R in
Delay
Balance D
Balance W
2-Band
EQ
L out
R out
L out
R out
Parameter Value
Delay Left
Delay Right
Phase Left
Phase Right
Feedback
Mode
Feedback #
HF Damp
Low Gain
High Gain
Balance #
Level
0–1300 ms, note
NORMAL,
INVERSE
NORMAL,
CROSS
-98– +98 %
200–8000 Hz,
BYPASS
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
Description
Adjusts the time until the delay sound is heard.
Phase of the delay sound
Selects the way in which delay sound is fed back into the effect. (See the figures above.)
Adjusts the amount of the delay sound that’s fed back into the effect. Negative
(-) settings invert the phase.
Adjusts the frequency above which sound fed back to the effect is filtered out. If you don’t want to filter out any high frequencies, set this parameter to BYPASS.
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct sound (D) and the delay sound (W)
Output level
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Effects List
44: LONG DELAY
A delay that provides a long delay time.
fig.MFX-44
L in
Pan L
2-Band
EQ
R in
Long Delay
Feedback
Pan R
2-Band
EQ
L out
R out
Parameter
Delay Time
Phase
Feedback #
HF Damp
Pan #
Low Gain
High Gain
Balance #
Range
0–2600 ms, note
NORMAL, INVERSE
-98– +98%
200–8000 Hz,
BYPASS
L64–63R
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
0–127
Explanation
Delay time from when the original sound is heard to when the delay sound is heard
Phase of the delay (NORMAL: non-inverted, INVERT: inverted)
Proportion of the delay sound that is to be returned to the input (negative values invert the phase)
Frequency at which the highfrequency content of the delayed sound will be cut (BY-
PASS: no cut)
Panning of the delay sound
Amount of boost/cut for the high-frequency range
Amount of boost/cut for the high-frequency range
Volume balance of the original sound (D) and delay sound (W)
Output volume Level
45: SERIAL DELAY
This delay connects two delay units in series. Feedback can be applied independently to each delay unit, allowing you to produce complex delay sounds.
fig.MFX-45
L in L out
Pan L
Delay 1 Delay 2
Pan R
Feedback 1 Feedback 2
R in R out
Parameter
Delay1 Time
Delay1
Feedback #
Delay1 HF
Damp
Delay2 Time
Delay2
Feedback #
Range
0–1300 ms, note
-98– +98%
200–8000 Hz,
BYPASS
0–1300 ms, note
-98– +98%
Explanation
Delay time from when sound is input to delay 1 until the delay sound is heard
Proportion of the delay sound that is to be returned to the input of delay 1 (negative values invert the phase)
Frequency at which the highfrequency content of the delayed sound of delay 1 will be cut (BYPASS: no cut)
Delay time from when sound is input to delay 2 until the delay sound is heard
Proportion of the delay sound that is to be returned to the input of delay 2 (negative values invert the phase)
Parameter
Delay2 HF
Damp
Pan #
Low Gain
High Gain
Balance #
Level
Range
200–8000 Hz,
BYPASS
L64–63R
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
0–127
46: MODULATION DELAY
Adds modulation to the delayed sound.
When Feedback Mode is NORMAL: fig.MFX-46a
Balance D
L in
Delay Modulation
2-Band
EQ
Balance W
Feedback
Feedback
Delay Modulation
R in
Balance D
When Feedback Mode is CROSS: fig.MFX-46b
Balance D
L in
Delay Modulation
Balance W
2-Band
EQ
2-Band
EQ
Balance W
Feedback
Feedback
Delay Modulation
R in
Balance W
2-Band
EQ
Balance D
Explanation
Frequency at which the highfrequency content of the delayed sound of delay 2 will be cut (BYPASS: no cut)
Panning of the delay sound
Amount of boost/cut for the low-frequency range
Amount of boost/cut for the high-frequency range
Volume balance of the original sound (D) and delay sound (W)
Output volume
L out
R out
L out
R out
Parameter Value
Delay Left
Delay Right
Feedback
Mode
Feedback #
HF Damp
Rate #
Depth
Phase
Low Gain
High Gain
Balance #
Level
0–1300 ms, note
NORMAL,
CROSS
-98– +98 %
200–8000 Hz,
BYPASS
0.05–10.00 Hz, note
0–127
0-180 deg
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
Description
Adjusts the time until the delay sound is heard.
Selects the way in which delay sound is fed back into the effect (See the figures above.)
Adjusts the amount of the delay sound that’s fed back into the effect. Negative
(-) settings invert the phase.
Adjusts the frequency above which sound fed back to the effect is filtered out. If you don’t want to filter out any high frequencies, set this parameter to
BYPASS.
Frequency of modulation
Depth of modulation
Spatial spread of the sound
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct sound (D) and the delay sound (W)
Output level
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Effects List
47: 3TAP PAN DELAY
Produces three delay sounds; center, left and right.
fig.MFX-47
Balance D
L in
Left Tap
2-Band
EQ
Balance W
L out
R in
Triple Tap Delay
Feedback
Center Tap
Right Tap
Balance D
Balance W
2-Band
EQ
R out
Parameter Value
Delay Left/
Right/Center
Center
Feedback #
0–2600 ms, note
-98– +98 %
HF Damp 200–8000 Hz,
BYPASS
Left/Right/
Center Level
Low Gain
High Gain
Balance #
Level
0–127
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
Description
Adjusts the time until the delay sound is heard.
Adjusts the amount of the delay sound that’s fed back into the effect. Negative
(-) settings invert the phase.
Adjusts the frequency above which sound fed back to the effect is filtered out. If you do not want to filter out any high frequencies, set this parameter to
BYPASS.
Volume of each delay
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct sound (D) and the delay sound (W)
Output level
48: 4TAP PAN DELAY
This effect has four delays.
fig.MFX-48a
L in
R in
1
2
Balance D
Delay 1
Feedback
Delay 2
Quadruple Tap Delay
Delay 3
Delay 4
3
L out
Balance W
Balance D fig.MFX-48b
Stereo location of each delay
Balance W
R out
4
L R
Parameter Value
Delay 1–4
Time
Delay 1
Feedback #
0–2600 ms, note
-98– +98 %
HF Damp 200–8000 Hz,
BYPASS
Delay 1–4
Level
Low Gain
High Gain
Balance #
Level
0–127
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
Description
Adjusts the time until the delay sound is heard.
Adjusts the amount of the delay sound that’s fed back into the effect. Negative
(-) settings invert the phase.
Adjusts the frequency above which sound fed back to the effect is filtered out. If you do not want to filter out any high frequencies, set this parameter to
BYPASS.
Volume of each delay
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct sound (D) and the delay sound (W)
Output level
284
49: MULTI TAP DELAY
This effect provides four delays. Each of the Delay Time parameters can be set to a note length based on the selected tempo. You can also set the panning and level of each delay sound.
fig.MFX-49
Balance D
L in
Feed back
Delay 1
Delay 3
2-Band
EQ
Balance W
L out
Multi Tap Delay
Delay 4
Balance W
Delay 2
R in
Balance D
2-Band
EQ
R out
Parameter Value
Delay 1–4
Time
Delay 1
Feedback #
0–2600 ms, note
-98– +98 %
HF Damp 200–8000 Hz,
BYPASS
Delay 1–4
Pan
Delay 1–4
Level
Low Gain
High Gain
Balance #
Level
L64–63R
0–127
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
Description
Adjusts the time until Delays 1–4 are heard.
Adjusts the amount of the delay sound that’s fed back into the effect. Negative
(-) settings invert the phase.
Adjusts the frequency above which sound fed back to the effect is filtered out. If you don’t want to filter out any the high frequencies, set this parameter to BYPASS.
Stereo location of Delays 1–4
Output level of Delays 1–4
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct sound (D) and the effect sound (W)
Output level
50: REVERSE DELAY
This is a reverse delay that adds a reversed and delayed sound to the input sound. A tap delay is connected immediately after the reverse delay.
fig.MFX-50
L in
Feedback
2-Band
EQ
L out
Rev. Delay
Rev
D1
Delay
D2
D3
R in
2-Band
EQ
R out
Parameter
Threshold
Rev Delay
Time
Rev Delay
Feedback #
Range
0–127
0–1300 ms, note
-98– +98%
Rev Delay HF
Damp
200–8000 Hz,
BYPASS
Rev Delay Pan
Rev Delay
Level
Delay 1 – 3
Time
L64–63R
0–127
0–1300 ms, note
Explanation
Volume at which the reverse delay will begin to be applied
Delay time from when sound is input into the reverse delay until the delay sound is heard
Proportion of the delay sound that is to be returned to the input of the reverse delay (negative values invert the phase)
Frequency at which the highfrequency content of the reverse-delayed sound will be cut (BYPASS: no cut)
Panning of the reverse delay sound
Volume of the reverse delay sound
Delay time from when sound is input into the tap delay until the delay sound is heard
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Effects List
Parameter
Delay 3 Feedback #
Delay HF
Damp
Delay 1 Pan’,
‘Delay 2 Pan
Delay 1 Level’,
‘Delay 2 Level
Low Gain
High Gain
Balance #
Level
Range
-98– +98%
200–8000 Hz, BY-
PASS
L64–63R
0–127
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
0–127
Explanation
Proportion of the delay sound that is to be returned to the input of the tap delay (negative values invert the phase)
Frequency at which the lowfrequency content of the tap delay sound will be cut (BY-
PASS: no cut)
Panning of the tap delay sounds
Volume of the tap delay sounds
Amount of boost/cut for the low-frequency range
Amount of boost/cut for the high-frequency range
Volume balance of the original sound (D) and delay sound (W)
Output volume
51: SHUFFLE DELAY
Adds a shuffle to the delay sound, giving the sound a bouncy delay effect with a swing feel.
fig.MFX-51
L in
Feedback
2-Band
EQ
L out
Delay A A
Delay
R in
Parameter
Delay Time #
Shuffle
Rate #
Acceleration
Feedback #
HF Damp
Pan A/B
Level A/B
Low Gain
High Gain
Balance #
Level
Value
0–2600 ms, note
0–100 %
0–15
Delay B
-98– +98 %
200–8000 Hz,
BYPASS
0–127
0–127
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
B
2-Band
EQ
R out
Description
Adjusts the time until the delay sound is heard.
Adjusts the ratio (as a percentage) of the time that elapses before Delay B sounds relative to the time that elapses before the
Delay A sounds.
When set to 100%, the delay times are the same.
Adjusts the time over which the Delay
Time changes from the current setting to its specified new setting.
Adjusts the amount of the delay that’s fed back into the effect. Negative (-) settings invert the phase.
Adjusts the frequency above which sound fed back to the effect is filtered out. If you don’t want to filter out any high frequencies, set this parameter to
BYPASS.
Stereo location of Delay A/B
Volume of delay A/B
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct sound (D) and the effect sound (W)
Output level
52: 3D DELAY
This applies a 3D effect to the delay sound. The delay sound will be positioned 90 degrees left and 90 degrees right.
fig.MFX-52
L
Level
2-Band
EQ
3D Delay L
L out
3D Delay C
Feedback
3D Delay R
R 2-Band
EQ
R out
Parameter
Delay Left
Delay Right
Delay Center
Center
Feedback #
HF Damp
Low Gain
High Gain
Balance #
Level
Value
0–2600 ms, note
-98– +98 %
200–8000 Hz, BYPASS
Left Level
Right Level
Center Level
Output Mode
0–127
SPEAKER, PHONES
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
0–127
Description
Adjusts the delay time from the direct sound until the delay sound is heard.
Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BY-
PASS.
Output level of the delay sound
Adjusts the method that will be used to hear the sound that is output to the OUTPUT jacks. The optimal 3D effect will be achieved if you select
SPEAKER when using speakers, or PHONES when using headphones.
Gain of the low range
Gain of the high range
Volume balance between the direct sound (D) and the effect sound (W)
Output Level
53: TIME CTRL DELAY
A stereo delay in which the delay time can be varied smoothly.
fig.MFX-53
L in 2-Band EQ L out
Time Ctrl Delay Pan L
Feedback
Feedback
R in
Time Ctrl Delay Pan R
2-Band EQ R out
Parameter
Delay Time #
Acceleration
Value
0–1300 ms, note
0–15
Feedback #
HF Damp
Low Gain
High Gain
Balance #
Level
-98– +98 %
200–8000 Hz,
BYPASS
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
Description
Adjusts the time until the delay is heard.
Adjusts the time over which the
Delay Time changes from the current setting to a specified new setting.
The rate of change for the Delay
Time directly affects the rate of pitch change.
Adjusts the amount of the delay that’s fed back into the effect.
Negative (-) settings invert the phase.
Adjusts the frequency above which sound fed back to the effect is filtered out. If you do not want to filter out any high frequencies, set this parameter to
BYPASS.
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct sound (D) and the delay sound (W)
Output level
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Effects List
54: LONG TIME CTRL DELAY
A delay in which the delay time can be varied smoothly, and allowing an extended delay to be produced.
fig.MFX-54
L in
Balance D
2-Band
EQ
Balance W
L out
Time Control Delay
R in
Feedback
Balance D
Balance W
2-Band
EQ
R out
Parameter
Delay Time #
Acceleration
Feedback #
HF Damp
Pan #
Low Gain
High Gain
Balance #
Level
Value
0–2600 ms, note
0–15
-98– +98 %
200–8000 Hz,
BYPASS
L64–63R
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
Description
Adjusts the time until the delay is heard.
Adjusts the time over which the Delay
Time changes from the current setting to a specified new setting.
The rate of change for the Delay Time directly affects the rate of pitch change.
Adjusts the amount of the delay that’s fed back into the effect. Negative (-) settings invert the phase.
Adjusts the frequency above which sound fed back to the effect is filtered out. If you do not want to filter out any high frequencies, set this parameter to
BYPASS.
Stereo location of the delay
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct sound (D) and the delay sound (W)
Output level
55: TAPE ECHO
A virtual tape echo that produces a realistic tape delay sound. This simulates the tape echo section of a Roland RE-201 Space Echo.
fig.MFX-55
L in L out
Direct Level
Echo Level
Tape Echo
Echo Level
R in R out
Direct Level
Parameter
Mode
Repeat Rate #
Intensity #
Bass
Treble
Head S Pan
Head M Pan
Head L Pan
Tape Distortion
Value
S, M, L,
S+M, S+L,
M+L,
S+M+L
0–127
0–127
-15– +15 dB
-15– +15 dB
L64–63R
0–5
Description
Combination of playback heads to use
Select from three different heads with different delay times.
S: short M: middle L: long
Tape speed
Increasing this value will shorten the spacing of the delayed sounds.
Amount of delay repeats
Boost/cut for the lower range of the echo sound
Boost/cut for the upper range of the echo sound
Independent panning for the short, middle, and long playback heads
Amount of tape-dependent distortion to be added
This simulates the slight tonal changes that can be detected by signal-analysis equipment. Increasing this value will increase the distortion.
Parameter
Wow/Flutter
Rate
Wow/Flutter
Depth
Echo Level #
Direct Level #
Level
Value
0–127
0–127
0–127
0–127
0–127
Description
Speed of wow/flutter (complex variation in pitch caused by tape wear and rotational irregularity)
Depth of wow/flutter
Volume of the echo sound
Volume of the original sound
Output level
56: LOFI NOISE
In addition to a lo-fi effect, this adds various types of noise such as white noise and disc noise.
fig.MFX-56
L in
2-Band
EQ
L out
Lo-Fi
Noise Gen.
Lo-Fi
R in
2-Band
EQ
R out
Parameter
LoFi Type
Post Filter
Type
Post Filter
Cutoff
W/P Noise
Type
W/P Noise
LPF
W/P Noise
Level #
Disc Noise
Type
Disc Noise
LPF
Disc Noise
Level #
Hum Noise
Type
Hum Noise
LPF
Hum Noise
Level #
Low Gain
High Gain
Balance #
Level
Value
1–9
OFF, LPF,
HPF
200–8000 Hz
WHITE,
PINK
200–8000 Hz,
BYPASS
0–127
LP, EP, SP,
RND
200–8000 Hz,
BYPASS
0–127
50 Hz, 60 Hz
200–8000 Hz,
BYPASS
0–127
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
Description
Degrades the sound quality. The sound quality grows poorer as this value is increased.
Type of filter
OFF: no filter is used
LPF: cuts the frequency range above the Cutoff
HPF: cuts the frequency range below the Cutoff
Center frequency of the filter
Switch between white noise and pink noise.
Center frequency of the low pass filter applied to the white/pink noise (BY-
PASS: no cut)
Volume of the white/pink noise
Type of record noise
The frequency at which the noise is heard depends on the selected type.
Adjusts the cutoff frequency of the low pass filter applied to the record noise. If you don’t want to filter out any high frequencies, set this parameter to BYPASS.
Volume of the record noise
Frequency of the hum noise
Center frequency of the low pass filter applied to the hum noise (BYPASS: no cut)
Volume of the hum noise
Gain of the low range
Gain of the high range
Volume balance between the direct sound (D) and the effect sound (W)
Output level
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Effects List
57: LOFI COMPRESS
This is an effect that intentionally degrades the sound quality for creative purposes.
fig.MFX-57
L in Compressor Lo-Fi
2-Band
EQ
L out
R in Compressor Lo-Fi
2-Band
EQ
R out
Parameter Value
Pre Filter
Type
LoFi Type
Post Filter
Type
Post Filter
Cutoff
Low Gain
High Gain
Balance #
Level #
1–6
1–9
OFF, LPF,
HPF
200–8000 Hz
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
Description
Selects the type of filter applied to the sound before it passes through the Lo-Fi effect.
Degrades the sound quality. The sound quality grows poorer as this value is increased.
Type of filter
OFF: no filter is used
LPF: cuts the frequency range above the Cutoff
HPF: cuts the frequency range below the Cutoff
Basic frequency of the Post Filter
Gain of the low range
Gain of the high range
Volume balance between the direct sound (D) and the effect sound (W)
Output level
58: LOFI RADIO
In addition to a Lo-Fi effect, this effect also generates radio noise.
fig.MFX-58
L in
2-Band
EQ
L out
Lo-Fi
Radio
Lo-Fi
R in
2-Band
EQ
R out
Parameter
LoFi Type
Post Filter
Type
Value
1–9
OFF, LPF,
HPF
Post Filter
Cutoff
Radio
Detune #
Radio Noise
Level #
Balance #
Level
200–8000 Hz
0–127
0–127
D100:0W–
D0:100W
0–127
Description
Degrades the sound quality. The sound quality grows poorer as this value is increased.
Type of filter
OFF: no filter is used
LPF: cuts the frequency range above the Cutoff
HPF: cuts the frequency range below the Cutoff
Basic frequency of the Post Filter
Simulates the tuning noise of a radio. As this value is raised, the tuning drifts further.
Volume of the radio noise
Volume balance between the direct sound (D) and the effect sound (W)
Output level
59: TELEPHONE
fig.MFX-59
L in Telephone
R in Telephone
L out
R out
Parameter Value
Voice
Quality #
Treble
Balance #
Level
0–15
-15– +15 dB
D100:0–
D0:100W
0–127
Description
Audio quality of the telephone voice
Bandwidth of the telephone voice
Volume balance between the direct sound (D) and the effect sound (W)
Output level
60: PHONOGRAPH
Simulates a sound recorded on an analog record and played back on a record player. This effect also simulates the various types of noise that are typical of a record, and even the rotational irregularities of an old turntable.
fig.MFX-60
Balance D
L in L out
Phonograph
Phonograph
Balance W
Balance W
R in R out
Balance D
Parameter Value
Signal
Distortion
Frequency
Range
0–127
0–127
Disc Type LP, EP, SP
Scratch
Noise Level
Dust Noise
Level
Hiss Noise
Level
Total Noise
Level #
Wow
Flutter
Random
Total Wow/
Flutter #
Balance #
Level
0–127
0–127
0–127
0–127
0–127
0–127
0–127
0–127
D100:0W–
D0:100W
0–127
Description
Depth of distortion
Frequency response of the playback system
Decreasing this value will produce the impression of an old system with a poor frequency response.
Rotational speed of the turntable
This will affect the frequency of the scratch noise.
Amount of noise due to scratches on the record
Volume of noise due to dust on the record
Volume of continuous “hiss”
Volume of overall noise
Depth of long-cycle rotational irregularity
Depth of short-cycle rotational irregularity
Depth of indefinite-cycle rotational irregularity
Depth of overall rotational irregularity
Volume balance between the direct sound (D) and the effect sound (W)
Output level
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Effects List
61: PITCH SHIFTER
(Feedback Pitch Shifter)
A stereo pitch shifter.
fig.MFX-61
L in 2-Band EQ
Pitch Shifter
Pitch Shifter
R in 2-Band EQ
L out
R out
Parameter
Coarse #1
Fine #1
Delay Time
Feedback #
Low Gain
High Gain
Balance #
Level
Value
-24– +12 semi
-100– +100 cent
0–1300 ms, note
-98– +98 %
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
Description
Adjusts the pitch of the pitch shifted sound in semitone steps.
Adjusts the pitch of the pitch shifted sound in 2-cent steps.
Adjusts the delay time from the direct sound until the pitch shifted sound is heard.
Adjusts the proportion of the pitch shifted sound that is fed back into the effect. Negative (-) settings will invert the phase.
Gain of the low range
Gain of the high range
Volume balance between the direct sound (D) and the pitch shifted sound (W)
Output Level
62: 2VOICE PITCH SHIFTER
Shifts the pitch of the original sound. This 2-voice pitch shifter has two pitch shifters, and can add two pitch shifted sounds to the original sound.
fig.MFX-62
Balance D
L in L out
Level 1
Pan 1 L Balance W
R in
Pan 1 R
2Voice Pitch Shifter
Pan 2 L
Pan 2 R
Level 1
Balance W
R out
Balance D
Parameter
Pitch 1:
Coarse #1
Pitch 1:Fine #1
Pitch 1:Delay
Value
-24-+12 semi
-100-+100 cent
0–1300 ms, note
Pitch 1:Feedback #
-98– +98 %
Pitch 1:Pan #
Pitch 1:Level
Pitch 2:
Coarse #2
Pitch 2:Fine #2
Pitch 2:Delay
Pitch 2:Feedback #
Pitch 2:Pan #
Pitch 2:Level
Low Gain
L64-63R
0–127
-24-+12 semi
-100-+100 cent
0–1300 ms, note
-98– +98 %
L64-63R
0–127
-15– +15 dB
Description
Adjusts the pitch of Pitch Shift 1 in semitone steps.
Adjusts the pitch of Pitch Shift
Pitch 1 in 2-cent steps.
Adjusts the delay time from the direct sound until the Pitch Shift
1 sound is heard.
Adjusts the proportion of the pitch shifted sound that is fed back into the effect. Negative (-) settings will invert the phase.
Stereo location of the Pitch Shift 1 sound
Volume of the Pitch Shift1 sound
Settings of the Pitch Shift 2 sound.
The parameters are the same as for the Pitch Shift 1 sound.
Gain of the low range
288
Parameter
High Gain
Level Balance
Balance
Value
-15– +15 dB
A100:0B-A0:100B
D100:0W-D0:100W
0-127
Description
Gain of the high range
Volume balance between the
Pitch Shift 1 and Pitch Shift 2 sounds
Volume balance between the direct sound (D) and the pitch shifted sound (W)
Output Level Level
63: STEP PITCH SHIFTER
A pitch shifter in which the amount of pitch shift is varied by a 16step sequence.
fig.MFX-63
L in
2-Band
EQ
L out
Step Pitch Shifter
Step Pitch Shifter
R in
2-Band
EQ
R out
Parameter
Step 01–16
Rate #
Attack #
Gate Time #
Fine
Delay Time
Feedback #
Low Gain
High Gain
Balance #
Level
Range
-24–+12 semi
0.05–10.00 Hz, note
0–127
0–127
-100– +100 cent
0–1300 ms, note
-98– +98%
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
0–127
Explanation
Amount of pitch shift at each step (semitone units)
Rate at which the 16-step sequence will cycle
Speed at which the amount of pitch shift changes between steps
Duration of the pitch shifted sound at each step
Pitch shift adjustment for all steps (2-cent units)
Delay time from the original sound until the pitch-shifted sound is heard
Proportion of the pitch-shifted sound that is to be returned to the input (negative values invert the phase)
Amount of boost/cut for the low-frequency range
Amount of boost/cut for the high-frequency range
Volume balance of the original sound (D) and pitch-shifted sound (W)
Output volume
64: REVERB
Adds reverberation to the sound, simulating an acoustic space.
fig.MFX-64
L in
Balance D
2-Band
EQ
Balance W
L out
Reverb
R in
Balance D
Balance W
2-Band
EQ
R out
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Effects List
Parameter
Type
Pre Delay
Time #
HF Damp
Low Gain
High Gain
Balance #
Value
ROOM1,
ROOM2,
STAGE1,
STAGE2,
HALL1, HALL2
0.0–100.0 ms
0–127
200–8000 Hz,
BYPASS
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
Description
Type of reverb
ROOM1: dense reverb with short decay
ROOM2: sparse reverb with short decay
STAGE1: reverb with greater late reverberation
STAGE2: reverb with strong early reflections
HALL1: reverb with clear reverberance
HALL2: reverb with rich reverberance
Adjusts the delay time from the direct sound until the reverb sound is heard.
Time length of reverberation
Adjusts the frequency above which the reverberant sound will be cut.
As the frequency is set lower, more of the high frequencies will be cut, resulting in a softer and more muted reverberance.
If you do not want to cut the high frequencies, set this parameter to BYPASS.
Gain of the low range
Gain of the high range
Volume balance between the direct sound (D) and the reverb sound
(W)
Output Level Level
65: GATED REVERB
This is a special type of reverb in which the reverberant sound is cut off before its natural length.
fig.MFX-65
L in
Balance D
2-Band
EQ
Balance W
L out
Gated Reverb
R in
Balance D
Balance W
2-Band
EQ
R out
Parameter
Type
Pre Delay
Gate Time
Low Gain
High Gain
Balance #
Level #
Value
NORMAL, REVERSE,
SWEEP1, SWEEP2
0.0–100.0 ms
5–500 ms
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
0–127
Description
Type of reverb
NORMAL: conventional gated reverb
REVERSE: backwards reverb
SWEEP1: the reverberant sound moves from right to left
SWEEP2: the reverberant sound moves from left to right
Adjusts the delay time from the direct sound until the reverb sound is heard.
Adjusts the time from when the reverb is heard until it disappears.
Gain of the low range
Gain of the high range
Volume balance between the direct sound (D) and the reverb sound (W)
Output Level
66: OVERDRIVE
→
CHORUS
fig.MFX-66
L in
Balance D
L out
Balance W
Overdrive Chorus
Balance W
R in R out
Balance D
Parameter
Overdrive
Drive #
Overdrive
Pan #
Chorus Pre
Delay
Chorus Rate #
Chorus Depth
Chorus
Balance #
Value
0–127
L64–63R
0.0–100.0 ms
0.05–10.00 Hz, note
0–127
D100:0W–D0:100W
Level 0–127
Description
Degree of distortion
Also changes the volume.
Stereo location of the overdrive sound
Adjusts the delay time from the direct sound until the chorus sound is heard.
Frequency of modulation
Depth of modulation
Adjusts the volume balance between the sound that is sent through the chorus (W) and the sound that is not sent through the chorus (D).
Output Level
67: OVERDRIVE
→
FLANGER
fig.MFX-67
Balance D
L in
Feedback
L out
Balance W
Overdrive Flanger
Balance W
R in R out
Balance D
Parameter
Overdrive
Drive #
Overdrive
Pan #
Flanger Pre
Delay
Flanger Rate #
Flanger Depth
Flanger
Feedback #
Value
0–127
L64–63R
0.0–100.0 ms
0.05–10.00 Hz, note
0–127
-98– +98 %
Flanger
Balance #
Level
D100:0W–D0:100W
0–127
Description
Degree of distortion
Also changes the volume.
Stereo location of the overdrive sound
Adjusts the delay time from when the direct sound begins until the flanger sound is heard.
Frequency of modulation
Depth of modulation
Adjusts the proportion of the flanger sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the volume balance between the sound that is sent through the flanger (W) and the sound that is not sent through the flanger (D).
Output Level
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Effects List
68: OVERDRIVE
→
DELAY
fig.MFX-68
L in
Balance D
Overdrive
R in
Delay
Feedback
Balance D
L out
Balance W
Balance W
R out
Parameter
Overdrive
Drive #
Overdrive Pan #
Delay Time
Value
0–127
L64–63R
0–2600 ms, note
Delay
Feedback #
Delay HF Damp 200–8000 Hz,
BYPASS
Delay Balance # D100:0W–D0:100W
Level
-98– +98 %
0–127
Description
Degree of distortion
Also changes the volume.
Stereo location of the overdrive sound
Adjusts the delay time from the direct sound until the delay sound is heard.
Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BY-
PASS.
Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).
Output Level
69: DISTORTION
→
CHORUS
The parameters are essentially the same as in “66: OVERDRIVE →
CHORUS,” with the exception of the following two.
Overdrive Drive → Distortion Drive, Overdrive Pan → Distortion Pan fig.MFX-69
L in L out
Balance D
Balance W
Distortion Chorus
Balance W
R in R out
Balance D
70: DISTORTION
→
FLANGER
The parameters are essentially the same as in “67: OVERDRIVE →
FLANGER,” with the exception of the following two.
Overdrive Drive → Distortion Drive, Overdrive Pan → Distortion Pan fig.MFX-70
Balance D
L in L out
Feedback
Balance W
Distortion Flanger
Balance W
R in R out
Balance D
71: DISTORTION
→
DELAY
The parameters are essentially the same as in “68: OVERDRIVE →
290
DELAY,” with the exception of the following two.
Overdrive Drive → Distortion Drive, Overdrive Pan → Distortion Pan fig.MFX-71
L in L out
Balance D
Balance W
Distortion Delay
Balance W
Feedback
R in R out
Balance D
72: ENHANCER
→
CHORUS
fig.MFX-72
L in Enhancer
Mix Balance D
Chorus
L out
Balance W
Balance W
R out R in Enhancer
Mix Balance D
Parameter
Enhancer Sens #
Enhancer Mix #
Chorus Pre
Delay
Chorus Rate #
Chorus Depth
Chorus
Balance #
Level
Value
0–127
0–127
0.0–100.0 ms
0.05–10.00 Hz, note
0–127
D100:0W–
D0:100W
0–127
Description
Sensitivity of the enhancer
Level of the overtones generated by the enhancer
Adjusts the delay time from the direct sound until the chorus sound is heard.
Frequency of modulation
Depth of modulation
Adjusts the volume balance between the sound that is sent through the chorus (W) and the sound that is not sent through the chorus (D).
Output Level
73: ENHANCER
→
FLANGER
fig.MFX-73
Balance D
L in Enhancer
Mix Feedback
Flanger
R in Enhancer
Mix Balance D
L out
Balance W
Balance W
R out
Parameter
Enhancer Sens #
Enhancer Mix #
Flanger Pre
Delay
Flanger Rate #
Flanger Depth
Flanger
Feedback #
Flanger
Balance #
Level
Value
0–127
0–127
0.0–100.0 ms
0.05–10.00 Hz, note
0–127
-98– +98 %
D100:0W–
D0:100W
0–127
Description
Sensitivity of the enhancer
Level of the overtones generated by the enhancer
Adjusts the delay time from when the direct sound begins until the flanger sound is heard.
Frequency of modulation
Depth of modulation
Adjusts the proportion of the flanger sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the volume balance between the sound that is sent through the flanger (W) and the sound that is not sent through the flanger (D).
Output Level
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Effects List
74: ENHANCER
→
DELAY
fig.MFX-74
L in Enhancer
Mix Balance D
R in Enhancer
Mix
Delay
Feedback
Balance D
L out
Balance W
Balance W
R out
Parameter
Enhancer Sens #
Enhancer Mix #
Delay Time
Value
0–127
0–127
0–2600 ms, note
Delay
Feedback #
Delay HF Damp 200–8000 Hz,
BYPASS
Delay Balance # D100:0W–D0:100W
Level
-98– +98 %
0–127
Description
Sensitivity of the enhancer
Level of the overtones generated by the enhancer
Adjusts the delay time from the direct sound until the delay sound is heard.
Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BY-
PASS.
Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).
Output Level
75: CHORUS
→
DELAY
fig.MFX-75
Balance D
L in
Balance W
Chorus
Balance W
Balance D
Delay
Feedback
R in
Balance D Balance D
L out
Balance W
Balance W
R out
Parameter
Chorus Pre
Delay
Chorus Rate #
Chorus Depth
Chorus
Balance #
Delay Time
Delay
Feedback #
Delay HF
Damp
Delay
Balance #
Level
Value
0.0–100.0 ms
0.05–10.00 Hz, note
0–127
D100:0W–D0:100W
0–2600 ms, note
-98– +98 %
200–8000 Hz,
BYPASS
D100:0W–D0:100W
0–127
Description
Adjusts the delay time from the direct sound until the chorus sound is heard.
Frequency of modulation
Depth of modulation
Volume balance between the direct sound (D) and the chorus sound (W)
Adjusts the delay time from the direct sound until the delay sound is heard.
Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BY-
PASS.
Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).
Output Level
76: FLANGER
→
DELAY
fig.MFX-76
Balance D
L in
Feedback
Balance W
Flanger
Balance W
R in
Balance D
Balance D
Delay
Feedback
Balance D
L out
Balance W
Balance W
R out
Parameter
Flanger Pre
Delay
Flanger
Balance #
Delay Time
Delay
Feedback #
Delay HF
Damp
Delay
Balance #
Level
Value
0.0–100.0 ms
Flanger Rate #
Flanger Depth
Flanger
Feedback #
0.05–10.00 Hz, note
0–127
-98– +98 %
D100:0W–D0:100W
0–2600 ms, note
-98– +98 %
200–8000 Hz,
BYPASS
D100:0W–D0:100W
0–127
Description
Adjusts the delay time from when the direct sound begins until the flanger sound is heard.
Frequency of modulation
Depth of modulation
Adjusts the proportion of the flanger sound that is fed back into the effect. Negative (-) settings will invert the phase.
Volume balance between the direct sound (D) and the flanger sound (W)
Adjusts the delay time from the direct sound until the delay sound is heard.
Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BY-
PASS.
Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).
Output Level
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Effects List
77: CHORUS
→
FLANGER
fig.MFX-77
Balance D Balance D
L in
Feedback
Balance W
Chorus
Balance W
Flanger
R in
Balance D Balance D
L out
Balance W
Balance W
R out
Parameter
Chorus Pre
Delay
Chorus Rate #
Chorus Depth
Chorus
Balance #
Flanger Pre
Delay
Flanger Rate #
Flanger Depth
Flanger
Feedback #
Flanger
Balance #
Level
Value
0.0–100.0 ms
0.05–10.00 Hz, note
0–127
D100:0W–D0:100W
0.0–100.0 ms
0.05–10.00 Hz, note
0–127
-98– +98 %
D100:0W–D0:100W
0–127
Description
Adjusts the delay time from the direct sound until the chorus sound is heard.
Modulation frequency of the chorus effect
Modulation depth of the chorus effect
Volume balance between the direct sound (D) and the chorus sound (W)
Adjusts the delay time from when the direct sound begins until the flanger sound is heard.
Modulation frequency of the flanger effect
Modulation depth of the flanger effect
Adjusts the proportion of the flanger sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the volume balance between the sound that is sent through the flanger (W) and the sound that is not sent through the flanger (D).
Output Level
78: SYMPATHETIC RESONANCE
On an acoustic piano, holding down the damper pedal allows other strings to resonate in sympathy with the notes you play, creating rich and spacious resonances. This effect simulates these sympathetic resonances.
fig.MFX-78
L in
3-Band
EQ
L out
Syn. Resonance
R in
3-Band
EQ
R out
Parameter
Depth #
Damper #
Range
0–127
0–127
Pre LPF
Pre HPF
Peaking Freq
Peaking Gain
16–15000 Hz,
BYPASS
BYPASS,
16–15000 Hz
200–8000 Hz
-15– +15 dB
Explanation
Depth of the effect
Depth to which the damper pedal is pressed (controls the resonant sound)
Frequency of the filter that cuts the high-frequency content of the input sound (BYPASS: no cut)
Frequency of the filter that cuts the low-frequency content of the input sound (BYPASS: no cut)
Frequency of the filter that boosts/cuts a specific frequency region of the input sound
Amount of boost/cut produced by the filter at the specified frequency region of the input sound
Parameter
Peaking Q
HF Damp
LF Damp
Lid
EQ Low Freq
EQ Low Gain
EQ Mid Freq
EQ Mid Gain
EQ Mid Q
EQ High Freq
EQ High Gain
Level
Range
0.5, 1.0, 2.0, 4.0, 8.0
16–15000 Hz,
BYPASS
BYPASS,
16–15000 Hz
1–6
200, 400 Hz
-15– +15 dB
200–8000 Hz
-15– +15 dB
0.5, 1.0, 2.0, 4.0, 8.0
2000, 4000, 8000 Hz
-15–+15 dB
0–127
Explanation
Width of the frequency region boosted/cut by the ‘Peaking
Gain’ parameter (larger values make the region narrower)
Frequency at which the high-frequency content of the resonant sound will be cut (BYPASS: no cut)
Frequency at which the low-frequency content of the resonant sound will be cut (BYPASS: no cut)
This simulates the actual changes in sound that occur when the lid of a grand piano is set at different heights.
Frequency of the low-range EQ
Amount of low-range boost/cut
Frequency of the midrange EQ
Amount of midrange boost/cut
Width of midrange (larger values make the region narrower)
Frequency of the high-range EQ
Amount of high-range boost/cut
Output Level
When Using 3D Effects
The following 3D effects utilize RSS (Roland Sound Space) technology to create a spaciousness that cannot be produced by delay, reverb, chorus, etc.
52: 3D DELAY
29: 3D CHORUS
30: 3D FLANGER
31: 3D STEP FLANGER
When using these effects, we recommend that you place your speakers as follows. Also, make sure that the speakers are at a sufficient distance from the walls on either side.
fig.33-002
30˚ 30˚
If the left and right speakers are too far apart, or if there is too much reverberation, the full 3D effect may not appear.
Each of these effects has an “Output Mode” parameter. If the sound from the OUTPUT jacks is to be heard through speakers, set this parameter to “SPEAKER.” If the sound is to be heard through headphones, set it to “PHONES.” This will ensure that the optimal 3D effect will be heard. If this parameter is not set correctly, the full 3D effect may not appear.
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Effects List
About the STEP RESET function
06: STEP FILTER
16: STEP RING MODULATOR
19: STEP PAN
20: SLICER
63: STEP PITCH SHIFTER
The above five types contain a sixteen-step sequencer.
For these types, you can use a multi-effect control to reset the sequence to play from the first step.
To do this, set the multi-effect control Destination to “Step
Reset.”
For example if you are using the modulation lever to control the effect, you would make the following settings.
Source: CC01: MODULATION
Destination: Step Reset
Sens: +63
With these settings, the sequence will play back from the first step whenever you operate the modulation lever.
note: fig.MFX-note2.e_88
(Sixty-fourth-note triplet), (Sixty-fourth note), (Thirty-second-note triplet),
(Thirty-second note),
(Sixteenth note),
(Sixteenth-note triplet),
(Eighth-note triplet),
(Dotted thirty-second note),
(Dotted sixteenth note),
(Eighth note),
(Quarter note),
(Quarter-note triplet),
(Half-note triplet),
(Dotted eighth note),
(Dotted quarter note), (Half note),
(Whole-note triplet), (Dotted half note), (Whole note),
(Double-note triplet), (Dotted whole note), (Double note)
Chorus Parameters
The Fantom-X’s Chorus effect unit can also be used as a stereo delay unit.
These settings allow you to select chorus or delay, and the characteristics of the selected effect type.
Parameter
Chorus
Type
Value
0 (OFF),
1 (CHORUS),
2 (DELAY),
3 (GM2 CHORUS)
Description
Selects either Chorus or Delay.
0 (OFF): Neither Chorus or Delay is used.
1 (CHORUS): Chorus is used.
2 (DELAY): Delay is used.
3 (GM2 CHORUS): GM2 Chorus is used.
Type: 1 (CHORUS)
Rate
Depth
Pre Delay
0.05–10.00 Hz, note
0–127
0.0–100.0 ms
Feedback
Filter Type
0–127
OFF, LPF, HPF
Frequency of modulation
Depth of modulation
Adjusts the delay time from the direct sound until the chorus sound is heard.
Adjusts the amount of the chorus sound that is fed back into the effect.
Type of filter
OFF: no filter is used
LPF: cuts the frequency range above the Cutoff Freq
HPF: cuts the frequency range below the Cutoff Freq
Basic frequency of the filter
Spatial spread of the sound
Cutoff Freq
Phase
200–8000 Hz
0–180˚
Type: 2 (DELAY)
Delay Left
Delay Right
0–1000 ms, note
Delay Center
Center
Feedback
-98–+98 %
HF Damp 200–8000 Hz,
BYPASS
Adjusts the delay time from the direct sound until the delay sound is heard.
Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BYPASS.
Volume of each delay sound Left Level
Right Level
Center Level
0–127
Type: 3 (GM2 CHORUS)
Pre-LPF 0–7
Level
Feedback
Delay
0–127
0–127
0–127
Rate
Depth
Send Level
To Reverb note: fig.MFX-note2.e
0–127
0–127
0–127
(Sixty-fourth-note triplet), (Sixty-fourth note),
Cuts the high frequency range of the sound coming into the chorus.
Higher values will cut more of the high frequencies.
Volume of the chorus sound
Adjusts the amount of the chorus sound that is fed back into the effect.
Adjusts the delay time from the direct sound until the chorus sound is heard.
Frequency of modulation
Depth of modulation
Adjusts the amount of chorus sound that will be sent to the reverb.
(Thirty-second-note triplet),
(Thirty-second note), (Sixteenth-note triplet), (Dotted thirty-second note),
(Sixteenth note),
(Eighth note),
(Eighth-note triplet),
(Quarter-note triplet),
(Dotted sixteenth note),
(Dotted eighth note),
(Quarter note), (Half-note triplet),
(Whole-note triplet),
(Double-note triplet),
(Dotted quarter note),
(Dotted half note),
(Dotted whole note),
(Whole note),
(Double note)
(Half note),
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Effects List
Reverb Parameters
These settings allow you to select the desired type of reverb, and its characteristics.
Parameter
Reverb
Type
Value
0 (OFF),
1 (REVERB),
2 (SRV ROOM),
3 (SRV HALL),
4 (SRV PLATE),
5 (GM2 REVERB)
Description
Type of reverb
0 (OFF): Reverb is not used.
1 (REVERB): Normal reverb
2 (SRV ROOM): This simulates typical room acoustic reflections.
3 (SRV HALL): This simulates typical concert hall acoustic reflections.
4 (SRV PLATE): This simulates a reverb plate, a popular type of artificial reverb unit that derives its sound from the vibration of a metallic plate.
5 (GM2 REVERB): GM2 Reverb
Type: 1 (REVERB)
Type
Time
HF Damp
Delay
Feedback
ROOM1,
ROOM2,
STAGE1,
STAGE2,
HALL1, HALL2,
DELAY,
PAN-DELAY
0–127
200–8000 Hz,
BYPASS
0–127
Type of reverb/delay
ROOM1: short reverb with high density
ROOM2: short reverb with low density
STAGE1: reverb with greater late reverberation
STAGE2: reverb with strong early reflections
HALL1: very clear-sounding reverb
HALL2: rich reverb
DELAY: conventional delay effect
PAN-DELAY: delay effect with echoes that pan left and right
Time length of reverberation
(Type: ROOM1–HALL2)
Delay time
(Type: DELAY, PAN-DELAY)
Adjusts the frequency above which the highfrequency content of the reverb sound will be cut, or “damped.” If you do not want to cut the high frequencies, set this parameter to BYPASS.
Adjusts the amount of delay feedback when the Type setting is DELAY or PAN-DELAY.
Type: 2 (SRV ROOM)/3 (SRV HALL)/4 (SRV PLATE)
Pre
Delay
0.0–100.0 ms Adjusts the delay time from the direct sound until the reverb sound is heard.
Time
Size
0–127
1–8
High Cut 160 Hz–12.5 kHz,
BYPASS
Time length of reverberation
Size of the simulated room or hall
Adjusts the frequency above which the highfrequency content of the reverb will be reduced. If you do not want to reduce the high frequencies, set this parameter to BYPASS.
Density of reverb Density
Diffusion
LF Damp
Freq
LF Damp
Gain
HF Damp
Freq
HF Damp
Gain
0–127
0–127
50–4000 Hz
Adjusts the change in the density of the reverb over time. The higher the value, the more the density increases with time. (The effect of this setting is most pronounced with long reverb times.)
Adjusts the frequency below which the lowfrequency content of the reverb sound will be reduced, or “damped.”
-36–0 dB Adjusts the amount of damping applied to the frequency range selected with LF Damp.
With a setting of “0,” there will be no reduction of the reverb’s low-frequency content.
4000 Hz–12.5 kHz Adjusts the frequency above which the highfrequency content of the reverb sound will be reduced, or “damped.”
-36–0 dB Adjusts the amount of damping applied to the frequency range selected with HF Damp.
With a setting of “0,” there will be no reduction of the reverb’s high-frequency content.
Type: 5 (GM2 REVERB)
Character 0–7
Pre-LPF
Level
Time
Delay
Feedback
0–7
0–127
0–127
0–127
Type of reverb
0–5: reverb
6, 7: delay
Cuts the high frequency range of the sound coming into the reverb.
Higher values will cut more of the high frequencies.
Output level of reverbration
Time length of reverberation
Adjusts the amount of the delay sound that is fed back into the effect when the Reverb
Character setting is 6 or 7.
294
Input Effect Parameters
Selects the type of effect that will be applied to the external input source.
01: EQUALIZER
Adjusts the tone of the low-frequency and high-frequency ranges.
Parameter Range
Low Freq 200, 400 Hz
Low Gain
High Freq
High Gain
-15–+15 dB
2000, 4000, 8000 Hz
-15–+15 dB
Explanation
Center frequency of the low-frequency range
Amount of low-frequency boost/cut
Center frequency of the highfrequency range
Amount of high-frequency boost/cut
02: ENHANCER
Modifies the harmonic content of the high-frequency range to add sparkle to the sound.
Parameter Range
Sens
Mix
0–127
0–127
Explanation
Depth of the enhancer effect
Volume of the harmonics that are generated
03: COMPRESSOR
Restrains high levels and boosts low levels to make the overall volume more consistent.
Parameter Range
Attack 0–127
Threshold
Post Gain
0–127
0–+18 dB
Explanation
Time from when the input exceeds the Threshold until the volume begins to be compressed
Volume level at which compression will begin
Level of the output sound
04: LIMITER
Compresses the sound when it exceeds a specified volume, to keep distortion from occurring.
Parameter Range
Release 0–127
Threshold
Post Gain
0–127
0–+18 dB
Explanation
Time from when the input falls below the Threshold until compression ceases
Volume level at which compression will begin
Level of the output sound
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05: NOISE SUPPRESSOR
Suppresses noise during periods of silence.
Parameter Range
Threshold 0–127
Release 0–127
Explanation
Volume at which noise suppression will begin
Time from when noise suppression begins until the volume reaches zero.
06: CENTER CANCELER
Removes the sounds that are localized at the center of the stereo input. This is a convenient way to eliminate a vocal.
Parameter Range
Ch Balance -50– +50
Range Low
Range High
16–15000 Hz
16–15000 Hz1
Explanation
Volume balance of the L (left) and R (right) channels for removing the sound
Lower frequency limit of the band to be removed
Upper frequency limit of the band to be removed
Effects List
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Error Messages
If an incorrect operation is performed, or if processing could not be performed as you specified, an error message will appear. Refer to the explanation for the error message that appears, and take the appropriate action.
Message
Cannot Edit Preset Sample!
Card Not Ready!
Data not found
Empty Pattern
Empty Sample!
Empty Song!
File Name Duplicate
Illegal File!
Memory Damaged!
Memory Full!
MIDI Offline!
No More Note Numbers!
No More Sample Numbers!
No More Song Numbers!
Now Playing!
Permission Denied!
Playback Tempo Range Over
Recording Parameter Error
Rec Over Flow
Sample Length Too Short!
Sample Memory Full!
Song Full
Song Format Error
Song Not Found
Too Many Sample Selected!
Unformatted!
You Cannot Assign
You Cannot Copy This Message
You Cannot Erase This Message
You Cannot Move This Message
You Cannot Quick Play S-MRC
Song
Rhythm Note Range Over!
Meaning Action
This is a preset sample, and therefore cannot be edited.
A memory card is not inserted in the slot.
The data for placement is not specified.
The Pattern has no data in it, so the Pattern Call message cannot be recorded in Step Recording.
The sample contains no data.
The song has not been recorded, and therefore cannot be played.
A file with the same name already exists.
—
Insert a memory card into the slot.
—
—
Select a sample that contains data.
Select a song that contains data.
The Fantom-X cannot use this file.
The contents of memory may have been damaged.
Delete the file bearing the same name from the disk, and if overwriting and saving the data, merely save the file. If you do not want to delete the file with the same name from the disk, either save the file with a different name.
—
Please perform the Factory Reset operation.
If this does not resolve the problem, please contact your dealer or the nearest Roland Service Center.
Delete unneeded data.
Saving is not possible because there is insufficient space in the user area or memory card.
There is a problem with the MIDI cable connection.
A maximum of 16 different note numbers can be used in one style of the arpeggio/rhythm function.
The sample cannot be divided any further.
Since fewer than 256 consecutive sample numbers are vacant, no further sampling is possible.
No more songs can be saved. A maximum of 256 songs can be handled simultaneously for both the user bank and card bank.
Since the Fantom-X is playing, this operation cannot be executed.
The file is protected.
Tempo values exceed the allowable limit, and data is created in which the closest time available within the allowable range is specified.
You are attempting to begin recording after a looped segment.
Since a large amount of recorded data was input all at once, it could not be processed correctly.
You are attempting to begin recording within or before a looped segment.
Reduce the amount of recorded data.
The sample is too short, and cannot be edited correctly.
If the sample is extremely short, editing may not produce the desired result.
Since there is insufficient sample memory, no further sampling or sample editing is possible.
Erase unneeded samples.
Since the maximum number of notes that can be recorded in a song or pattern has been exceeded, no further recording/editing is possible.
This song is damaged.
The selected song cannot be found.
The operation cannot be executed, since marks are assigned to more than one sample.
The memory card is in an unsupported format.
The sample cannot be assigned to a pad.
Use the track edit Delete or Erase commands to remove unneeded data from the song/pattern that you are recording/editing.
This song cannot be used.
—
Either clear the marks, or mark only one sample.
Format the memory card.
Assign To Pad requires that all pads be playing a rhythm set.
Assign a rhythm set to the Pad part.
Turn off the RPS function.
This message cannot be copied.
This message cannot be erased.
This message cannot be moved.
This is a SuperMRC song; it cannot be played back in
Quick Play.
The pad selected for Assign To Pad is outside the range of the rhythm set.
Check that the MIDI cable has not been disconnected or broken.
Please delete unneeded notes.
Erase unneeded samples in order to allocate 256 or more consecutive sample numbers.
Please delete unneeded songs.
Stop playback before you execute the operation.
—
—
Turn off the rhythm switch.
Turn off the ARPEGGIO/RHYTHM function.
—
—
—
Save the data as an MRC Pro song.
Select a pad that is within the range of the rhythm set.
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About MIDI
MIDI (Musical Instruments Digital Interface) is a standard specification that allows musical data to be exchanged between electronic musical instruments and computers. MIDI With a MIDI cable connecting MIDI devices that are equipped with MIDI connectors, you can play multiple instruments with a single keyboard, have multiple MIDI instruments perform in ensemble, program the settings to change automatically to match the performance as the song progresses, and more.
If you mainly use the Fantom-X as a standalone keyboard instrument, you may really not need to know much at all about
MIDI.
However, the following MIDI-related information is provided so you can play the Fantom-X using an external MIDI device, or master other advanced techniques.
About MIDI Connectors
The Fantom-X is equipped with the three types of MIDI connectors, each which works differently.
fig.33-003
MIDI IN Connector
This connector receives MIDI messages that are transmitted from external MIDI devices. The Fantom-X can receive these messages to play notes or select sounds, etc.
MIDI OUT Connector
This connector transmits MIDI messages to external MIDI devices.
The Fantom-X’s MIDI OUT connector is used for sending the performance data of the keyboard controller section as well as data used for saving various settings and patterns.
MIDI THRU Connector
MIDI messages received at MIDI IN are re-transmitted without change from this connector to an external MIDI device. Use this in situations such as when you use multiple MIDI devices simultaneously.
MIDI Channels and Multi-timbral
Sound Generators
MIDI transmits many types of data over a single MIDI cable. This is made possible by the concept of MIDI channels . MIDI channels allow messages intended for a given instrument to be distinguished from messages intended for another instrument. In some ways,
MIDI channels are similar to television channels. By changing the channel on a television set, you can view the programs that are being broadcast by different stations. In the same way, MIDI also allows a device to select the information intended for that device out of the variety of information that is being transmitted to it.
fig.33-004.e
The cable from the antenna carries the TV signals from many broadcast stations.
Station A
Station B
Station C
The TV is set to the channel of the station you wish to watch.
MIDI uses sixteen channels; 1 through 16. Set the receiving device so that it will receive only the channel that it needs to receive.
Example:
Set the Fantom-X to send Channel 1 and Channel 2, then set sound module A to receive only Channel 1 and sound module B only
Channel 2. With this setup, you can get an ensemble performance, with, for example, a guitar sound from sound module A and bass from sound module B.
fig.33-005.e
MIDI OUT MIDI IN MIDI THRU
Transmit channel: 1, 2
Sound
Module
A
Receive channel: 1
MIDI keyboard Sound
Module
B
Receive channel: 2 MIDI IN
When used as a sound module, the Fantom-X can receive on up to sixteen MIDI channels. Sound modules like the Fantom-X which can receive multiple MIDI channels simultaneously to play different sounds on each channel are called multi-timbral sound modules .
General MIDI
General MIDI is a set of recommendations which seeks to provide a way to go beyond the limitations of proprietary designs, and standardize the MIDI capabilities of sound generating devices. Sound generating devices and music files that meet the General MIDI standard bear the General MIDI logo ( ). Music files bearing the General MIDI logo can be played back using any General MIDI sound generating unit to produce essentially the same musical performance.
General MIDI 2
The upwardly compatible General MIDI 2 ( ) recommendations pick up where the original General MIDI left off, offering enhanced expressive capabilities, and even greater compatibility. Issues that were not covered by the original
General MIDI recommendations, such as how sounds are to be edited, and how effects should be handled, have now been precisely defined. Moreover, the available sounds have been expanded. General MIDI 2 compliant sound generators are capable of reliably playing back music files that carry either the
General MIDI or General MIDI 2 logo.
In some cases, the conventional form of General MIDI, which does not include the new enhancements, is referred to as
“General MIDI 1” as a way of distinguishing it from General
MIDI 2.
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MIDI Implementation
1. Receive Data (Sound Source Section)
■
Channel Voice Messages
* Not received in Performance mode when the Receive Switch parameter (PERFORM/
MIDI) is OFF.
● Note off
Status
8nH
9nH
2nd byte kkH kkH n = MIDI channel number: kk = note number: vv = note off velocity:
3rd byte vvH
00H
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
00H - 7FH (0 - 127)
* Not received when the Envelope Mode parameter (PATCH/MISC and RHYTHM/
GENERAL) is NO-SUS.
● Note on
Status 2nd byte
9nH kkH n = MIDI channel number: kk = note number: vv = note on velocity:
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
01H - 7FH (1 - 127)
● Polyphonic Key Pressure
Status 2nd byte 3rd byte
AnH kkH n = MIDI channel number: vvH
0H - FH (ch.1 - 16) kk = note number: 00H - 7FH (0 - 127) vv = Polyphonic Key Pressure: 00H - 7FH (0 - 127)
* Not received in Performance mode when the Receive Poly Key Pressure parameter
(PERFORM/MIDI) is OFF.
● Control Change
* If the corresponding Controller number is selected for the Patch Control Source 1, 2, 3 or
4 parameter (PATCH/CTRL1-4), the corresponding effect will occur.
* If a Controller number that corresponds to the System Control Source 1, 2, 3 or 4 parameter (SYSTEM/SYSTEM CONTROL) is selected, the specified effect will apply if
Patch Control Source 1, 2, 3 or 4 parameter (PATCH/CTRL1–4) is set to SYS-CTRL1,
SYS-CTRL2, SYS-CTRL3 or SYS-CTRL4.
❍ Bank Select (Controller number 0, 32)
Status 2nd byte 3rd byte
BnH
BnH
00H
20H n = MIDI channel number: mm, ll = Bank number: mmH llH
0H - FH (ch.1 - 16)
00 00H - 7F 7FH (bank.1 - bank.16384)
* Not received in Performance mode when the Receive Bank Select (PERFORM/MIDI) is
OFF.
* The Performances, Patches, and Rhythms corresponding to each Bank Select are as follows.
* The SRX series corresponding to each Bank Select are to see the SRX series owner’s manual.
BANK SELECT | PROGRAM | GROUP | NUMBER
MSB | LSB | NUMBER | |
-----+-----------+-----------+----------------------+-----------
000 | | 001 - 128 | GM Patch | 001 - 256
: | | | |
063 | | 001 - 128 | GM Patch | 001 - 256
085 | 000 | 001 - 064 | User Performance | 001 - 064
| 032 | 001 - 064 | Card Performance | 001 - 064
| 064 | 001 - 064 | Preset Performance | 001 - 064
086 | 000 | 001 - 032 | User Rhythm | 001 - 032
| 032 | 001 - 032 | Card Rhythm | 001 - 032
| 064 | 001 - 032 | Preset Rhythm | 001 - 032
087 | 000 | 001 - 128 | User Patch | 001 - 128
| 001 | 001 - 128 | User Patch | 129 - 256
| 032 | 001 - 128 | Card Patch | 001 - 128
| 033 | 001 - 128 | Card Patch | 129 - 256
| 064 | 001 - 128 | Preset Patch A | 001 - 128
| 065 | 001 - 128 | Preset Patch B | 001 - 128
| : | | : |
092 | 000 - | 001 - | SRX Rhythm | 001 -
| : | | : |
093 | 000 - | 001 - | SRX Patch | 001 -
| : | | : |
120 | | 001 - 057 | GM Rhythm | 001 - 009
121 | 000 - | 001 - 128 | GM Patch | 001 - 256
❍
Modulation (Controller number 1)
Status
BnH
2nd byte
01H
3rd byte vvH n = MIDI channel number: vv = Modulation depth:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
* Not received in Performance mode when the Receive Modulation parameter
(PERFORM/MIDI) is OFF.
❍
Breath type (Controller number 2)
Status
BnH
2nd byte
02H
3rd byte vvH n = MIDI channel number: vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
❍ Foot type (Controller number 4)
Status 2nd byte 3rd byte
BnH 04H n = MIDI channel number: vv = Control value: vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
❍
Portamento Time (Controller number 5)
Status
BnH
2nd byte
05H
3rd byte vvH n = MIDI channel number: vv = Portamento Time:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
* In Performance mode the Part Portament Time parameter (PERFORM/PART) will change.
❍
Data Entry (Controller number 6, 38)
Status
BnH
2nd byte
06H
3rd byte mmH
BnH 26H llH n = MIDI channel number: 0H - FH (ch.1 - 16) mm, ll = the value of the parameter specified by RPN/NRPN mm = MSB, ll = LSB
❍ Volume (Controller number 7)
Status 2nd byte
BnH 07H n = MIDI channel number: vv = Volume:
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
* Not received in Performance mode when the Receive Volume parameter (PERFORM/
MIDI) is OFF.
* In Performance mode the Part Level parameter (PERFORM/PART) will change.
❍
Balance (Controller number 8)
Status
BnH
2nd byte
08H n = MIDI channel number: vv = Balance:
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
❍ Panpot (Controller number 10)
Status 2nd byte
BnH 0AH n = MIDI channel number: vv = Panpot:
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 40H - 7FH (Left - Center - Right),
* Not received in Performance mode when the Receive Pan parameter (PERFORM/MIDI) is OFF.
* In Performance mode the Part Pan parameter (PERFORM/PART) will change.
❍
Expression (Controller number 11)
Status
BnH
2nd byte
0BH
3rd byte vvH n = MIDI channel number: vv = Expression:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
* Not received when Tone Receive Expression parameter (PATCH/MISC or RHYTHM/
GENERAL) is OFF.
* Not received in Performance mode when Receive Expression parameter (PERFORM/
MIDI) is OFF.
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MIDI Implementation
❍
Hold 1 (Controller number 64)
Status
BnH
2nd byte
40H n = MIDI channel number: vv = Control value:
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127) 0-63 = OFF, 64-127 = ON
* Not received when Tone Receive Hold-1 parameter (PATCH/MISC or RHYTHM/
GENERAL) is OFF.
* Not received in Performance mode when Receive Hold-1 parameter (PERFORM/MIDI) is OFF.
* When the Tone Redamper Switch parameter (PATCH/CONTROL) is turned ON, 128 discrete steps are recognized for the value.
❍
Portamento (Controller number 65)
Status
BnH
2nd byte
41H
3rd byte vvH n = MIDI channel number: vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
* In Performance mode the Part Portamento Switch parameter (PERFORM/PART) will change.
❍
Sostenuto (Controller number 66)
Status
BnH
2nd byte
42H
3rd byte vvH n = MIDI channel number: vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
❍ Soft (Controller number 67)
Status 2nd byte
BnH 43H n = MIDI channel number: vv = Control value:
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
❍
Legato Foot Switch (Controller number 68)
Status
BnH
2nd byte
44H
3rd byte vvH n = MIDI channel number: vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
* In Performance mode the Part Legato Switch parameter (PERFORM/PART) will change.
❍ Hold-2 (Controller number 69)
Status 2nd byte
BnH 45H n = MIDI channel number: vv = Control value:
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
* A hold movement isn’t done.
❍
Resonance (Controller number 71)
Status
BnH
2nd byte
47H
3rd byte vvH n = MIDI channel number: vv= Resonance value (relative change):
0H - FH (ch.1 - 16)
00H - 40H - 7FH (-64 - 0 - +63),
* In Performance mode the Part Resonance Offset parameter (PERFORM/PART) will change.
❍
Release Time (Controller number 72)
Status
BnH
2nd byte
48H
3rd byte vvH n = MIDI channel number: vv = Release Time value (relative change):
0H - FH (ch.1 - 16)
00H - 40H - 7FH (-64 - 0 - +63),
* In Performance mode the Part Release Time Offset parameter (PERFORM/PART) will change.
❍
Attack time (Controller number 73)
Status
BnH
2nd byte
49H
3rd byte vvH n = MIDI channel number: vv = Attack time value (relative change):
0H - FH (ch.1 - 16)
00H - 40H - 7FH (-64 - 0 - +63),
* In Performance mode the Part Attack Time Offset parameter (PERFORM/PART) will change.
❍
Cutoff (Controller number 74)
Status
BnH
2nd byte
4AH n = MIDI channel number: vv = Cutoff value (relative change):
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 40H - 7FH (-64 - 0 - +63)
* In Performance mode the Part Cutoff Offset parameter (PERFORM/PART) will change.
❍ Decay Time (Controller number 75)
Status 2nd byte 3rd byte vvH BnH 4BH n = MIDI channel number: vv = Decay Time value (relative change):
0H - FH (ch.1 - 16)
00H - 40H - 7FH (-64 - 0 - +63)
* In Performance mode the Part Decay Time Offset parameter (PERFORM/PART) will change.
❍ Vibrato Rate (Controller number 76)
Status 2nd byte 3rd byte
BnH 4CH n = MIDI channel number: vv = Vibrato Rate value (relative change): vvH
0H - FH (ch.1 - 16)
00H - 40H - 7FH (-64 - 0 - +63)
* In Performance mode the Part Vibrato Rate parameter (PERFORM/PART) will change.
❍
Vibrato Depth (Controller number 77)
Status
BnH
2nd byte
4DH
3rd byte vvH n = MIDI channel number: vv = Vibrato Depth Value (relative change):
0H - FH (ch.1 - 16)
00H - 40H - 7FH (-64 - 0 - +63)
* In Performance mode the Part Vibrato Depth parameter (PERFORM/PART) will change.
❍ Vibrato Delay (Controller number 78)
Status 2nd byte 3rd byte
BnH 4EH n = MIDI channel number: vv = Vibrato Delay value (relative change): vvH
0H - FH (ch.1 - 16)
00H - 40H - 7FH (-64 - 0 - +63)
* In Performance mode the Part Vibrato Delay parameter (PERFORM/PART) will change.
❍
General Purpose Controller 5 (Controller number 80)
Status
BnH
2nd byte
50H
3rd byte vvH n = MIDI channel number: vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
* The Tone Level parameter (PATCH/TVA) of Tone 1 will change.
❍ General Purpose Controller 6 (Controller number 81)
Status 2nd byte 3rd byte
BnH 51H n = MIDI channel number: vv = Control value: vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
* The Tone Level parameter (PATCH/TVA) of Tone 2 will change.
❍
General Purpose Controller 7 (Controller number 82)
Status
BnH
2nd byte
52H
3rd byte vvH n = MIDI channel number: vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
* The Tone Level parameter (PATCH/TVA) of Tone 3 will change.
❍ General Purpose Controller 8 (Controller number 83)
Status 2nd byte 3rd byte
BnH 53H n = MIDI channel number: vv = Control value: vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
* The Tone Level parameter (PATCH/TVA) of Tone 4 will change.
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MIDI Implementation
❍
Portamento control (Controller number 84)
Status
BnH
2nd byte
54H
3rd byte kkH n = MIDI channel number: kk = source note number:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
* A Note-on received immediately after a Portamento Control message will change continuously in pitch, starting from the pitch of the Source Note Number.
* If a voice is already sounding for a note number identical to the Source Note Number, this voice will continue sounding (i.e., legato) and will, when the next Note-on is received, smoothly change to the pitch of that Note-on.
* The rate of the pitch change caused by Portamento Control is determined by the
Portamento Time value.
❍ Effect 1 (Reverb Send Level) (Controller number 91)
Status 2nd byte 3rd byte
BnH 5BH n = MIDI channel number: vv = Reverb Send Level: vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
* In Performance mode the Part Reverb Send Level parameter (PERFORM/PART) will change.
❍
Effect 3 (Chorus Send Level) (Controller number 93)
Status 2nd byte 3rd byte
BnH 5DH vvH n = MIDI channel number: vv = Chorus Send Level:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
* In Performance mode the Part Chorus Send Level parameter (PERFORM/PART) will change.
❍
RPN MSB/LSB (Controller number 100, 101)
Status
BnH
BnH
2nd byte
65H
64H
3rd byte mmH llH n = MIDI channel number: 0H - FH (ch.1 - 16) mm = upper byte (MSB) of parameter number specified by RPN ll = lower byte (LSB) of parameter number specified by RPN
<<< RPN >>>
Control Changes include RPN (Registered Parameter Numbers), which are extended.
When using RPNs, first RPN (Controller numbers 100 and 101; they can be sent in any order) should be sent in order to select the parameter, then
Data Entry (Controller numbers 6 and 38) should be sent to set the value. Once RPN messages are received, Data Entry messages that is received at the same MIDI channel after that are recognized as changing toward the value of the RPN messages. In order not to make any mistakes, transmitting RPN Null is recommended after setting parameters you need.
This device receives the following RPNs.
RPN
MSB, LSB
00H, 00H
Data entry
MSB, LSB mmH, llH
Notes
Pitch Bend Sensitivity mm: 00H - 18H (0 - 24 semitones) ll: ignored (processed as 00H)
Up to 2 octave can be specified in semitone steps.
* In Performance mode, the Part Bend Range parameter (PERFORM/PART) will change.
00H, 01H mmH, llH Channel Fine Tuning mm, ll: 20 00H - 40 00H - 60 00H
(-4096 x 100 / 8192 - 0 - +4096 x 100 / 8192 cent)
* In Performance mode, the Part Fine Tune parameter (PERFORM/PART) will change.
00H, 02H mmH, llH Channel Coarse Tuning mm: 10H - 40H - 70H (-48 - 0 - +48 semitones) ll: ignored (processed as 00H)
* In Performance mode, the Part Coarse Tune parameter (PERFORM/PART) will change.
00H, 05H mmH, llH Modulation Depth Range mm, ll: 00 00H - 00 06H
(0 - 16384*600 / 16384 cent)
* Not received in Patch mode.
7FH, 7FH ---, --RPN null
RPN and NRPN will be set as “unspecified.”
Once this setting has been made, subsequent
Parameter values that were previously set will not change.
mm, ll: ignored
300
● Program Change
Status 2nd byte
CnH ppH n = MIDI channel number: pp = Program number:
0H - FH (ch.1 - 16)
00H - 7FH (prog.1 - prog.128)
* Not received in Performance mode when the Receive Program Change parameter
(PERFORM/MIDI) is OFF.
● Channel Pressure
Status 2nd byte
DnH vvH n = MIDI channel number: vv = Channel Pressure:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
* Not received in Performance mode when the Receive Channel Pressure parameter
(PERFORM/MIDI) is OFF.
● Pitch Bend Change
Status 2nd byte
EnH llH n = MIDI channel number: mm, ll = Pitch Bend value:
3rd byte mmH
0H - FH (ch.1 - 16)
00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)
* Not received when the Tone Receive Bender parameter (PATCH/MISC) is OFF.
* Not received in Performance mode when the Receive Pitch Bend parameter
(PERFORM/MIDI) is OFF.
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MIDI Implementation
■
Channel Mode Messages
* Not received in Performance mode when the Receive Switch parameter (PERFORM/
MIDI) is OFF.
● All Sounds Off (Controller number 120)
Status 2nd byte 3rd byte
BnH 78H 00H n = MIDI channel number: 0H - FH (ch.1 - 16)
* When this message is received, all notes currently sounding on the corresponding channel will be turned off.
● Reset All Controllers (Controller number 121)
Status 2nd byte 3rd byte
BnH 79H 00H n = MIDI channel number: 0H - FH (ch.1 - 16)
* When this message is received, the following controllers will be set to their reset values.
Controller
Pitch Bend Change
Polyphonic Key Pressure
Channel Pressure
Modulation
Breath Type
Expression
Hold 1
Sostenuto
Soft
Hold 2
RPN
NRPN
Reset value
+/-0 (center)
0 (off)
0 (off)
0 (off)
0 (min)
127 (max)
However the controller will be at minimum.
0 (off)
0 (off)
0 (off)
0 (off) unset; previously set data will not change unset; previously set data will not change
● All Notes Off (Controller number 123)
Status 2nd byte 3rd byte
BnH 7BH 00H n = MIDI channel number: 0H - FH (ch.1 - 16)
* When All Notes Off is received, all notes on the corresponding channel will be turned off. However, if Hold 1 or Sostenuto is ON, the sound will be continued until these are turned off.
● OMNI OFF (Controller number 124)
Status 2nd byte 3rd byte
BnH 7CH 00H n = MIDI channel number: 0H - FH (ch.1 - 16)
* The same processing will be carried out as when All Notes Off is received.
● OMNI ON (Controller number 125)
Status 2nd byte 3rd byte
BnH 7DH 00H n = MIDI channel number: 0H - FH (ch.1 - 16)
* The same processing will be carried out as when All Notes Off is received. OMNI ON will not be turned on.
● MONO (Controller number 126)
Status 2nd byte 3rd byte
BnH 7EH n = MIDI channel number: mm = mono number: mmH
0H - FH (ch.1 - 16)
00H - 10H (0 - 16)
* The same processing will be carried out as when All Notes Off is received.
* In Performance mode, the Part Mono/Poly parameter (PERFORM/PART) will change.
● POLY (Controller number 127)
Status 2nd byte 3rd byte
BnH 7FH 00H n = MIDI channel number: 0H - FH (ch.1 - 16)
* The same processing will be carried out as when All Notes Off is received.
* In Performance mode, the Part Mono/Poly parameter (PERFORM/PART) will change.
■
System Realtime Message
● Active Sensing
Status
FEH
* When Active Sensing is received, the unit will begin monitoring the intervals of all further messages. While monitoring, if the interval between messages exceeds 420 ms, the same processing will be carried out as when All Sounds Off, All Notes Off and Reset
All Controllers are received, and message interval monitoring will be halted.
■
System Exclusive Message
Status Data byte Status
F0H iiH, ddH, ......,eeH F7H
F0H: ii = ID number: dd,...,ee = data:
F7H:
System Exclusive Message status an ID number (manufacturer ID) to indicate the manufacturer whose
Exclusive message this is. Roland’s manufacturer ID is 41H.
ID numbers 7EH and 7FH are extensions of the MIDI standard;
Universal Non-realtime Messages (7EH) and Universal Realtime
Messages (7FH).
00H - 7FH (0 - 127)
EOX (End Of Exclusive)
Of the System Exclusive messages received by this device, the Universal Non-realtime messages and the Universal Realtime messages and the Data Request (RQ1) messages and the Data Set (DT1) messages will be set automatically.
● Universal Non-realtime System Exclusive Messages
❍
Identity Request Message
Status
F0H
Data byte Status
7EH, dev, 06H, 01H F7H
Byte
F0H
7EH dev
06H
01H
F7H
Byte
F0H
7EH
7FH
09H
01H
F7H
Explanation
Exclusive status
ID number (Universal Non-realtime Message)
Device ID (dev: 10H - 1FH, 7FH)
Sub ID#1 (General Information)
Sub ID#2 (Identity Request)
EOX (End Of Exclusive)
*
When this message is received, Identity Reply message (P.306) will be transmitted.
❍ GM1 System On
Status
F0H
Data byte Status
7EH, 7FH, 09H, 01H F7H
Explanation
Exclusive status
ID number (Universal Non-realtime Message)
Device ID (Broadcast)
Sub ID#1 (General MIDI Message)
Sub ID#2 (General MIDI 1 On)
EOX (End Of Exclusive)
* When this messages is received, this instrument will turn to the Performance mode.
* Not received when the Receive GM1 System On parameter (SYSTEM/MIDI) is OFF.
❍ GM2 System On
Status
F0H
Data byte Status
7EH 7FH 09H 03H F7H
Byte
F0H
7EH
7FH
09H
03H
F7H
Explanation
Exclusive status
ID number (Universal Non-realtime Message)
Device ID (Broadcast)
Sub ID#1 (General MIDI Message)
Sub ID#2 (General MIDI 2 On)
EOX (End Of Exclusive)
* When this messages is received, this instrument will turn to the Performance mode.
* Not received when the Receive GM2 System On parameter (SYSTEM/MIDI) is OFF.
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MIDI Implementation
❍
GM System Off
Status
F0H
Data byte Status
7EH, 7F, 09H, 02H F7H
Byte
F0H
7EH
7FH
09H
02H
F7H
Explanation
Exclusive status
ID number (Universal Non-realtime Message)
Device ID (Broadcast)
Sub ID#1 (General MIDI Message)
Sub ID#2 (General MIDI Off)
EOX (End Of Exclusive)
* When this messages is received, this instrument will return to the Performance mode.
● Universal Realtime System Exclusive Messages
❍
Master Volume
Status
F0H
Data byte
7FH, 7FH, 04H, 01H, llH, mmH
Status
F7H
Byte
F0H
7FH
7FH
04H
01H llH mmH
F7H
Explanation
Exclusive status
ID number (universal realtime message)
Device ID (Broadcast)
Sub ID#1 (Device Control)
Sub ID#2 (Master Volume)
Master Volume lower byte
Master Volume upper byte
EOX (End Of Exclusive)
* The lower byte (llH) of Master Volume will be handled as 00H.
* The Master Level parameter (SYSTEM/SOUND) will change.
❍
Master Fine Tuning
Status
F0H
Data byte
7FH, 7FH, 04H, 03H, llH, mmH
Status
F7H
Byte
F0H
7FH
7FH
04H
03H llH mmH
F7H
Explanation
Exclusive status
ID number (universal realtime message)
Device ID (Broadcast)
Sub ID#1 (Device Control)
Sub ID#2 (Master Fine Tuning)
Master Fine Tuning LSB
Master Fine Tuning MSB
EOX (End Of Exclusive) mm, ll: 00 00H - 40 00H - 7F 7FH (-100 - 0 - +99.9 [cents])
* The Master Tune parameter (SYSTEM/SOUND) will change.
❍ Master Coarse Tuning
Status Data byte
F0H 7FH, 7FH, 04H, 04H, llH, mmH
Status
F7
Byte
F0H
7FH
7FH
04H
04H llH mmH
F7H
Explanation
Exclusive status
ID number (universal realtime message)
Device ID (Broadcast)
Sub ID#1 (Device Control)
Sub ID#2 (Master Coarse Tuning)
Master Coarse Tuning LSB
Master Coarse Tuning MSB
EOX (End Of Exclusive) llH: mmH: ignored (processed as 00H)
28H - 40H - 58H (-24 - 0 - +24 [semitones])
* The Master Key Shift parameter (SYSTEM/SOUND) will change.
● Global Parameter Control
* Not received in Patch mode and Piano mode.
❍
Reverb Parameters
Status
F0H
Data byte
7FH, 7FH, 04H, 05H, 01H, 01H,
01H, 01H, 01H, ppH, vvH
Status
F7H
Byte
F0H
7FH
7FH
04H
05H
01H
01H
01H
01H
02H ppH vvH
Byte
F0H
7FH
7FH
04H
05H
01H
01H
01H
01H
01H ppH vvH
F7H
Explanation
Exclusive status
ID number (universal realtime message)
Device ID (Broadcast)
Sub ID#1 (Device Control)
Sub ID#2 (Global Parameter Control)
Slot path length
Parameter ID width
Value width
Slot path MSB
Slot path LSB (Effect 0101: Reverb)
Parameter to be controlled.
Value for the parameter.
pp=0 Reverb Type vv = 00H Small Room vv = 01H Medium Room vv = 02H Large Room vv = 03H Medium Hall vv = 04H Large Hall vv = 08H Plate pp=1 Reverb Time vv = 00H - 7FH 0 - 127
EOX (End Of Exclusive)
❍
Chorus Parameters
Status
F0H
Data byte
7FH, 7FH, 04H, 05H, 01H, 01H,
01H, 01H, 02H, ppH, vvH
Status
F7H
F7H
Explanation
Exclusive status
ID number (universal realtime message)
Device ID (Broadcast)
Sub ID#1 (Device Control)
Sub ID#2 (Global Parameter Control)
Slot path length
Parameter ID width
Value width
Slot path MSB
Slot path LSB (Effect 0102: Chorus)
Parameter to be controlled.
Value for the parameter.
pp=0 Chorus Type vv=0 Chorus1 vv=1 Chorus2 vv=2 Chorus3 vv=3 Chorus4 vv=4 FB Chorus vv=5 Flanger pp=1 Mod Rate vv= 00H - 7FH 0 - 127 pp=2 Mod Depth vv = 00H - 7FH 0 - 127 pp=3 Feedback vv = 00H - 7FH 0 - 127 pp=4 Send To Reverb vv = 00H - 7FH 0 - 127
EOX (End Of Exclusive)
302
❍
Channel Pressure
Status
F0H
Data byte
7FH, 7FH, 09H, 01H, 0nH, ppH, rrH
Byte
F0H
7FH
7FH
09H
01H
0nH ppH rrH
Explanation
Exclusive status
ID number (universal realtime message)
Device ID (Broadcast)
Sub ID#1 (Controller Destination Setting)
Sub ID#2 (Channel Pressure)
MIDI Channel (00 - 0F)
Controlled parameter
Controlled range pp=0 Pitch Control rr = 28H - 58H -24 - +24 [semitones] pp=1 Filter Cutoff Control rr = 00H - 7FH -9600 - +9450 [cents] pp=2 Amplitude Control rr = 00H - 7FH 0 - 200% pp=3 LFO Pitch Depth rr = 00H - 7FH 0 - 600 [cents] pp=4 LFO Filter Depth rr = 00H - 7FH 0 - 2400 [cents] pp=5 LFO Amplitude Depth rr = 00H - 7FH 0 - 100%
EOX (End Of Exclusive) F7H
❍
Controller
Status
F0H
Status
F7H
Data byte Status
7FH, 7FH, 09H, 03H, 0nH, ccH, ppH, rrH F7H ggH hhH ssH
Byte
F0H
7EH
7FH
08H
08H ffH
Byte
F0H
7FH
7FH
09H
03H
0nH ccH ppH rrH
Explanation
Exclusive status
ID number (universal realtime message)
Device ID (Broadcast)
Sub ID#1 (Controller Destination Setting)
Sub ID#2 (Control Change)
MIDI Channel (00 - 0F)
Controller number (01 - 1F, 40 - 5F)
Controlled parameter
Controlled range pp=0 Pitch Control rr = 28H - 58H -24 - +24 [semitones] pp=1 Filter Cutoff Control rr = 00H - 7FH -9600 - +9450 [cents] pp=2 Amplitude Control rr = 00H - 7FH 0 - 200% pp=3 LFO Pitch Depth rr = 00H - 7FH 0 - 600 [cents] pp=4 LFO Filter Depth rr = 00H - 7FH 0 - 2400 [cents] pp=5 LFO Amplitude Depth rr = 00H - 7FH 0 - 100%
EOX (End Of Exclusive) F7H
❍ Scale/Octave Tuning Adjust
Status
F0H
Data byte Status
7EH, 7FH, 08H, 08H, ffH, ggH, hhH, ssH... F7
F7H
Explanation
Exclusive status
ID number (Universal Non-realtime Message)
Device ID (Broadcast)
Sub ID#1 (MIDI Tuning Standard)
Sub ID#2 (scale/octave tuning 1-byte form)
Channel/Option byte 1 bits 0 to 1 = channel 15 to 16 bit 2 to 6 = Undefined
Channel byte 2 bits 0 to 6 = channel 8 to 14
Channel byte 3 bits 0 to 6 = channel 1 to 7
12 byte tuning offset of 12 semitones from C to B
00H = -64 [cents]
40H = 0 [cents] (equal temperament)
7FH = +63 [cents]
EOX (End Of Exclusive)
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MIDI Implementation
❍
Key-based Instrument Controllers
Status
F0H
Data byte
7FH, 7FH, 0AH, 01H, 0nH, kkH, nnH, vvH
Status
F7H
Byte
F0H
7FH
7FH
0AH
01H
0nH kkH nnH vvH
:
F7
Explanation
Exclusive status
ID number (universal realtime message)
Device ID (Broadcast)
Sub ID#1 (Key-Based Instrument Control)
Sub ID#2 (Controller)
MIDI Channel (00 - 0FH)
Key Number
Control Number
Value nn=07H Level vv = 00H - 7FH nn=0AH vv = 00H - 7FH nn=5BH
0 - 200% (Relative)
Pan
Left - Right (Absolute)
Reverb Send vv = 00H - 7FH nn=5D
: vv = 00H - 7FH
0 - 127 (Absolute)
Chorus Send
0 - 127 (Absolute)
EOX (End Of Exclusive)
* This parameter affects drum instruments only.
● Data Transmission
This instrument can use exclusive messages to exchange many varieties of internal settings with other devices.
The model ID of the exclusive messages used by this instrument is 00H 6BH.
❍
Data Request 1 RQ1
This message requests the other device to transmit data. The address and size indicate the type and amount of data that is requested.
When a Data Request message is received, if the device is in a state in which it is able to transmit data, and if the address and size are appropriate, the requested data is transmitted as a Data Set 1 (DT1) message. If the conditions are not met, nothing is transmitted.
Status
F0H data byte status
41H, dev, 00H, 6BH, 11H, aaH, bbH, ccH, F7H ddH, ssH, ttH, uuH, vvH, sum bbH ccH ddH ssH ttH uuH vvH sum
F7H
Byte
F0H
41H dev
00H
6BH
11H aaH
Remarks
Exclusive status
ID number (Roland) device ID (dev: 10H - 1FH, 7FH) model ID #1 (Fantom-X6/X7/X8) model ID #2 (Fantom-X6/X7/X8) command ID (RQ1) address MSB address address address LSB size MSB size size size LSB checksum
EOX (End Of Exclusive)
* The size of data that can be transmitted at one time is fixed for each type of data. And data requests must be made with a fixed starting address and size. Refer to the address and size given in Parameter Address Map
*
For the checksum, refer to P.329.
* Not received when the Receive Exclusive parameter (SYSTEM/MIDI) is OFF.
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MIDI Implementation
❍
Data set 1
Status
F0H
DT1
Data byte
41H, dev, 00H, 6BH, 12H, aaH, bbH, ccH, ddH, eeH, ... ffH, sum
Status
F7H
Byte
F0H
41H dev
00H
6BH
12H aaH bbH ccH ddH eeH
Explanation
Exclusive status
ID number (Roland)
Device ID (dev: 00H - 1FH, 7FH)
Model ID #1 (Fantom-X6/X7/X8)
Model ID #2 (Fantom-X6/X7/X8)
Command ID (DT1)
Address MSB: upper byte of the starting address of the data to be
Address: sent upper middle byte of the starting address of the data to be sent lower middle byte of the starting address of the data Address: to be sent
Address LSB: lower byte of the starting address of the data to be
Data: sent.
the actual data to be sent. Multiple bytes of data are transmitted in order starting from the address.
:
Data
Checksum
EOX (End Of Exclusive)
: ffH sum
F7H
* The amount of data that can be transmitted at one time depends on the type of data, and data will be transmitted from the specified starting address and size. Refer to the address and size given in Parameter Address Map
* Data larger than 256 bytes will be divided into packets of 256 bytes or less, and each packet will be sent at an interval of about 20 ms.
*
Regarding the checksum, please refer to P.329.
* Not received when the Receive Exclusive parameter (SYSTEM/MIDI) is OFF.
Status
F0H
Data byte
41H, dev, 42H, 12H, aaH, bbH, ccH, ddH, ... eeH, sum
Status
F7H ddH
: eeH sum
F7H
Byte
F0H
41H dev
42H
12H aaH bbH ccH
Explanation
Exclusive status
ID number (Roland)
Device ID (dev: 10H - 1FH, 7FH)
Model ID (GS)
Command ID (DT1)
Address MSB: upper byte of the starting address of the transmitted data
Address: middle byte of the starting address of the transmitted data
Address LSB: lower byte of the starting address of the transmitted data
Data: the actual data to be transmitted. Multiple bytes of data are transmitted starting from the address.
:
Data
Checksum
EOX (End Of Exclusive)
* The amount of data that can be transmitted at one time depends on the type of data, and data will be transmitted from the specified starting address and size. Refer to the address and size given in Parameter Address Map
* Data larger than 256 bytes will be divided into packets of 256 bytes or less, and each packet will be sent at an interval of about 20 ms.
*
Regarding the checksum, please refer to P.329.
* Not received when the Receive Exclusive parameter (SYSTEM/MIDI) is OFF.
2. Data Transmission
■
Channel Voice Messages
● Note off
Status
8nH n = MIDI channel number: kk = note number: vv = note off velocity:
2nd byte kkH
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
00H - 7FH (0 - 127)
● Note on
Status
9nH n = MIDI channel number: kk = note number: vv = note on velocity:
2nd byte kkH
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
01H - 7FH (1 - 127)
● Polyphonic Key Pressure
Status 2nd byte 3rd byte
AnH kkH vvH n = MIDI channel number: kk = note number:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127) vv = Polyphonic Key Pressure: 00H - 7FH (0 - 127)
● Control Change
* By selecting a controller number that corresponds to the setting of parameters of controllers (REALTIME CONTROL knob, and so on), the Fantom-X can transmit any control change message.
❍
Bank Select (Controller number 0, 32)
Status
BnH
2nd byte
00H
3rd byte mmH
BnH 20H n = MIDI channel number: mm, ll = Bank number: llH
0H - FH (ch.1 - 16)
00 00H - 7F 7FH (bank.1 - bank.16384)
* These messages are transmitted when Patch, Rhythm Set or Performance is selected. But not transmitted when Transmit Program Change or Transmit Bank Select parameter
(SYSTEM/MIDI) is OFF.
* In Performance mode, these messages are not transmitted when External Bank Select
MSB or External PC Number parameter (PERFORMANCE/PART) is OFF.
* Although with the Fantom-X you can select the Bank Select messages to be transmitted,
be sure to refer to the Program Change Map on P.330 for the Bank Select messages
transmitted when the Fantom-X is select a Patch, Rhythm Set or Performance.
* The Bank Select Numbers corresponding to SRX series should be referred to the SRX series owner’s manual.
❍ Modulation (Controller number 1)
Status 2nd byte 3rd byte
BnH 01H n = MIDI channel number: vv = Modulation depth: vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
❍
Breath type (Controller number 2)
Status
BnH
2nd byte
02H
3rd byte vvH n = MIDI channel number: vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
❍ Portamento Time (Controller number 5)
Status 2nd byte 3rd byte
BnH 05H n = MIDI channel number: vv = Portamento Time: vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
❍
Data Entry (Controller number 6, 38)
Status
BnH
2nd byte
06H
3rd byte mmH
BnH 26H llH n = MIDI channel number: 0H - FH (ch.1 - 16) mm, ll = the value of the parameter specified by RPN/NRPN mm = MSB, ll = LSB
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MIDI Implementation
❍
Volume (Controller number 7)
Status
BnH
2nd byte
07H n = MIDI channel number: vv = Volume:
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
* In Performance mode, these messages are not transmitted when External Level parameter (PERFORMANCE/PART) is OFF.
❍
Panpot (Controller number 10)
Status
BnH
2nd byte
0AH n = MIDI channel number: vv = Panpot:
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 40H - 7FH (Left - Center - Right),
* In Performance mode, these messages are not transmitted when External Pan parameter
(PERFORMANCE/PART) is OFF.
❍
Expression (Controller number 11)
Status
BnH
2nd byte
0BH
3rd byte vvH n = MIDI channel number: vv = Expression:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
❍ Hold 1 (Controller number 64)
Status 2nd byte
BnH 40H n = MIDI channel number: vv = Control value:
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127) 0-63 = OFF, 64-127 = ON
* When Continuous Hold Pedal parameter (SYSTEM/PEDAL) is OFF, just only 00H (0FF) and 7FH (0N) can be send as the control value.
❍ Portamento (Controller number 65)
Status 2nd byte 3rd byte
BnH 41H n = MIDI channel number: vv = Control value: vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
❍
Resonance (Controller number 71)
Status
BnH
2nd byte
47H
3rd byte vvH n = MIDI channel number: vv= Resonance value (relative change):
0H - FH (ch.1 - 16)
00H - 40H - 7FH (-64 - 0 - +63)
❍ Release Time (Controller number 72)
Status 2nd byte 3rd byte
BnH 48H n = MIDI channel number: vv = Release Time value (relative change): vvH
0H - FH (ch.1 - 16)
00H - 40H - 7FH (-64 - 0 - +63)
❍
Attack time (Controller number 73)
Status
BnH
2nd byte
49H
3rd byte vvH n = MIDI channel number: vv = Attack time value (relative change):
0H - FH (ch.1 - 16)
00H - 40H - 7FH (-64 - 0 - +63)
❍ Cutoff (Controller number 74)
Status 2nd byte
BnH 4AH n = MIDI channel number: vv = Cutoff value (relative change):
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 40H - 7FH (-64 - 0 - +63)
❍
General Purpose Controller 5 (Controller number 80)
Status
BnH
2nd byte
50H
3rd byte vvH n = MIDI channel number: vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
❍ General Purpose Controller 6 (Controller number 81)
Status 2nd byte 3rd byte
BnH 51H n = MIDI channel number: vv = Control value: vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
❍
General Purpose Controller 7 (Controller number 82)
Status
BnH
2nd byte
52H
3rd byte vvH n = MIDI channel number: vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
❍ General Purpose Controller 8 (Controller number 83)
Status 2nd byte 3rd byte
BnH 53H n = MIDI channel number: vv = Control value: vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
❍
Portamento control (Controller number 84)
Status
BnH
2nd byte
54H
3rd byte kkH n = MIDI channel number: kk = source note number:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
● Program Change
Status 2nd byte
CnH ppH n = MIDI channel number: pp = Program number:
0H - FH (ch.1 - 16)
00H - 7FH (prog.1 - prog.128)
* These messages are transmitted when Patch, Rhythm Set or Performance is selected. But not transmitted when Transmit Program Change parameter (SYSTEM/MIDI) is OFF.
* In Performance mode, these messages are not transmitted when External PC Num parameter (PERFORMANCE/PART) is OFF.
● Channel Pressure
Status 2nd byte
DnH vvH n = MIDI channel number: vv = Channel Pressure:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
● Pitch Bend Change
Status 2nd byte
EnH llH n = MIDI channel number: mm, ll = Pitch Bend value:
3rd byte mmH
0H - FH (ch.1 - 16)
00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)
■
Channel Mode Messages
● MONO (Controller number 126)
Status 2nd byte 3rd byte
BnH 7EH mmH n = MIDI channel number: mm = mono number:
0H - FH (ch.1 - 16)
00H - 10H (0 - 16)
● POLY (Controller number 127)
Status 2nd byte 3rd byte
BnH 7FH n = MIDI channel number:
00H
0H - FH (ch.1 - 16)
■
System Realtime Messages
● Active Sensing
Status
FEH
* This message is transmitted at intervals of approximately 250 msec.
* This message is not sent when Transmit Active Sensing parameter (SYSTEM/MIDI) is
OFF.
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MIDI Implementation
■
System Exclusive Messages
Universal Non-realtime System Exclusive Message” and Data Set 1 (DT1) are the only
System Exclusive messages transmitted by the Fantom-X.
● Universal Non-realtime System Exclusive Message
❍ Identity Reply Message (Fantom-X6)
Receiving Identity Request Message, the Fantom-X6 send this message.
Status
F0H
Data byte
7EH, dev, 06H, 02H, 41H, 6BH, 01H,
00H, 01H, 00H, 03H, 00H, 00H
Status
F7H
Byte
F0H
7EH dev
06H
02H
41H
Explanation
Exclusive status
ID number (Universal Non-realtime Message)
Device ID (dev: 10H - 1FH)
Sub ID#1 (General Information)
Sub ID#2 (Identity Reply)
ID number (Roland)
6BH 01H
00H 01H
Device family code
Device family number code
00H 03H 00H 00H Software revision level
F7H EOX (End of Exclusive)
❍ Identity Reply Message (Fantom-X7)
Receiving Identity Request Message, the Fantom-X7 send this message.
Status
F0H
Data byte
7EH, dev, 06H, 02H, 41H, 6BH, 01H,
00H, 01H, 01H, 03H, 00H, 00H
Status
F7H
Byte
F0H
7EH dev
06H
02H
41H
Explanation
Exclusive status
ID number (Universal Non-realtime Message)
Device ID (dev: 10H - 1FH)
Sub ID#1 (General Information)
Sub ID#2 (Identity Reply)
ID number (Roland)
6BH 01H
00H 01H
Device family code
Device family number code
01H 03H 00H 00H Software revision level
F7H EOX (End of Exclusive)
❍ Identity Reply Message (Fantom-X8)
Receiving Identity Request Message, the Fantom-X8 send this message.
Status
F0H
Data byte
7EH, dev, 06H, 02H, 41H, 6BH, 01H,
00H, 01H, 02H, 03H, 00H, 00H
Status
F7H
Byte
F0H
7EH dev
06H
02H
41H
Explanation
Exclusive status
ID number (Universal Non-realtime Message)
Device ID (dev: 10H - 1FH)
Sub ID#1 (General Information)
Sub ID#2 (Identity Reply)
ID number (Roland)
6BH 01H
00H 01H
Device family code
Device family number code
02H 03H 00H 00H Software revision level
F7H EOX (End of Exclusive)
● Data Transmission
❍ Data set 1
Status
F0H
DT1
Data byte
41H, dev, 00H, 6BH, 12H, aaH, bbH, ccH, ddH, eeH, ... ffH, sum
Status
F7H
Byte
F0H
41H dev
00H
6BH
12H aaH bbH ccH ddH eeH
: ffH sum
F7H
Explanation
Exclusive status
ID number (Roland)
Device ID (dev: 00H - 1FH, 7FH)
Model ID #1 (Fantom-X6/X7/X8)
Model ID #2 (Fantom-X6/X7/X8)
Command ID (DT1)
Address MSB: upper byte of the starting address of the data to be sent
Address: upper middle byte of the starting address of the data to be sent
Address: lower middle byte of the starting address of the data to be sent
Address LSB: lower byte of the starting address of the data to be sent.
Data: the actual data to be sent. Multiple bytes of data are transmitted in order starting from the address.
:
Data
Checksum
EOX (End Of Exclusive)
* The amount of data that can be transmitted at one time depends on the type of data, and data will be transmitted from the specified starting address and size. Refer to the address and size given in Parameter Address Map
* Data larger than 256 bytes will be divided into packets of 256 bytes or less, and each packet will be sent at an interval of about 20 ms.
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MIDI Implementation
3. Data reception (Sequencer Section)
3.1 Messages recorded during recording
■
Channel Voice Messages
● Note Off
Status
8nH
9nH
2nd byte kkH kkH n=MIDI channel number: kk=note number: vv=note off velocity:
3rd byte vvH
00H
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
00H - 7FH (0 - 127)
* Not received when the Note parameter (Recording Select window) is OFF.
● Note on
Status
9nH n=MIDI channel number: kk=note number: vv=note on velocity:
2nd byte kkH
3rd byte vvH
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
01H - 7FH (1 - 127)
* Not received when the Note parameter (Recording Select window) is OFF.
● Polyphonic Aftertouch
Status 2nd byte
AnH kkH n=MIDI channel number: kk=note number: vv=Polyphonic Aftertouch:
3rd byte vvH
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
00H - 7FH (0 - 127)
* Not received when the Poly Afertouch parameter (Recording Select window) is OFF.
● Control Change
Status 2nd byte 3rd byte
BnH kkH vvH n=MIDI channel number: 0H - FH (ch.1 - ch.16) kk=Control number: vv=value:
00H - 78H (0 - 120)
00H - 7FH (0 - 127)
* Not received when the Control Change parameter (Recording Select window) is OFF.
● Program Change
Status 2nd byte
CnH ppH n=MIDI channel number: pp=Program number:
0H - FH (ch.1 - ch.16)
00H - 7FH (prog.1 - prog.128)
* Not received when the Program Change parameter (Recording Select window) is OFF.
● Channel Aftertouch
Status 2nd byte
DnH vvH n=MIDI channel number: vv=Channel Aftertouch:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
* Not received when the Channel Aftertouch parameter (Recording Select window) is
OFF.
● Pitch Bend Change
Status 2nd byte
EnH llH n=MIDI channel number: mm, ll=Pitch Bend value:
3rd byte mmH
0H - FH (ch.1 - ch.16)
00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)
* Not received when the Pitch Bend parameter (Recording Select window) is OFF.
■
Channel Mode messages
● All Sound Off (Controller number 120)
Status 2nd byte 3rd byte
BnH 78H 00H n=MIDI channel number: 0H - FH (ch.1 - ch.16)
● Reset All Controller (Controller number 121)
Status 2nd byte 3rd byte
BnH 79H 00H n=MIDI channel number: 0H - FH (ch.1 - ch.16)
● Omni Off (Controller number 124)
Status 2nd byte 3rd byte
BnH 7CH 00H n=MIDI channel number: 0H - FH (ch.1 - ch.16)
* The same processing will be done as when an All Note Off message is received.
● Omni On (Controller number 125)
Status 2nd byte 3rd byte
BnH 7DH 00H n=MIDI channel number: 0H - FH (ch.1 - ch.16)
* The same processing will be done as when an All Note Off message is received.
● Mono (Controller number 126)
Status 2nd byte 3rd byte
BnH 7EH mmH n=MIDI channel number: mm=mono number:
0H - FH (ch.1 - ch.16)
00H - 10H (0 - 16)
* The same processing will be done as when an All Note Off message is received.
● Poly (Controller number 127)
Status 2nd byte 3rd byte
BnH 7FH n=MIDI channel number:
00H
0H - FH (ch.1 - ch.16)
* The same processing will be done as when an All Note Off message is received.
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MIDI Implementation
■
System Exclusive Messages
Status Data byte Status
F0H
F0H: dd,..., ee = data:
F7H: iiH, ddH, ......, eeH F7H
System Exclusive message status
This is the ID number (manufacturer ID) that specifies the manufacturer whose exclusive message this is. Roland’s manufacturer
ID is 41H. ID numbers 7EH and 7FH are defined in an expansion of the MIDI standard as Universal Non-real-time messages (7EH) and
Universal Realtime Messages (7FH).
00H - 7FH (0 - 127)
EOX (End of System Exclusive)
* Not received when the System Exclusive parameter (Recording Select window) is OFF.
* MIDI Machine Control and MIDI Time code is not recorded. (Refer to “3.3 Messages acknowledged for synchronization”)
3.2 Messages not recorded during recording
■
Channel mode messages
● Local On/Off (Controller number 122)
Status 2nd byte 3rd byte
BnH 7AH n=MIDI channel number: vv=Value: vvH
0H - FH (ch.1 - ch.16)
00H, 7FH (Local Off, Local On)
● All notes off (Controller number 123)
Status 2nd byte 3rd byte
BnH 7BH 00H n=MIDI channel number: 0H - FH (ch.1 - ch.16)
* When an All Note Off message is received, all notes of the corresponding channel that are on will be sent Note Off’s, and the resulting Note Off messages will be recorded.
3.3 Messages acknowledged for synchronization
■
System Common messages
● Tune Request
Status
F6H
● MIDI Time Code Quarter Frame Messages
MIDI Time Code Quarter Frame Messages can be transmitted while the sequencer is running (Playing or Recording) if the Sync Mode parameter (System/Sync/Tempo) is
MASTER and MTC Sync Output parameter (System/Sync/Tempo) is ON. The transmitted time counts are summed to MTC Offset Time parameter (System/Sync/Tempo) as the song top is “00:00:00:00.”
The sequencer synchronizes with the time counts which are summed to MTC Offset Time parameter (System/Sync/Tempo) as the song top is “00:00:00:00” if the Sync Mode parameter (System/Sync/Tempo) is SLAVE(MTC).
Status Second
F1H mmH (= 0nnndddd) nnn = Message type :
0 = Frame count LS nibble
1 = Frame count MS nibble
2 = Seconds count LS nibble
3 = Seconds count MS nibble
4 = Minutes count LS nibble
5 = Minutes count MS nibble
6 = Hours count LS nibble
7 = Hours count MS nibble dddd = 4 bit nibble data : h - FH (0 - 15)
Bit Field is assigned as follows.
Frame Count xxx yyyyy
Seconds Count
Minutes Count
Hours Count xxxyyyyy
Reserved (000)
Frame No.(0-29) xxyyyyyy xx yyyyyy xxyyyyyy
Reserved (00)
Seconds (0-59) xx yyyyyy xyyzzzzz x
Reserved (00)
Minutes (0-59) yy
0 = 24 Frames / Sec
Reserved (0)
Time Code type
1 = 25 Frames / Sec
2 = 30 Frames / Sec (Drop Frame)
3 = 30 Frames / Sec (Non Drop Frame zzzzz Hours (0-23)
● Song Position Pointer
Status 2nd byte
F2H mm, ll=value:
3rd byte mmH llH
00 00H - 7F 7FH (0 - 16383)
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MIDI Implementation
■
System Realtime Messages
● Timing Clock
Status
F8H
* Received when Sync Mode parameter (System/Sync/Tempo) is set to SLAVE-MIDI.
● Start
Status
FAH
* Received when Sync Mode parameter (System/Sync/Tempo) is set to SLAVE-MIDI or
REMOTE.
● Continue
Status
FBH
* Received when Sync Mode parameter (System/Sync/Tempo) is set to SLAVE-MIDI or
REMOTE.
● Stop
Status
FCH
* Received when Sync Mode parameter (System/Sync/Tempo) is set to SLAVE-MIDI or
REMOTE.
■
System Exclusive Message
● MIDI Machine Control (MMC)
* Received when the MMC Mode parameter (System/Sync/Tempo) is SLAVE.
❍ STOP (MCS)
Status
F0H
Data byte
7FH, dev, 06H, 01H
Status
F7H
01H hrH mnH scH frH ffH
F7H
Byte
F0H
7FH
7FH
06H
44H
06H
Byte
F0H
7FH
7FH
06H
01H
F7H
Remarks
Exclusive status
Universal System Exclusive Realtime Header
Device ID
MMC command message
STOP (MCS)
EOX (End of Exclusive)
❍
DEFERRED PLAY (MCS)
Status Data byte
F0H 7FH, dev, 06H, 03H
Status
F7H
Byte
F0H
7FH
7FH
06H
03H
F7H
Remarks
Exclusive status
Universal System Exclusive Realtime Header
Device ID
MMC command message
DEFERRED PLAY (MCS)
EOX (End of Exclusive)
❍
LOCATE (MCP)
❍
Format2—LOCATE [TARGET]
Status Data byte
F0H 7FH, dev, 06H, 44H, 06H, 01H, hrH, mnH, scH, frH, ffH
Status
F7H
Remarks
Exclusive status
Universal System Exclusive Realtime Header
Device ID
MMC command message
LOCATE (MCP)
Byte count
“TARGET” sub-Command
Standard Time Specification with subframes
EOX (End of Exclusive)
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MIDI Implementation
4. Data transmission (Sequencer Section)
4.1 Messages transmitted during playing
Recorded messages are transmitted during playback.
4.2 Soft Thru setting
Messages (except System Common and System Realtime Messages) that are received are then sent out when Soft Thru parameter (System/Sync/Tempo) is switched to ON.
4.3 Messages that are generated and transmitted
4.3.1 Messages Appearing When Synchronizing with Other Devices
■
System Common Messages
* Sent when Sync Output parameter (System/Sync/Tempo) is set to ON.
● Song Position Pointer
Status
F2H mm, ll=value:
2nd byte mmH
3rd byte llH
00 00H - 7F 7FH (0 - 16383)
■
System Realtime Messages
* Sent when Sync Output parameter (System/Sync/Tempo) is set to ON.
● Timing Clock
Status
F8H
● Start
Status
FAH
● Continue
Status
FBH
● Stop
Status
FCH
● Quarter Frame Messages
Status 2nd byte
F1H mmH (= 0nnndddd)
* Sent when Sync Mode parameter (System/Sync/Tempo) is set to MASTER and MTC
Sync Output parameter (System/Sync/Tempo) is set to ON. Furthermore, sending a
Quarter Frame Message with “00h00m00s00f00” at the beginning of the song adds the
MTC Offset Time parameter (System/Sync/Tempo).
■
System Exclusive Message
● MIDI Time code
❍ Full Message
Full Messages are used, which encode the complete time into a single message.
This message transmitted when the song position moves.
Status Data Byte
F0H, 7FH xxH, 01H, 01H, hrH, mnH, scH, frH
Status
F7H
F0H, 7FH : Realtime Universal System Exclusive Header xxH : 7F (Device ID)
01H :
01H : sub-ID #1 (MIDI Time code) sub-ID #2 (Full Message) hrH : yy type: hours and type: 0 yy zzzzz zzzzz : mnH : scH : frH :
F7H :
00 = 24 Flame/sec
01 = 25 Flame/sec
10 = 30 Flame/sec
11 = 30 Flame/sec
Hours (00 - 23)
Minutes (00 - 59)
Seconds (00 - 59)
Frames (00 - 29)
EOX (End of Exclusive)
● MIDI Machine Control (MMC)
* Not received when the MMC Mode parameter (System/Sync/Tempo) is Master.
❍
STOP (MCS)
Status
F0H
Data byte Status
7FH, dev, 06H, 01H F7H
01H hrH mnH scH frH ffH
F7H
Byte
F0H
7FH
7FH
06H
44H
06H
Byte
F0H
7FH
7FH
06H
01H
F7H
Remarks
Exclusive status
Universal System Exclusive Realtime Header
Device ID
MMC command message
STOP (MCS)
EOX (End of Exclusive)
❍
DEFFERRED PLAY (MCS)
Status
F0H
Data byte
7FH, dev, 06H, 03H
Status
F7H
Byte
F0H
7FH
7FH
06H
03H
F7H
Remarks
Exclusive status
Universal System Exclusive Realtime Header
Device ID
MMC command message
DEFERRED PLAY (MCS)
EOX (End of Exclusive)
❍ LOCATE (MCP)
❍
Format2—LOCATE [TARGET]
Status
F0H
Data byte Status
7FH, dev, 06H, 44H, 06H, 01H, hrH, mnH, scH, frH, ffH F7H
Remarks
Exclusive status
Universal System Exclusive Realtime Header
Device ID
MMC command message
LOCATE (MCP)
Byte count
“TARGET” sub-Command
Standard Time Specification with subframes
EOX (End of Exclusive)
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MIDI Implementation
5. Parameter Address Map
* Transmission of “#” marked address is divided to some packets. For example, ABH in hexadecimal notation will be divided to 0AH and 0BH, and is sent/received in this order.
* “<*>” marked address or parameters are ignored when the Fantom-X6/X7/X8 received them.
1. Fantom-X6/X7/X8 (ModelID = 00H 6BH)
+——————————————————————————————————————————————————————————————————————————————+
| Start | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 01 00 00 00 | Setup |
|—————————————+————————————————————————————————————————————————————————————————|
| 02 00 00 00 | System |
|—————————————+————————————————————————————————————————————————————————————————|
| 10 00 00 00 | Temporary Performance |
| 11 00 00 00 | Temporary Patch/Rhythm (Performance Mode Part 1) |
| 11 20 00 00 | Temporary Patch/Rhythm (Performance Mode Part 2) |
| : | |
| 14 60 00 00 | Temporary Patch/Rhythm (Performance Mode Part 16) |
| 1E 00 00 00 | Temporary Rhythm Pattern |
| 1E 01 00 00 | Temporary Arpeggio (Performance Mode) |
| 1E 02 00 00 | Temporary Chord (Performance Mode) |
| 1E 03 00 00 | Temporary Rhythm Group (Performance Mode) |
| 1E 11 00 00 | Temporary Arpeggio (Patch Mode) |
| 1E 12 00 00 | Temporary Chord (Patch Mode) |
| 1E 13 00 00 | Temporary Rhythm Group (Patch Mode) |
| 1F 00 00 00 | Temporary Patch/Rhythm (Patch Mode Part 1) |
| 1F 20 00 00 | Temporary Patch/Rhythm (Patch Mode Part 2) |
+——————————————————————————————————————————————————————————————————————————————+
❍
System
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 | System Common |
| 00 02 00 | System Mastering |
| 00 03 00 | System External Input |
| 00 40 00 | System Controller |
+——————————————————————————————————————————————————————————————————————————————+
❍
Temporary Patch/Rhythm
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 | Temporary Patch |
| 10 00 00 | Temporary Rhythm |
+——————————————————————————————————————————————————————————————————————————————+
❍
Performance
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 | Performance Common |
| 00 02 00 | Performance Common MFX1 |
| 00 04 00 | Performance Common Chorus |
| 00 06 00 | Performance Common Reverb |
| 00 08 00 | Performance Common MFX2 |
| 00 0A 00 | Performance Common MFX3 |
| 00 10 00 | Performance MIDI (Channel 1) |
| 00 11 00 | Performance MIDI (Channel 2) |
| : | |
| 00 1F 00 | Performance MIDI (Channel 16) |
| 00 20 00 | Performance Part (Part 1) |
| 00 21 00 | Performance Part (Part 2) |
| : | |
| 00 2F 00 | Performance Part (Part 16) |
| 00 50 00 | Performance Zone (Channel 1) |
| 00 51 00 | Performance Zone (Channel 2) |
| : | |
| 00 5F 00 | Performance Zone (Channel 16) |
| 00 60 00 | Performance Controller |
+——————————————————————————————————————————————————————————————————————————————+
❍ Patch
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 | Patch Common |
| 00 02 00 | Patch Common MFX |
| 00 04 00 | Patch Common Chorus |
| 00 06 00 | Patch Common Reverb |
| 00 10 00 | Patch TMT (Tone Mix Table) |
| 00 20 00 | Patch Tone (Tone 1) |
| 00 22 00 | Patch Tone (Tone 2) |
| 00 24 00 | Patch Tone (Tone 3) |
| 00 26 00 | Patch Tone (Tone 4) |
+——————————————————————————————————————————————————————————————————————————————+
❍
Rhythm
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 | Rhythm Common |
| 00 02 00 | Rhythm Common MFX |
| 00 04 00 | Rhythm Common Chorus |
| 00 06 00 | Rhythm Common Reverb |
| 00 10 00 | Rhythm Tone (Key # 21) |
| 00 12 00 | Rhythm Tone (Key # 22) |
| : | |
| 01 3E 00 | Rhythm Tone (Key # 108) |
+——————————————————————————————————————————————————————————————————————————————+
❍
Arpeggio
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 | Arpeggio Common |
| 00 10 00 | Arpeggio Pattern (Note 1) |
| 00 11 00 | Arpeggio Pattern (Note 2) |
| : | |
| 00 1F 00 | Arpeggio Pattern (Note 16) |
+——————————————————————————————————————————————————————————————————————————————+
❍ Chord
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 | Chord Pattern |
+——————————————————————————————————————————————————————————————————————————————+
❍ Rhythm Group
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 | Rhythm Group |
+——————————————————————————————————————————————————————————————————————————————+
❍
Setup
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0000 0aaa | Sound Mode (0 - 5) |
| | | PATCH, PERFORM, GM1, GM2, GS, PIANO<*> |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 01 | 0aaa aaaa | Performance Bank Select MSB (CC# 0) (0 - 127) |
| 00 02 | 0aaa aaaa | Performance Bank Select LSB (CC# 32) (0 - 127) |
| 00 03 | 0aaa aaaa | Performance Program Number (PC) (0 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 04 | 0aaa aaaa | Kbd Patch Bank Select MSB (CC# 0) (0 - 127) |
| 00 05 | 0aaa aaaa | Kbd Patch Bank Select LSB (CC# 32) (0 - 127) |
| 00 06 | 0aaa aaaa | Kbd Patch Program Number (PC) (0 - 127) |
| 00 07 | 0aaa aaaa | Pad Patch Bank Select MSB (CC# 0) (0 - 127) |
| 00 08 | 0aaa aaaa | Pad Patch Bank Select LSB (CC# 32) (0 - 127) |
| 00 09 | 0aaa aaaa | Pad Patch Program Number (PC) (0 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 0A | 0000 000a | MFX1 Switch (0 - 1) |
| | | BYPASS, ON |
| 00 0B | 0000 000a | MFX2 Switch (0 - 1) |
| | | BYPASS, ON |
| 00 0C | 0000 000a | MFX3 Switch (0 - 1) |
| | | BYPASS, ON |
| 00 0D | 0000 000a | Chorus Switch (0 - 1) |
| | | OFF, ON |
| 00 0E | 0000 000a | Reverb Switch (0 - 1) |
| | | OFF, ON |
| 00 0F | 0000 000a | Input Effect Switch (0 - 1) |
| | | OFF, ON |
| 00 10 | 0000 000a | Patch Mode Chorus Source (0 - 1) |
| | | KBD, PAD |
| 00 11 | 0000 000a | Patch Mode Reverb Source (0 - 1) |
| | | KBD, PAD |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 12 | 0000 aaaa | Transpose Value (59 - 70) |
| | | -5 - +6 |
| 00 13 | 0000 0aaa | Octave Shift (61 - 67) |
| | | -3 - +3 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 14 | 0000 0aaa | D Beam Select (0 - 3) |
| | | OFF, PAD-TRIG, SOLO-SYN, ASGN |
| 00 15 | 0000 00aa | Knob Select (0 - 3) |
| | | OFF, FLT-ENV, ARP-RHY, ASGN |
| 00 16 | 0000 000a | (reserve) <*> |
| 00 17 | 0aaa aaaa | Arp/Ptn Grid (0 - 8) |
| | | 04_, 08_, 08L, 08H, 08t, |
| | | 16_, 16L, 16H, 16t |
| 00 18 | 0aaa aaaa | Arp/Ptn Duration (0 - 9) |
| | | 30, 40, 50, 60, 70, 80, 90, |
| | | 100, 120, FUL |
| 00 19 | 0000 000a | Arpeggio Switch (0 - 1) |
| | | OFF, ON |
| 00 1A | 0aaa aaaa | Arpeggio Bank (0 - 1) |
| | | USER, PRESET |
| 00 1B | 0aaa aaaa | Arpeggio Style (0 - 127) |
| | | 1 - 128 |
| 00 1C | 0aaa aaaa | Arpeggio Motif (0 - 11) |
| | | UP/L, UP/H, UP/_, dn/L, dn/H, |
| | | dn/_, Ud/L, Ud/H, Ud/_, rn/L, |
| | | rn/_, PHRASE |
| 00 1D | 0000 0aaa | Arpeggio Octave Range (61 - 67) |
| | | -3 - +3 |
| 00 1E | 0000 000a | Arpeggio Hold (0 - 1) |
| | | OFF, ON |
| 00 1F | 0aaa aaaa | Arpeggio Accent Rate (0 - 100) |
| 00 20 | 0aaa aaaa | Arpeggio Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 21 | 0000 000a | Rhythm Pattern Switch (0 - 1) |
| | | OFF, ON |
| 00 22 | 0aaa aaaa | Rhythm Pattern Bank (0 - 1) |
| | | USER, PRESET |
|# 00 23 | 0000 aaaa | |
| | 0000 bbbb | Rhythm Pattern Style (0 - 255) |
| | | 1 - 256 |
| 00 25 | 0000 000a | Rhythm Pattern Group Bank (0 - 1) |
| | | USER, PRESET |
| 00 26 | 0aaa aaaa | Rhythm Pattern Group Number (0 - 31) |
| | | 1 - 32 |
| 00 27 | 0aaa aaaa | Rhythm Pattern Accent Rate (0 - 100) |
| 00 28 | 0aaa aaaa | Rhythm Pattern Velocity (0 - 127) |
| | | REAL, 1 - 127 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 29 | 0000 000a | Chord Switch (0 - 1) |
| | | OFF, ON |
| 00 2A | 0aaa aaaa | Chord Bank (0 - 1) |
| | | USER, PRESET |
| 00 2B | 00aa aaaa | Chord Form (0 - 63) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 2C | 0000 000a | Bender and Modulation Part Select (0 - 1) |
| | | KBD, PAD |
| 00 2D | 0000 000a | Beam Part Select (0 - 1) |
| | | KBD, PAD |
| 00 2E | 0000 000a | Knob Part Select (0 - 1) |
| | | KBD, PAD |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 2F | 0000 000a | (reserve) <*> |
| | | |
| 00 30 | 0aaa aaaa | (reserve) <*> |
| | | |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 31 | 0000 000a | Rolled Chord (0 - 1) |
| | | OFF, ON |
| 00 32 | 0000 00aa | Rolled Chord Type (0 - 2) |
| | | UP, DOWN, ALTERNATE |
| 00 33 | 00aa aaaa | Arpeggio Step (0 - 32) |
| | | AUTO, 1 - 32 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 34 | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍ System Common
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
|# 00 00 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Master Tune (24 - 2024) |
| | | -100.0 - 100.0 [cent] |
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MIDI Implementation
| 00 04 | 00aa aaaa | Master Key Shift (40 - 88) |
| | | -24 - +24 |
| 00 05 | 0aaa aaaa | Master Level (0 - 127) |
| 00 06 | 0000 000a | Scale Tune Switch (0 - 1) |
| | | OFF, ON |
| 00 07 | 0000 000a | Patch Remain (0 - 1) |
| | | OFF, ON |
| 00 08 | 0000 000a | Mix/Parallel (0 - 1) |
| | | MIX, PARALLEL |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 09 | 000a aaaa | Performance Control Channel (0 - 16) |
| | | 1 - 16, OFF |
| 00 0A | 0000 aaaa | Kbd Patch Rx/Tx Channel (0 - 15) |
| | | 1 - 16 |
| 00 0B | 0000 aaaa | Pad Patch Rx/Tx Channel (0 - 15) |
| | | 1 - 16 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 0C | 0aaa aaaa | Patch Scale Tune for C (0 - 127) |
| | | -64 - +63 |
| 00 0D | 0aaa aaaa | Patch Scale Tune for C# (0 - 127) |
| | | -64 - +63 |
| 00 0E | 0aaa aaaa | Patch Scale Tune for D (0 - 127) |
| | | -64 - +63 |
| 00 0F | 0aaa aaaa | Patch Scale Tune for D# (0 - 127) |
| | | -64 - +63 |
| 00 10 | 0aaa aaaa | Patch Scale Tune for E (0 - 127) |
| | | -64 - +63 |
| 00 11 | 0aaa aaaa | Patch Scale Tune for F (0 - 127) |
| | | -64 - +63 |
| 00 12 | 0aaa aaaa | Patch Scale Tune for F# (0 - 127) |
| | | -64 - +63 |
| 00 13 | 0aaa aaaa | Patch Scale Tune for G (0 - 127) |
| | | -64 - +63 |
| 00 14 | 0aaa aaaa | Patch Scale Tune for G# (0 - 127) |
| | | -64 - +63 |
| 00 15 | 0aaa aaaa | Patch Scale Tune for A (0 - 127) |
| | | -64 - +63 |
| 00 16 | 0aaa aaaa | Patch Scale Tune for A# (0 - 127) |
| | | -64 - +63 |
| 00 17 | 0aaa aaaa | Patch Scale Tune for B (0 - 127) |
| | | -64 - +63 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 18 | 0aaa aaaa | System Control 1 Source (0 - 97) |
| | | OFF, CC01 - CC31, CC33 - CC95, |
| | | BEND, AFT |
| 00 19 | 0aaa aaaa | System Control 2 Source (0 - 97) |
| | | OFF, CC01 - CC31, CC33 - CC95, |
| | | BEND, AFT |
| 00 1A | 0aaa aaaa | System Control 3 Source (0 - 97) |
| | | OFF, CC01 - CC31, CC33 - CC95, |
| | | BEND, AFT |
| 00 1B | 0aaa aaaa | System Control 4 Source (0 - 97) |
| | | OFF, CC01 - CC31, CC33 - CC95, |
| | | BEND, AFT |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 1C | 0000 000a | Receive Program Change (0 - 1) |
| | | OFF, ON |
| 00 1D | 0000 000a | Receive Bank Select (0 - 1) |
| | | OFF, ON |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 1E | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍ System Mastering
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0000 000a | Mastering Switch (0 - 1) |
| | | OFF, ON |
| 00 01 | 0aaa aaaa | Low band Attack time (0 - 100) |
| 00 02 | 0aaa aaaa | Low band Release time (0 - 100) |
| 00 03 | 00aa aaaa | Low band Threshold (0 - 36) |
| | | -36, -35, -34, -33, -32, -31, |
| | | -30, -29, -28, -27, -26, -25, |
| | | -24, -23, -22, -21, -20, -19, |
| | | -18, -17, -16, -15, -14, -13, |
| | | -12, -11, -10, -9, -8, -7, |
| | | -6, -5, -4, -3, -2, -1, 0 [dB] |
| 00 04 | 0000 aaaa | Low band Ratio (0 - 13) |
| | | 1:1.0, 1:1.1, 1:1.2, 1:1.4, |
| | | 1:1.6, 1:1.8, 1:2.0, 1:2.5, |
| | | 1:3.2, 1:4.0, 1:5.6, 1:8.0, |
| | | 1:16, 1:INF |
| 00 05 | 000a aaaa | Low band Level (0 - 24) |
| | | 0, 1, 2, 3, 4, 5, 6, 7, 8, |
| | | 9, 10, 11, 12, 13, 14, 15, |
| | | 16, 17, 18, 19, 20, 21, 22, |
| | | 23, 24 [dB] |
| 00 06 | 0aaa aaaa | Mid band Attack time (0 - 100) |
| 00 07 | 0aaa aaaa | Mid band Release time (0 - 100) |
| 00 08 | 00aa aaaa | Mid band Threshold (0 - 36) |
| | | -36, -35, -34, -33, -32, -31, |
| | | -30, -29, -28, -27, -26, -25, |
| | | -24, -23, -22, -21, -20, -19, |
| | | -18, -17, -16, -15, -14, -13, |
| | | -12, -11, -10, -9, -8, -7, |
| | | -6, -5, -4, -3, -2, -1, 0 [dB] |
| 00 09 | 0000 aaaa | Mid band Ratio (0 - 13) |
| | | 1:1.0, 1:1.1, 1:1.2, 1:1.4, |
| | | 1:1.6, 1:1.8, 1:2.0, 1:2.5, |
| | | 1:3.2, 1:4.0, 1:5.6, 1:8.0, |
| | | 1:16, 1:INF |
| 00 0A | 000a aaaa | Mid band Level (0 - 24) |
| | | 0, 1, 2, 3, 4, 5, 6, 7, 8, |
| | | 9, 10, 11, 12, 13, 14, 15, |
| | | 16, 17, 18, 19, 20, 21, 22, |
| | | 23, 24 [dB] |
| 00 0B | 0aaa aaaa | High band Attack time (0 - 100) |
| 00 0C | 0aaa aaaa | High band Release time (0 - 100) |
| 00 0D | 00aa aaaa | High band Threshold (0 - 36) |
| | | -36, -35, -34, -33, -32, -31, |
| | | -30, -29, -28, -27, -26, -25, |
| | | -24, -23, -22, -21, -20, -19, |
| | | -18, -17, -16, -15, -14, -13, |
| | | -12, -11, -10, -9, -8, -7, |
| | | -6, -5, -4, -3, -2, -1, 0 [dB] |
| 00 0E | 0000 aaaa | High band Ratio (0 - 13) |
| | | 1:1.0, 1:1.1, 1:1.2, 1:1.4, |
| | | 1:1.6, 1:1.8, 1:2.0, 1:2.5, |
| | | 1:3.2, 1:4.0, 1:5.6, 1:8.0, |
| | | 1:16, 1:INF |
| 00 0F | 000a aaaa | High band Level (0 - 24) |
| | | 0, 1, 2, 3, 4, 5, 6, 7, 8, |
| | | 9, 10, 11, 12, 13, 14, 15, |
| | | 16, 17, 18, 19, 20, 21, 22, |
| | | 23, 24 [dB] |
| 00 10 | 0000 0aaa | Split Freq Low (0 - 6) |
| | | 200, 250, 315, 400, 500, |
| | | 630, 800 [Hz] |
| 00 11 | 0000 0aaa | Split Freq High (0 - 6) |
| | | 2000, 2500, 3150, 4000, 5000, |
| | | 6300, 8000 [Hz] |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 12 | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
312
❍
System External Input
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0aaa aaaa | External Dry Send Level (0 - 127) |
| 00 01 | 0aaa aaaa | External Chorus Send Level (0 - 127) |
| 00 02 | 0aaa aaaa | External Reverb Send Level (0 - 127) |
| 00 03 | 0000 aaaa | External Output Assign (0 - 1) |
| | | MFX, DRY |
| 00 04 | 0000 00aa | External Output MFX Select (0 - 2) |
| | | MFX1, MFX2, MFX3 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 05 | 0000 aaaa | Input Effect Type (1 - 6) |
|—————————————+———————————+————————————————————————————————————————————————————|
|# 00 06 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Input Effect Parameter 1 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 0A | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Input Effect Parameter 2 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 0E | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Input Effect Parameter 3 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 12 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Input Effect Parameter 4 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 16 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Input Effect Parameter 5 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 1A | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Input Effect Parameter 6 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 1E | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Input Effect Parameter 7 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 22 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Input Effect Parameter 8 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 26 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Input Effect Parameter 9 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 2A | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Input Effect Parameter 10 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 2E | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Input Effect Parameter 11 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 32 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Input Effect Parameter 12 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 36 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Input Effect Parameter 13 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 3A | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Input Effect Parameter 14 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 3E | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Input Effect Parameter 15 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 42 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Input Effect Parameter 16 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 46 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Input Effect Parameter 17 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 4A | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Input Effect Parameter 18 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 4E | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Input Effect Parameter 19 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 52 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Input Effect Parameter 20 (12768 - 52768) |
| | | -20000 - +20000 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 56 | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍
System Controller
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0000 000a | Transmit Program Change (0 - 1) |
| | | OFF, ON |
| 00 01 | 0000 000a | Transmit Bank Select (0 - 1) |
| | | OFF, ON |
| 00 02 | 0aaa aaaa | Keyboard Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 03 | 0000 00aa | Keyboard Sens (0 - 2) |
| | | LIGHT, MEDIUM, HEAVY |
| 00 04 | 0aaa aaaa | Aftertouch Sens (0 - 100) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 05 | 0000 0aaa | Hold Pedal Polarity (0 - 1) |
| | | STANDARD, REVERSE |
Fantom-X678_r_e.book 313 ページ ２００７年３月２０日 火曜日 午前１０時２０分
MIDI Implementation
| 00 06 | 0000 000a | Continuous Hold Pedal (0 - 1) |
| | | OFF, ON |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 07 | 0aaa aaaa | Pedal Assign (0 - 111) |
| | | CC01 - CC31, CC33 - CC95, |
| | | BEND-UP, BEND-DOWN, AFT, |
| | | OCT-UP, OCT-DOWN, |
| | | START/STOP, PUNCH-I/O, TAP-TEMPO, |
| | | PROG-UP, PROG-DOWN, |
| | | FAV-UP, FAV-DOWN, ARP-RHY-SW, |
| | | RHY-START/STOP, CHD-SW, |
| | | AFAV-UP, AFAV-DOWN, SEQ-LOOP |
| 00 08 | 0000 0aaa | Pedal Polarity (0 - 1) |
| | | STANDARD, REVERSE |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 09 | 0000 aaaa | Beam Sens (1 - 10) |
| 00 0A | 0aaa aaaa | Beam Assign (0 - 104) |
| | | CC01 - CC31, CC33 - CC95, |
| | | BEND-UP, BEND-DOWN, |
| | | START/STOP, TAP-TEMPO, |
| | | ARP-GRID, ARP-DUR, ARP-MOTIF, |
| | | ARP-OCT-UP, ARP-OCT-DW, ARP-STEP, |
| | | AFT |
| 00 0B | 0aaa aaaa | Beam Range Lower (0 - 127) |
| | | |
| 00 0C | 0aaa aaaa | Beam Range Upper (0 - 127) |
| 00 0D | 0000 aaaa | Beam Trigger Pad (0 - 15) |
| | | 1 - 16 |
| 00 0E | 0aaa aaaa | Beam Trigger Velo (1 - 127) |
| 00 0F | 0aaa aaaa | Beam Trigger Mode (0 - 1) |
| | | MOMENTARY, LATCH |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 10 | 0aaa aaaa | Knob 1 Assign (0 - 103) |
| | | CC01 - CC31, CC33 - CC95, |
| | | BEND, AFT, ARP-STYLE, ARP-GRID, |
| | | ARP-DUR, ARP-MOTIF, CHORD-FORM, |
| | | MASTER-LEVEL, ARP-STEP, DIGI-IN |
| 00 11 | 0aaa aaaa | Knob 2 Assign (0 - 103) |
| | | CC01 - CC31, CC33 - CC95, |
| | | BEND, AFT, ARP-STYLE, ARP-GRID, |
| | | ARP-DUR, ARP-MOTIF, CHORD-FORM, |
| | | MASTER-LEVEL, ARP-STEP, DIGI-IN |
| 00 12 | 0aaa aaaa | Knob 3 Assign (0 - 103) |
| | | CC01 - CC31, CC33 - CC95, |
| | | BEND, AFT, ARP-STYLE, ARP-GRID, |
| | | ARP-DUR, ARP-MOTIF, CHORD-FORM, |
| | | MASTER-LEVEL, ARP-STEP, DIGI-IN |
| 00 13 | 0aaa aaaa | Knob 4 Assign (0 - 103) |
| | | CC01 - CC31, CC33 - CC95, |
| | | BEND, AFT, ARP-STYLE, ARP-GRID, |
| | | ARP-DUR, ARP-MOTIF, CHORD-FORM, |
| | | MASTER-LEVEL, ARP-STEP, DIGI-IN |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 14 | 0aaa aaaa | Switch 1 Assign (0 - 13) |
| | | TRNS-DW, TRNS-UP, TAP-TEMPO, |
| | | MONO/POLY, PORTAMENTO, HOLD1, |
| | | MFX1-SW, MFX2-SW, MFX3-SW, |
| | | CHO-SW, REV-SW, MAS-SW, |
| | | SEQ-LOOP, RHY-START/STOP |
| 00 15 | 0aaa aaaa | Switch 2 Assign (0 - 13) |
| | | TRNS-DW, TRNS-UP, TAP-TEMPO, |
| | | MONO/POLY, PORTAMENTO, HOLD1, |
| | | MFX1-SW, MFX2-SW, MFX3-SW, |
| | | CHO-SW, REV-SW, MAS-SW, |
| | | SEQ-LOOP, RHY-START/STOP |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 16 | 0aaa aaaa | Pad Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 17 | 0000 00aa | Pad Sens (0 - 2) |
| | | LIGHT, MEDIUM, HEAVY |
| 00 18 | 0aaa aaaa | Pad Aftertouch Sens (0 - 100) |
| 00 19 | 0000 aaaa | Pad Roll Resolution (0 - 7) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 1A | 0aaa aaaa | (reserve) <*> |
| 00 1B | 0aaa aaaa | (reserve) <*> |
| 00 1C | 0aaa aaaa | (reserve) <*> |
| 00 1D | 0aaa aaaa | Pad 1 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 1E | 0aaa aaaa | Pad 1 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 1F | 0aaa aaaa | (reserve) <*> |
| 00 20 | 0aaa aaaa | Pad 2 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 21 | 0aaa aaaa | Pad 2 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 22 | 0aaa aaaa | (reserve) <*> |
| 00 23 | 0aaa aaaa | Pad 3 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 24 | 0aaa aaaa | Pad 3 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 25 | 0aaa aaaa | (reserve) <*> |
| 00 26 | 0aaa aaaa | Pad 4 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 27 | 0aaa aaaa | Pad 4 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 28 | 0aaa aaaa | (reserve) <*> |
| 00 29 | 0aaa aaaa | Pad 5 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 2A | 0aaa aaaa | Pad 5 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 2B | 0aaa aaaa | (reserve) <*> |
| 00 2C | 0aaa aaaa | Pad 6 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 2D | 0aaa aaaa | Pad 6 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 2E | 0aaa aaaa | (reserve) <*> |
| 00 2F | 0aaa aaaa | Pad 7 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 30 | 0aaa aaaa | Pad 7 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 31 | 0aaa aaaa | (reserve) <*> |
| 00 32 | 0aaa aaaa | Pad 8 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 33 | 0aaa aaaa | Pad 8 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 34 | 0aaa aaaa | (reserve) <*> |
| 00 35 | 0aaa aaaa | Pad 9 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 36 | 0aaa aaaa | Pad 9 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 37 | 0aaa aaaa | (reserve) <*> |
| 00 38 | 0aaa aaaa | Pad 10 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 39 | 0aaa aaaa | Pad 10 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 3A | 0aaa aaaa | (reserve) <*> |
| 00 3B | 0aaa aaaa | Pad 11 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 3C | 0aaa aaaa | Pad 11 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 3D | 0aaa aaaa | (reserve) <*> |
| 00 3E | 0aaa aaaa | Pad 12 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 3F | 0aaa aaaa | Pad 12 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 40 | 0aaa aaaa | (reserve) <*> |
| 00 41 | 0aaa aaaa | Pad 13 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 42 | 0aaa aaaa | Pad 13 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 43 | 0aaa aaaa | (reserve) <*> |
| 00 44 | 0aaa aaaa | Pad 14 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 45 | 0aaa aaaa | Pad 14 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 46 | 0aaa aaaa | (reserve) <*> |
| 00 47 | 0aaa aaaa | Pad 15 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 48 | 0aaa aaaa | Pad 15 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 49 | 0aaa aaaa | (reserve) <*> |
| 00 4A | 0aaa aaaa | Pad 16 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 4B | 0aaa aaaa | Pad 16 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 4C | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍ Performance Common
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0aaa aaaa | Performance Name 1 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 00 01 | 0aaa aaaa | Performance Name 2 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 00 02 | 0aaa aaaa | Performance Name 3 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 00 03 | 0aaa aaaa | Performance Name 4 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 00 04 | 0aaa aaaa | Performance Name 5 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 00 05 | 0aaa aaaa | Performance Name 6 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 00 06 | 0aaa aaaa | Performance Name 7 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 00 07 | 0aaa aaaa | Performance Name 8 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 00 08 | 0aaa aaaa | Performance Name 9 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 00 09 | 0aaa aaaa | Performance Name 10 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 00 0A | 0aaa aaaa | Performance Name 11 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 00 0B | 0aaa aaaa | Performance Name 12 (32 - 127) |
| | | 32 - 127 [ASCII] |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 0C | 00aa aaaa | Solo Part Select (0 - 16) |
| | | OFF, 1 - 16 |
| 00 0D | 000a aaaa | MFX1 Control Channel (0 - 16) |
| | | 1 - 16, OFF |
| 00 0E | 0000 000a | (reserve) <*> (1 - 0) |
| | | |
| 00 0F | 0000 000a | (reserve) <*> (1 - 0) |
| | | |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 10 | 0aaa aaaa | Voice Reserve 1 (0 - 64) |
| | | 0 - 63, FULL |
| 00 11 | 0aaa aaaa | Voice Reserve 2 (0 - 64) |
| | | 0 - 63, FULL |
| 00 12 | 0aaa aaaa | Voice Reserve 3 (0 - 64) |
| | | 0 - 63, FULL |
| 00 13 | 0aaa aaaa | Voice Reserve 4 (0 - 64) |
| | | 0 - 63, FULL |
| 00 14 | 0aaa aaaa | Voice Reserve 5 (0 - 64) |
| | | 0 - 63, FULL |
| 00 15 | 0aaa aaaa | Voice Reserve 6 (0 - 64) |
| | | 0 - 63, FULL |
| 00 16 | 0aaa aaaa | Voice Reserve 7 (0 - 64) |
| | | 0 - 63, FULL |
| 00 17 | 0aaa aaaa | Voice Reserve 8 (0 - 64) |
| | | 0 - 63, FULL |
| 00 18 | 0aaa aaaa | Voice Reserve 9 (0 - 64) |
| | | 0 - 63, FULL |
| 00 19 | 0aaa aaaa | Voice Reserve 10 (0 - 64) |
| | | 0 - 63, FULL |
| 00 1A | 0aaa aaaa | Voice Reserve 11 (0 - 64) |
| | | 0 - 63, FULL |
| 00 1B | 0aaa aaaa | Voice Reserve 12 (0 - 64) |
| | | 0 - 63, FULL |
| 00 1C | 0aaa aaaa | Voice Reserve 13 (0 - 64) |
| | | 0 - 63, FULL |
| 00 1D | 0aaa aaaa | Voice Reserve 14 (0 - 64) |
| | | 0 - 63, FULL |
| 00 1E | 0aaa aaaa | Voice Reserve 15 (0 - 64) |
| | | 0 - 63, FULL |
| 00 1F | 0aaa aaaa | Voice Reserve 16 (0 - 64) |
| | | 0 - 63, FULL |
| 00 20 | 0aaa aaaa | (reserve) <*> (0 - 64) |
| | | |
| 00 21 | 0aaa aaaa | (reserve) <*> (0 - 64) |
| | | |
| 00 22 | 0aaa aaaa | (reserve) <*> (0 - 64) |
| | | |
| 00 23 | 0aaa aaaa | (reserve) <*> (0 - 64) |
| | | |
| 00 24 | 0aaa aaaa | (reserve) <*> (0 - 64) |
| | | |
| 00 25 | 0aaa aaaa | (reserve) <*> (0 - 64) |
| | | |
| 00 26 | 0aaa aaaa | (reserve) <*> (0 - 64) |
| | | |
| 00 27 | 0aaa aaaa | (reserve) <*> (0 - 64) |
| | | |
| 00 28 | 0aaa aaaa | (reserve) <*> (0 - 64) |
| | | |
| 00 29 | 0aaa aaaa | (reserve) <*> (0 - 64) |
| | | |
| 00 2A | 0aaa aaaa | (reserve) <*> (0 - 64) |
| | | |
| 00 2B | 0aaa aaaa | (reserve) <*> (0 - 64) |
| | | |
| 00 2C | 0aaa aaaa | (reserve) <*> (0 - 64) |
| | | |
| 00 2D | 0aaa aaaa | (reserve) <*> (0 - 64) |
| | | |
| 00 2E | 0aaa aaaa | (reserve) <*> (0 - 64) |
| | | |
| 00 2F | 0aaa aaaa | (reserve) <*> (0 - 64) |
| | | |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 30 | 00aa aaaa | MFX1 Source (0 - 16) |
| | | PERFORM, 1 - 16 |
| 00 31 | 00aa aaaa | MFX2 Source (0 - 16) |
| | | PERFORM, 1 - 16 |
| 00 32 | 00aa aaaa | MFX3 Source (0 - 16) |
| | | PERFORM, 1 - 16 |
| 00 33 | 00aa aaaa | Chorus Source (0 - 16) |
| | | PERFORM, 1 - 16 |
| 00 34 | 00aa aaaa | Reverb Source (0 - 16) |
| | | PERFORM, 1 - 16 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 35 | 00aa aaaa | MFX2 Control Channel (0 - 16) |
313
Fantom-X678_r_e.book 314 ページ ２００７年３月２０日 火曜日 午前１０時２０分
MIDI Implementation
| | | 1 - 16, OFF |
| 00 36 | 00aa aaaa | MFX3 Control Channel (0 - 16) |
| | | 1 - 16, OFF |
| 00 37 | 0000 aaaa | MFX Structure (0 - 15) |
| | | 1 - 16 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 38 | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍ Performance Common MFX
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0aaa aaaa | MFX Type (0 - 78) |
| | | 0 - 127 |
| 00 01 | 0aaa aaaa | MFX Dry Send Level (0 - 127) |
| 00 02 | 0aaa aaaa | MFX Chorus Send Level (0 - 127) |
| 00 03 | 0aaa aaaa | MFX Reverb Send Level (0 - 127) |
| 00 04 | 0000 00aa | MFX Output Assign (0 - 3) |
| | | A, B, ---, --- |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 05 | 0aaa aaaa | MFX Control 1 Source (0 - 101) |
| | | OFF, CC01 - CC31, CC33 - CC95, |
| | | BEND, AFT, SYS1 - SYS4 |
| 00 06 | 0aaa aaaa | MFX Control 1 Sens (1 - 127) |
| | | -63 - +63 |
| 00 07 | 0aaa aaaa | MFX Control 2 Source (0 - 101) |
| | | OFF, CC01 - CC31, CC33 - CC95, |
| | | BEND, AFT, SYS1 - SYS4 |
| 00 08 | 0aaa aaaa | MFX Control 2 Sens (1 - 127) |
| | | -63 - +63 |
| 00 09 | 0aaa aaaa | MFX Control 3 Source (0 - 101) |
| | | OFF, CC01 - CC31, CC33 - CC95, |
| | | BEND, AFT, SYS1 - SYS4 |
| 00 0A | 0aaa aaaa | MFX Control 3 Sens (1 - 127) |
| | | -63 - +63 |
| 00 0B | 0aaa aaaa | MFX Control 4 Source (0 - 101) |
| | | OFF, CC01 - CC31, CC33 - CC95, |
| | | BEND, AFT, SYS1 - SYS4 |
| 00 0C | 0aaa aaaa | MFX Control 4 Sens (1 - 127) |
| | | -63 - +63 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 0D | 000a aaaa | MFX Control Assign 1 (0 - 16) |
| | | OFF, 1 - 16 |
| 00 0E | 000a aaaa | MFX Control Assign 2 (0 - 16) |
| | | OFF, 1 - 16 |
| 00 0F | 000a aaaa | MFX Control Assign 3 (0 - 16) |
| | | OFF, 1 - 16 |
| 00 10 | 000a aaaa | MFX Control Assign 4 (0 - 16) |
| | | OFF, 1 - 16 |
|# 00 11 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 1 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 15 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 2 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 19 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 3 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 1D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 4 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 21 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 5 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 25 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 6 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 29 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 7 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 2D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 8 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 31 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 9 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 35 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 10 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 39 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 11 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 3D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 12 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 41 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 13 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 45 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 14 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 49 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 15 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 4D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 16 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 51 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 17 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 55 | 0000 aaaa | |
314
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 18 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 59 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 19 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 5D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 20 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 61 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 21 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 65 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 22 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 69 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 23 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 6D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 24 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 71 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 25 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 75 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 26 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 79 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 27 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 7D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 28 (12768 - 52768) |
| | | -20000 - +20000 |
|# 01 01 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 29 (12768 - 52768) |
| | | -20000 - +20000 |
|# 01 05 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 30 (12768 - 52768) |
| | | -20000 - +20000 |
|# 01 09 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 31 (12768 - 52768) |
| | | -20000 - +20000 |
|# 01 0D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 32 (12768 - 52768) |
| | | -20000 - +20000 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 01 11 | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍
Performance Common Chorus
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0000 aaaa | Chorus Type (0 - 3) |
| 00 01 | 0aaa aaaa | Chorus Level (0 - 127) |
| 00 02 | 0000 00aa | Chorus Output Assign (0 - 3) |
| | | A, B, ---, --- |
| 00 03 | 0000 00aa | Chorus Output Select (0 - 2) |
| | | MAIN, REV, MAIN+REV |
|—————————————+———————————+————————————————————————————————————————————————————|
|# 00 04 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 1 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 08 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 2 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 0C | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 3 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 10 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 4 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 14 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 5 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 18 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 6 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 1C | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 7 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 20 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 8 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 24 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 9 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 28 | 0000 aaaa | |
| | 0000 bbbb | |
Fantom-X678_r_e.book 315 ページ ２００７年３月２０日 火曜日 午前１０時２０分
MIDI Implementation
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 10 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 2C | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 11 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 30 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 12 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 34 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 13 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 38 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 14 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 3C | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 15 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 40 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 16 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 44 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 17 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 48 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 18 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 4C | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 19 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 50 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 20 (12768 - 52768) |
| | | -20000 - +20000 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 54 | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍ Performance Common Reverb
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0000 aaaa | Reverb Type (0 - 5) |
| 00 01 | 0aaa aaaa | Reverb Level (0 - 127) |
| 00 02 | 0000 00aa | Reverb Output Assign (0 - 3) |
| | | A, B, ---, --- |
|—————————————+———————————+————————————————————————————————————————————————————|
|# 00 03 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 1 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 07 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 2 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 0B | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 3 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 0F | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 4 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 13 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 5 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 17 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 6 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 1B | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 7 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 1F | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 8 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 23 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 9 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 27 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 10 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 2B | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 11 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 2F | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 12 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 33 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 13 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 37 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 14 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 3B | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 15 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 3F | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 16 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 43 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 17 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 47 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 18 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 4B | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 19 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 4F | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 20 (12768 - 52768) |
| | | -20000 - +20000 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 53 | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍
Performance MIDI
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0000 000a | Receive Program Change (0 - 1) |
| | | OFF, ON |
| 00 01 | 0000 000a | Receive Bank Select (0 - 1) |
| | | OFF, ON |
| 00 02 | 0000 000a | Receive Bender (0 - 1) |
| | | OFF, ON |
| 00 03 | 0000 000a | Receive Polyphonic Key Pressure (0 - 1) |
| | | OFF, ON |
| 00 04 | 0000 000a | Receive Channel Pressure (0 - 1) |
| | | OFF, ON |
| 00 05 | 0000 000a | Receive Modulation (0 - 1) |
| | | OFF, ON |
| 00 06 | 0000 000a | Receive Volume (0 - 1) |
| | | OFF, ON |
| 00 07 | 0000 000a | Receive Pan (0 - 1) |
| | | OFF, ON |
| 00 08 | 0000 000a | Receive Expression (0 - 1) |
| | | OFF, ON |
| 00 09 | 0000 000a | Receive Hold-1 (0 - 1) |
| | | OFF, ON |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 0A | 0000 000a | Phase Lock (0 - 1) |
| | | OFF, ON |
| 00 0B | 0000 0aaa | Velocity Curve Type (0 - 4) |
| | | OFF, 1 - 4 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 0C | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍ Performance Part
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0000 aaaa | Receive Channel (0 - 15) |
| | | 1 - 16 |
| 00 01 | 0000 000a | Receive Switch (0 - 1) |
| | | OFF, ON |
| 00 02 | 0000 0000 | (reserve) <*> (1 - 0) |
| | | |
| 00 03 | 0000 0000 | (reserve) <*> (1 - 0) |
| | | |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 04 | 0aaa aaaa | Patch Bank Select MSB (CC# 0) (0 - 127) |
| 00 05 | 0aaa aaaa | Patch Bank Select LSB (CC# 32) (0 - 127) |
| 00 06 | 0aaa aaaa | Patch Program Number (PC) (0 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 07 | 0aaa aaaa | Part Level (CC# 7) (0 - 127) |
| 00 08 | 0aaa aaaa | Part Pan (CC# 10) (0 - 127) |
| | | L64 - 63R |
| 00 09 | 0aaa aaaa | Part Coarse Tune (RPN# 2) (16 - 112) |
| | | -48 - +48 |
| 00 0A | 0aaa aaaa | Part Fine Tune (RPN# 1) (14 - 114) |
| | | -50 - +50 |
| 00 0B | 0000 00aa | Part Mono/Poly (MONO ON/POLY ON) (0 - 2) |
| | | MONO, POLY, PATCH |
| 00 0C | 0000 00aa | Part Legato Switch (CC# 68) (0 - 2) |
| | | OFF, ON, PATCH |
| 00 0D | 000a aaaa | Part Pitch Bend Range (RPN# 0) (0 - 25) |
| | | 0 - 24, PATCH |
| 00 0E | 0000 00aa | Part Portamento Switch (CC# 65) (0 - 2) |
| | | OFF, ON, PATCH |
|# 00 0F | 0000 aaaa | |
| | 0000 bbbb | Part Portamento Time (CC# 5) (0 - 128) |
| | | 0 - 127, PATCH |
| 00 11 | 0aaa aaaa | Part Cutoff Offset (CC# 74) (0 - 127) |
| | | -64 - +63 |
| 00 12 | 0aaa aaaa | Part Resonance Offset (CC# 71) (0 - 127) |
| | | -64 - +63 |
| 00 13 | 0aaa aaaa | Part Attack Time Offset (CC# 73) (0 - 127) |
| | | -64 - +63 |
| 00 14 | 0aaa aaaa | Part Release Time Offset (CC# 72) (0 - 127) |
| | | -64 - +63 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 15 | 0000 0aaa | Part Octave Shift (61 - 67) |
| | | -3 - +3 |
| 00 16 | 0aaa aaaa | Part Velocity Sens Offset (1 - 127) |
| | | -63 - +63 |
| 00 17 | 0aaa aaaa | (reserve) <*> |
| 00 18 | 0aaa aaaa | (reserve) <*> |
| 00 19 | 0aaa aaaa | (reserve) <*> |
| 00 1A | 0aaa aaaa | (reserve) <*> |
| 00 1B | 0000 000a | Mute Switch (0 - 1) |
| | | OFF, MUTE |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 1C | 0aaa aaaa | Part Dry Send Level (0 - 127) |
| 00 1D | 0aaa aaaa | Part Chorus Send Level (CC# 93) (0 - 127) |
| 00 1E | 0aaa aaaa | Part Reverb Send Level (CC# 91) (0 - 127) |
| 00 1F | 0000 aaaa | Part Output Assign (0 - 13) |
| | | MFX, A, B, ---, ---, |
| | | 1, 2, 3, 4, ---, ---, ---, ---, |
| | | PATCH |
| 00 20 | 0000 00aa | Part Output MFX Select (0 - 2) |
| | | MFX1, MFX2, MFX3 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 21 | 0aaa aaaa | Part Decay Time Offset (CC# 75) (0 - 127) |
| | | -64 - +63 |
315
Fantom-X678_r_e.book 316 ページ ２００７年３月２０日 火曜日 午前１０時２０分
MIDI Implementation
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 22 | 0aaa aaaa | Part Vibrato Rate (CC# 76) (0 - 127) |
| | | -64 - +63 |
| 00 23 | 0aaa aaaa | Part Vibrato Depth (CC# 77) (0 - 127) |
| | | -64 - +63 |
| 00 24 | 0aaa aaaa | Part Vibrato Delay (CC# 78) (0 - 127) |
| | | -64 - +63 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 25 | 0aaa aaaa | Part Scale Tune for C (0 - 127) |
| | | -64 - +63 |
| 00 26 | 0aaa aaaa | Part Scale Tune for C# (0 - 127) |
| | | -64 - +63 |
| 00 27 | 0aaa aaaa | Part Scale Tune for D (0 - 127) |
| | | -64 - +63 |
| 00 28 | 0aaa aaaa | Part Scale Tune for D# (0 - 127) |
| | | -64 - +63 |
| 00 29 | 0aaa aaaa | Part Scale Tune for E (0 - 127) |
| | | -64 - +63 |
| 00 2A | 0aaa aaaa | Part Scale Tune for F (0 - 127) |
| | | -64 - +63 |
| 00 2B | 0aaa aaaa | Part Scale Tune for F# (0 - 127) |
| | | -64 - +63 |
| 00 2C | 0aaa aaaa | Part Scale Tune for G (0 - 127) |
| | | -64 - +63 |
| 00 2D | 0aaa aaaa | Part Scale Tune for G# (0 - 127) |
| | | -64 - +63 |
| 00 2E | 0aaa aaaa | Part Scale Tune for A (0 - 127) |
| | | -64 - +63 |
| 00 2F | 0aaa aaaa | Part Scale Tune for A# (0 - 127) |
| | | -64 - +63 |
| 00 30 | 0aaa aaaa | Part Scale Tune for B (0 - 127) |
| | | -64 - +63 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 31 | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍
Performance Zone
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 000a aaaa | (reserve) <*> |
| 00 01 | 0000 000a | Zone Switch (0 - 1) |
| | | OFF, ON |
| 00 02 | 0000 000a | (reserve) <*> |
|—————————————+———————————+————————————————————————————————————————————————————|
|# 00 03 | 0000 aaaa | |
| | 0000 bbbb | External Bank Select MSB (CC# 0) (0 - 128) |
| | | 0 - 127, NO-SEND |
| 00 05 | 0aaa aaaa | External Bank Select LSB (CC# 32) (0 - 127) |
|# 00 06 | 0000 aaaa | |
| | 0000 bbbb | External Program Number (PC) (0 - 128) |
| | | 0 - 127, NO-SEND |
|# 00 08 | 0000 aaaa | |
| | 0000 bbbb | External Level (CC# 7) (0 - 128) |
| | | 0 - 127, NO-SEND |
|# 00 0A | 0000 aaaa | |
| | 0000 bbbb | External Pan (CC# 10) (0 - 128) |
| | | L64 - 63R, NO-SEND |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 0C | 0aaa aaaa | Keyboard Range Lower (0 - 127) |
| | | C-1 - UPPER |
| 00 0D | 0aaa aaaa | Keyboard Range Upper (0 - 127) |
| | | LOWER - G9 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 0E | 0000 000a | Control Bender (0 - 1) |
| | | OFF, ON |
| 00 0F | 0000 000a | Control Aftertouch (0 - 1) |
| | | OFF, ON |
| 00 10 | 0000 000a | Control Modulation (0 - 1) |
| | | OFF, ON |
| 00 11 | 0000 000a | Control Hold Pedal (0 - 1) |
| | | OFF, ON |
| 00 12 | 0000 000a | Control Pedal (0 - 1) |
| | | OFF, ON |
| 00 13 | 0000 000a | (reserve) <*> |
| 00 14 | 0000 000a | Control D Beam (0 - 1) |
| | | OFF, ON |
| 00 15 | 0000 000a | Control Knob 1 (0 - 1) |
| | | OFF, ON |
| 00 16 | 0000 000a | Control Knob 2 (0 - 1) |
| | | OFF, ON |
| 00 17 | 0000 000a | Control Knob 3 (0 - 1) |
| | | OFF, ON |
| 00 18 | 0000 000a | Control Knob 4 (0 - 1) |
| | | OFF, ON |
| 00 19 | 0000 000a | (reserve) <*> |
| 00 1A | 0000 000a | (reserve) <*> |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 1B | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍ Performance Controller
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0000 000a | (reserve) <*> |
| 00 01 | 0aaa aaaa | Beam Assign (0 - 104) |
| | | CC01 - CC31, CC33 - CC95, |
| | | BEND-UP, BEND-DOWN, |
| | | START/STOP, TAP-TEMPO, |
| | | ARP-GRID, ARP-DUR, ARP-MOTIF, |
| | | ARP-OCT-UP, ARP-OCT-DW, ARP_STEP, |
| | | AFT |
| 00 02 | 0aaa aaaa | Beam Range Lower (0 - 127) |
| 00 03 | 0aaa aaaa | Beam Range Upper (0 - 127) |
| 00 04 | 0000 aaaa | Beam Trigger Pad (0 - 15) |
| | | 1 - 15 |
| 00 05 | 0aaa aaaa | Beam Trigger Velo (1 - 127) |
| 00 06 | 0aaa aaaa | Beam Trigger Mode (0 - 1) |
| | | MOMENTARY, LATCH |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 07 | 0aaa aaaa | Knob 1 Assign (0 - 103) |
| | | CC01 - CC31, CC33 - CC95, |
| | | BEND, AFT, ARP-STYLE, ARP-GRID, |
| | | ARP-DUR, ARP-MOTIF, CHORD-FORM, |
| | | MASTER-LEVEL, ARP-STEP, DIGI-IN |
| 00 08 | 0aaa aaaa | Knob 2 Assign (0 - 103) |
| | | CC01 - CC31, CC33 - CC95, |
| | | BEND, AFT, ARP-STYLE, ARP-GRID, |
| | | ARP-DUR, ARP-MOTIF, CHORD-FORM, |
| | | MASTER-LEVEL, ARP-STEP, DIGI-IN |
| 00 09 | 0aaa aaaa | Knob 3 Assign (0 - 103) |
| | | CC01 - CC31, CC33 - CC95, |
| | | BEND, AFT, ARP-STYLE, ARP-GRID, |
| | | ARP-DUR, ARP-MOTIF, CHORD-FORM, |
| | | MASTER-LEVEL, ARP-STEP, DIGI-IN |
| 00 0A | 0aaa aaaa | Knob 4 Assign (0 - 103) |
| | | CC01 - CC31, CC33 - CC95, |
| | | BEND, AFT, ARP-STYLE, ARP-GRID, |
| | | ARP-DUR, ARP-MOTIF, CHORD-FORM, |
| | | MASTER-LEVEL, ARP-STEP, DIGI-IN |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 0B | 0aaa aaaa | Switch 1 Assign (0 - 13) |
| | | TRNS-DW, TRNS-UP, TAP-TEMPO, |
316
| | | MONO/POLY, PORTAMENTO, HOLD1, |
| | | MFX1-SW, MFX2-SW, MFX3-SW, |
| | | CHO-SW, REV-SW, MAS-SW, |
| | | SEQ-LOOP, RHY-START/STOP |
| 00 0C | 0aaa aaaa | Switch 2 Assign (0 - 13) |
| | | TRNS-DW, TRNS-UP, TAP-TEMPO, |
| | | MONO/POLY, PORTAMENTO, HOLD1, |
| | | MFX1-SW, MFX2-SW, MFX3-SW, |
| | | CHO-SW, REV-SW, MAS-SW, |
| | | SEQ-LOOP, RHY-START/STOP |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 0D | 0000 000a | (reserve) <*> |
| 00 0E | 0aaa aaaa | Arp/Ptn Grid (0 - 8) |
| | | 04_, 08_, 08L, 08H, 08t, |
| | | 16_, 16L, 16H, 16t |
| 00 0F | 0aaa aaaa | Arp/Ptn Duration (0 - 9) |
| | | 30, 40, 50, 60, 70, 80, 90, |
| | | 100, 120, FUL |
| 00 10 | 0000 000a | Arpeggio Switch (0 - 1) |
| | | OFF, ON |
| 00 11 | 0aaa aaaa | Arpeggio Bank (0 - 1) |
| | | USER, PRESET |
| 00 12 | 0aaa aaaa | Arpeggio Style (0 - 127) |
| | | 1 - 128 |
| 00 13 | 0aaa aaaa | Arpeggio Motif (0 - 11) |
| | | UP/L, UP/H, UP/_, dn/L, dn/H, |
| | | dn/_, Ud/L, Ud/H, Ud/_, rn/L, |
| | | rn/_, PHRASE |
| 00 14 | 0000 0aaa | Arpeggio Octave Range (61 - 67) |
| | | -3 - +3 |
| 00 15 | 0000 000a | Arpeggio Hold (0 - 1) |
| | | OFF, ON |
| 00 16 | 0aaa aaaa | Arpeggio Accent Rate (0 - 100) |
| 00 17 | 0aaa aaaa | Arpeggio Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 18 | 0000 aaaa | Arpeggio Zone Number (0 - 15) |
| | | ZONE1 - ZONE16 |
| 00 19 | 0000 000a | Rhythm Pattern Switch (0 - 1) |
| | | OFF, ON |
| 00 1A | 0aaa aaaa | Rhythm Pattern Group Bank (0 - 1) |
| | | USER, PRESET |
| 00 1B | 0aaa aaaa | Rhythm Pattern Group Number (0 - 31) |
| | | 1 - 32 |
| 00 1C | 0aaa aaaa | Rhythm Pattern Accent Rate (0 - 100) |
| 00 1D | 0aaa aaaa | Rhythm Pattern Velocity (0 - 127) |
| | | REAL, 1 - 127 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 1E | 0000 000a | Chord Switch (0 - 1) |
| | | OFF, ON |
| 00 1F | 0aaa aaaa | Chord Group (0 - 1) |
| | | USER, PRESET |
| 00 20 | 00aa aaaa | Chord Form (0 - 63) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 21 | 0aaa aaaa | (reserve) <*> |
| 00 22 | 0aaa aaaa | (reserve) <*> |
| 00 23 | 000a aaaa | Pad Transmit Channel (0 - 15) |
| | | 1 - 16 |
| 00 24 | 0aaa aaaa | (reserve) <*> |
| 00 25 | 0aaa aaaa | Pad 1 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 26 | 0aaa aaaa | Pad 1 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 27 | 0aaa aaaa | (reserve) <*> |
| 00 28 | 0aaa aaaa | Pad 2 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 29 | 0aaa aaaa | Pad 2 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 2A | 0aaa aaaa | (reserve) <*> |
| 00 2B | 0aaa aaaa | Pad 3 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 2C | 0aaa aaaa | Pad 3 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 2D | 0aaa aaaa | (reserve) <*> |
| 00 2E | 0aaa aaaa | Pad 4 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 2F | 0aaa aaaa | Pad 4 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 30 | 0aaa aaaa | (reserve) <*> |
| 00 31 | 0aaa aaaa | Pad 5 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 32 | 0aaa aaaa | Pad 5 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 33 | 0aaa aaaa | (reserve) <*> |
| 00 34 | 0aaa aaaa | Pad 6 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 35 | 0aaa aaaa | Pad 6 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 36 | 0aaa aaaa | (reserve) <*> |
| 00 37 | 0aaa aaaa | Pad 7 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 38 | 0aaa aaaa | Pad 7 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 39 | 0aaa aaaa | (reserve) <*> |
| 00 3A | 0aaa aaaa | Pad 8 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 3B | 0aaa aaaa | Pad 8 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 3C | 0aaa aaaa | (reserve) <*> |
| 00 3D | 0aaa aaaa | Pad 9 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 3E | 0aaa aaaa | Pad 9 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 3F | 0aaa aaaa | (reserve) <*> |
| 00 40 | 0aaa aaaa | Pad 10 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 41 | 0aaa aaaa | Pad 10 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 42 | 0aaa aaaa | (reserve) <*> |
| 00 43 | 0aaa aaaa | Pad 11 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 44 | 0aaa aaaa | Pad 11 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 45 | 0aaa aaaa | (reserve) <*> |
| 00 46 | 0aaa aaaa | Pad 12 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 47 | 0aaa aaaa | Pad 12 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 48 | 0aaa aaaa | (reserve) <*> |
| 00 49 | 0aaa aaaa | Pad 13 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 4A | 0aaa aaaa | Pad 13 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 4B | 0aaa aaaa | (reserve) <*> |
| 00 4C | 0aaa aaaa | Pad 14 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 4D | 0aaa aaaa | Pad 14 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 4E | 0aaa aaaa | (reserve) <*> |
| 00 4F | 0aaa aaaa | Pad 15 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 50 | 0aaa aaaa | Pad 15 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 51 | 0aaa aaaa | (reserve) <*> |
| 00 52 | 0aaa aaaa | Pad 16 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 53 | 0aaa aaaa | Pad 16 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
|—————————————+———————————+————————————————————————————————————————————————————|
Fantom-X678_r_e.book 317 ページ ２００７年３月２０日 火曜日 午前１０時２０分
MIDI Implementation
|# 00 54 | 0000 aaaa | |
| | 0000 bbbb | Recommended Tempo (20 - 250) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 56 | 0000 000a | Rolled Chord (0 - 1) |
| | | OFF, ON |
| 00 57 | 0000 00aa | Rolled Chord Type (0 - 2) |
| | | UP, DOWN, ALTERNATE |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 58 | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍ Arpeggio Common
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
|# 00 00 | 0000 aaaa | |
| | 0000 bbbb | End Step (1 - 32) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 02 | 0aaa aaaa | Arpeggio Name 1 (32 - 127) |
| | | |
| 00 03 | 0aaa aaaa | Arpeggio Name 2 (32 - 127) |
| | | |
| 00 04 | 0aaa aaaa | Arpeggio Name 3 (32 - 127) |
| | | |
| 00 05 | 0aaa aaaa | Arpeggio Name 4 (32 - 127) |
| | | |
| 00 06 | 0aaa aaaa | Arpeggio Name 5 (32 - 127) |
| | | |
| 00 07 | 0aaa aaaa | Arpeggio Name 6 (32 - 127) |
| | | |
| 00 08 | 0aaa aaaa | Arpeggio Name 7 (32 - 127) |
| | | |
| 00 09 | 0aaa aaaa | Arpeggio Name 8 (32 - 127) |
| | | |
| 00 0A | 0aaa aaaa | Arpeggio Name 9 (32 - 127) |
| | | |
| 00 0B | 0aaa aaaa | Arpeggio Name 10 (32 - 127) |
| | | |
| 00 0C | 0aaa aaaa | Arpeggio Name 11 (32 - 127) |
| | | |
| 00 0D | 0aaa aaaa | Arpeggio Name 12 (32 - 127) |
| | | |
| 00 0E | 0aaa aaaa | Arpeggio Name 13 (32 - 127) |
| | | |
| 00 0F | 0aaa aaaa | Arpeggio Name 14 (32 - 127) |
| | | |
| 00 10 | 0aaa aaaa | Arpeggio Name 15 (32 - 127) |
| | | |
| 00 11 | 0aaa aaaa | Arpeggio Name 16 (32 - 127) |
| | | |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 12 | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍
Arpeggio Pattern
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
|# 00 00 | 0000 aaaa | |
| | 0000 bbbb | Original Note (0 - 128) |
|—————————————+———————————+————————————————————————————————————————————————————|
|# 00 02 | 0000 aaaa | |
| | 0000 bbbb | Step1 Data (0 - 128) |
|# 00 04 | 0000 aaaa | |
| | 0000 bbbb | Step2 Data (0 - 128) |
|# 00 06 | 0000 aaaa | |
| | 0000 bbbb | Step3 Data (0 - 128) |
|# 00 08 | 0000 aaaa | |
| | 0000 bbbb | Step4 Data (0 - 128) |
|# 00 0A | 0000 aaaa | |
| | 0000 bbbb | Step5 Data (0 - 128) |
|# 00 0C | 0000 aaaa | |
| | 0000 bbbb | Step6 Data (0 - 128) |
|# 00 0E | 0000 aaaa | |
| | 0000 bbbb | Step7 Data (0 - 128) |
|# 00 10 | 0000 aaaa | |
| | 0000 bbbb | Step8 Data (0 - 128) |
|# 00 12 | 0000 aaaa | |
| | 0000 bbbb | Step9 Data (0 - 128) |
|# 00 14 | 0000 aaaa | |
| | 0000 bbbb | Step10 Data (0 - 128) |
|# 00 16 | 0000 aaaa | |
| | 0000 bbbb | Step11 Data (0 - 128) |
|# 00 18 | 0000 aaaa | |
| | 0000 bbbb | Step12 Data (0 - 128) |
|# 00 1A | 0000 aaaa | |
| | 0000 bbbb | Step13 Data (0 - 128) |
|# 00 1C | 0000 aaaa | |
| | 0000 bbbb | Step14 Data (0 - 128) |
|# 00 1E | 0000 aaaa | |
| | 0000 bbbb | Step15 Data (0 - 128) |
|# 00 20 | 0000 aaaa | |
| | 0000 bbbb | Step16 Data (0 - 128) |
|# 00 22 | 0000 aaaa | |
| | 0000 bbbb | Step17 Data (0 - 128) |
|# 00 24 | 0000 aaaa | |
| | 0000 bbbb | Step18 Data (0 - 128) |
|# 00 26 | 0000 aaaa | |
| | 0000 bbbb | Step19 Data (0 - 128) |
|# 00 28 | 0000 aaaa | |
| | 0000 bbbb | Step20 Data (0 - 128) |
|# 00 2A | 0000 aaaa | |
| | 0000 bbbb | Step21 Data (0 - 128) |
|# 00 2C | 0000 aaaa | |
| | 0000 bbbb | Step22 Data (0 - 128) |
|# 00 2E | 0000 aaaa | |
| | 0000 bbbb | Step23 Data (0 - 128) |
|# 00 30 | 0000 aaaa | |
| | 0000 bbbb | Step24 Data (0 - 128) |
|# 00 32 | 0000 aaaa | |
| | 0000 bbbb | Step25 Data (0 - 128) |
|# 00 34 | 0000 aaaa | |
| | 0000 bbbb | Step26 Data (0 - 128) |
|# 00 36 | 0000 aaaa | |
| | 0000 bbbb | Step27 Data (0 - 128) |
|# 00 38 | 0000 aaaa | |
| | 0000 bbbb | Step28 Data (0 - 128) |
|# 00 3A | 0000 aaaa | |
| | 0000 bbbb | Step29 Data (0 - 128) |
|# 00 3C | 0000 aaaa | |
| | 0000 bbbb | Step30 Data (0 - 128) |
|# 00 3E | 0000 aaaa | |
| | 0000 bbbb | Step31 Data (0 - 128) |
|# 00 40 | 0000 aaaa | |
| | 0000 bbbb | Step32 Data (0 - 128) |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 42 | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍ Chord Pattern
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0000 000a | Chord Note1 (0 - 1) |
| | | OFF, ON |
| 00 01 | 0000 000a | Chord Note2 (0 - 1) |
| | | OFF, ON |
| 00 02 | 0000 000a | Chord Note3 (0 - 1) |
| | | OFF, ON |
| 00 03 | 0000 000a | Chord Note4 (0 - 1) |
| | | OFF, ON |
| 00 04 | 0000 000a | Chord Note5 (0 - 1) |
| | | OFF, ON |
| 00 05 | 0000 000a | Chord Note6 (0 - 1) |
| | | OFF, ON |
| 00 06 | 0000 000a | Chord Note7 (0 - 1) |
| | | OFF, ON |
| 00 07 | 0000 000a | Chord Note8 (0 - 1) |
| | | OFF, ON |
| 00 08 | 0000 000a | Chord Note9 (0 - 1) |
| | | OFF, ON |
| 00 09 | 0000 000a | Chord Note10 (0 - 1) |
| | | OFF, ON |
| 00 0A | 0000 000a | Chord Note11 (0 - 1) |
| | | OFF, ON |
| 00 0B | 0000 000a | Chord Note12 (0 - 1) |
| | | OFF, ON |
| 00 0C | 0000 000a | Chord Note13 (0 - 1) |
| | | OFF, ON |
| 00 0D | 0000 000a | Chord Note14 (0 - 1) |
| | | OFF, ON |
| 00 0E | 0000 000a | Chord Note15 (0 - 1) |
| | | OFF, ON |
| 00 0F | 0000 000a | Chord Note16 (0 - 1) |
| | | OFF, ON |
| 00 10 | 0000 000a | Chord Note17 (0 - 1) |
| | | OFF, ON |
| 00 11 | 0000 000a | Chord Note18 (0 - 1) |
| | | OFF, ON |
| 00 12 | 0000 000a | Chord Note19 (0 - 1) |
| | | OFF, ON |
| 00 13 | 0000 000a | Chord Note20 (0 - 1) |
| | | OFF, ON |
| 00 14 | 0000 000a | Chord Note21 (0 - 1) |
| | | OFF, ON |
| 00 15 | 0000 000a | Chord Note22 (0 - 1) |
| | | OFF, ON |
| 00 16 | 0000 000a | Chord Note23 (0 - 1) |
| | | OFF, ON |
| 00 17 | 0000 000a | Chord Note24 (0 - 1) |
| | | OFF, ON |
| 00 18 | 0000 000a | Chord Note25 (0 - 1) |
| | | OFF, ON |
| 00 19 | 0000 000a | Chord Note26 (0 - 1) |
| | | OFF, ON |
| 00 1A | 0000 000a | Chord Note27 (0 - 1) |
| | | OFF, ON |
| 00 1B | 0000 000a | Chord Note28 (0 - 1) |
| | | OFF, ON |
| 00 1C | 0000 000a | Chord Note29 (0 - 1) |
| | | OFF, ON |
| 00 1D | 0000 000a | Chord Note30 (0 - 1) |
| | | OFF, ON |
| 00 1E | 0000 000a | Chord Note31 (0 - 1) |
| | | OFF, ON |
| 00 1F | 0000 000a | Chord Note32 (0 - 1) |
| | | OFF, ON |
| 00 20 | 0000 000a | Chord Note33 (0 - 1) |
| | | OFF, ON |
| 00 21 | 0000 000a | Chord Note34 (0 - 1) |
| | | OFF, ON |
| 00 22 | 0000 000a | Chord Note35 (0 - 1) |
| | | OFF, ON |
| 00 23 | 0000 000a | Chord Note36 (0 - 1) |
| | | OFF, ON |
| 00 24 | 0000 000a | Chord Note37 (0 - 1) |
| | | OFF, ON |
| 00 25 | 0000 000a | Chord Note38 (0 - 1) |
| | | OFF, ON |
| 00 26 | 0000 000a | Chord Note39 (0 - 1) |
| | | OFF, ON |
| 00 27 | 0000 000a | Chord Note40 (0 - 1) |
| | | OFF, ON |
| 00 28 | 0000 000a | Chord Note41 (0 - 1) |
| | | OFF, ON |
| 00 29 | 0000 000a | Chord Note42 (0 - 1) |
| | | OFF, ON |
| 00 2A | 0000 000a | Chord Note43 (0 - 1) |
| | | OFF, ON |
| 00 2B | 0000 000a | Chord Note44 (0 - 1) |
| | | OFF, ON |
| 00 2C | 0000 000a | Chord Note45 (0 - 1) |
| | | OFF, ON |
| 00 2D | 0000 000a | Chord Note46 (0 - 1) |
| | | OFF, ON |
| 00 2E | 0000 000a | Chord Note47 (0 - 1) |
| | | OFF, ON |
| 00 2F | 0000 000a | Chord Note48 (0 - 1) |
| | | OFF, ON |
| 00 30 | 0000 000a | Chord Note49 (0 - 1) |
| | | OFF, ON |
| 00 31 | 0000 000a | Chord Note50 (0 - 1) |
| | | OFF, ON |
| 00 32 | 0000 000a | Chord Note51 (0 - 1) |
| | | OFF, ON |
| 00 33 | 0000 000a | Chord Note52 (0 - 1) |
| | | OFF, ON |
| 00 34 | 0000 000a | Chord Note53 (0 - 1) |
| | | OFF, ON |
| 00 35 | 0000 000a | Chord Note54 (0 - 1) |
| | | OFF, ON |
| 00 36 | 0000 000a | Chord Note55 (0 - 1) |
| | | OFF, ON |
| 00 37 | 0000 000a | Chord Note56 (0 - 1) |
| | | OFF, ON |
| 00 38 | 0000 000a | Chord Note57 (0 - 1) |
| | | OFF, ON |
| 00 39 | 0000 000a | Chord Note58 (0 - 1) |
| | | OFF, ON |
| 00 3A | 0000 000a | Chord Note59 (0 - 1) |
| | | OFF, ON |
| 00 3B | 0000 000a | Chord Note60 (0 - 1) |
| | | OFF, ON |
| 00 3C | 0000 000a | Chord Note61 (0 - 1) |
| | | OFF, ON |
| 00 3D | 0000 000a | Chord Note62 (0 - 1) |
| | | OFF, ON |
| 00 3E | 0000 000a | Chord Note63 (0 - 1) |
| | | OFF, ON |
| 00 3F | 0000 000a | Chord Note64 (0 - 1) |
| | | OFF, ON |
| 00 40 | 0000 000a | Chord Note65 (0 - 1) |
| | | OFF, ON |
| 00 41 | 0000 000a | Chord Note66 (0 - 1) |
| | | OFF, ON |
| 00 42 | 0000 000a | Chord Note67 (0 - 1) |
| | | OFF, ON |
| 00 43 | 0000 000a | Chord Note68 (0 - 1) |
| | | OFF, ON |
| 00 44 | 0000 000a | Chord Note69 (0 - 1) |
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Fantom-X678_r_e.book 318 ページ ２００７年３月２０日 火曜日 午前１０時２０分
MIDI Implementation
| | | OFF, ON |
| 00 45 | 0000 000a | Chord Note70 (0 - 1) |
| | | OFF, ON |
| 00 46 | 0000 000a | Chord Note71 (0 - 1) |
| | | OFF, ON |
| 00 47 | 0000 000a | Chord Note72 (0 - 1) |
| | | OFF, ON |
| 00 48 | 0000 000a | Chord Note73 (0 - 1) |
| | | OFF, ON |
| 00 49 | 0000 000a | Chord Note74 (0 - 1) |
| | | OFF, ON |
| 00 4A | 0000 000a | Chord Note75 (0 - 1) |
| | | OFF, ON |
| 00 4B | 0000 000a | Chord Note76 (0 - 1) |
| | | OFF, ON |
| 00 4C | 0000 000a | Chord Note77 (0 - 1) |
| | | OFF, ON |
| 00 4D | 0000 000a | Chord Note78 (0 - 1) |
| | | OFF, ON |
| 00 4E | 0000 000a | Chord Note79 (0 - 1) |
| | | OFF, ON |
| 00 4F | 0000 000a | Chord Note80 (0 - 1) |
| | | OFF, ON |
| 00 50 | 0000 000a | Chord Note81 (0 - 1) |
| | | OFF, ON |
| 00 51 | 0000 000a | Chord Note82 (0 - 1) |
| | | OFF, ON |
| 00 52 | 0000 000a | Chord Note83 (0 - 1) |
| | | OFF, ON |
| 00 53 | 0000 000a | Chord Note84 (0 - 1) |
| | | OFF, ON |
| 00 54 | 0000 000a | Chord Note85 (0 - 1) |
| | | OFF, ON |
| 00 55 | 0000 000a | Chord Note86 (0 - 1) |
| | | OFF, ON |
| 00 56 | 0000 000a | Chord Note87 (0 - 1) |
| | | OFF, ON |
| 00 57 | 0000 000a | Chord Note88 (0 - 1) |
| | | OFF, ON |
| 00 58 | 0000 000a | Chord Note89 (0 - 1) |
| | | OFF, ON |
| 00 59 | 0000 000a | Chord Note90 (0 - 1) |
| | | OFF, ON |
| 00 5A | 0000 000a | Chord Note91 (0 - 1) |
| | | OFF, ON |
| 00 5B | 0000 000a | Chord Note92 (0 - 1) |
| | | OFF, ON |
| 00 5C | 0000 000a | Chord Note93 (0 - 1) |
| | | OFF, ON |
| 00 5D | 0000 000a | Chord Note94 (0 - 1) |
| | | OFF, ON |
| 00 5E | 0000 000a | Chord Note95 (0 - 1) |
| | | OFF, ON |
| 00 5F | 0000 000a | Chord Note96 (0 - 1) |
| | | OFF, ON |
| 00 60 | 0000 000a | Chord Note97 (0 - 1) |
| | | OFF, ON |
| 00 61 | 0000 000a | Chord Note98 (0 - 1) |
| | | OFF, ON |
| 00 62 | 0000 000a | Chord Note99 (0 - 1) |
| | | OFF, ON |
| 00 63 | 0000 000a | Chord Note100 (0 - 1) |
| | | OFF, ON |
| 00 64 | 0000 000a | Chord Note101 (0 - 1) |
| | | OFF, ON |
| 00 65 | 0000 000a | Chord Note102 (0 - 1) |
| | | OFF, ON |
| 00 66 | 0000 000a | Chord Note103 (0 - 1) |
| | | OFF, ON |
| 00 67 | 0000 000a | Chord Note104 (0 - 1) |
| | | OFF, ON |
| 00 68 | 0000 000a | Chord Note105 (0 - 1) |
| | | OFF, ON |
| 00 69 | 0000 000a | Chord Note106 (0 - 1) |
| | | OFF, ON |
| 00 6A | 0000 000a | Chord Note107 (0 - 1) |
| | | OFF, ON |
| 00 6B | 0000 000a | Chord Note108 (0 - 1) |
| | | OFF, ON |
| 00 6C | 0000 000a | Chord Note109 (0 - 1) |
| | | OFF, ON |
| 00 6D | 0000 000a | Chord Note110 (0 - 1) |
| | | OFF, ON |
| 00 6E | 0000 000a | Chord Note111 (0 - 1) |
| | | OFF, ON |
| 00 6F | 0000 000a | Chord Note112 (0 - 1) |
| | | OFF, ON |
| 00 70 | 0000 000a | Chord Note113 (0 - 1) |
| | | OFF, ON |
| 00 71 | 0000 000a | Chord Note114 (0 - 1) |
| | | OFF, ON |
| 00 72 | 0000 000a | Chord Note115 (0 - 1) |
| | | OFF, ON |
| 00 73 | 0000 000a | Chord Note116 (0 - 1) |
| | | OFF, ON |
| 00 74 | 0000 000a | Chord Note117 (0 - 1) |
| | | OFF, ON |
| 00 75 | 0000 000a | Chord Note118 (0 - 1) |
| | | OFF, ON |
| 00 76 | 0000 000a | Chord Note119 (0 - 1) |
| | | OFF, ON |
| 00 77 | 0000 000a | Chord Note120 (0 - 1) |
| | | OFF, ON |
| 00 78 | 0000 000a | Chord Note121 (0 - 1) |
| | | OFF, ON |
| 00 79 | 0000 000a | Chord Note122 (0 - 1) |
| | | OFF, ON |
| 00 7A | 0000 000a | Chord Note123 (0 - 1) |
| | | OFF, ON |
| 00 7B | 0000 000a | Chord Note124 (0 - 1) |
| | | OFF, ON |
| 00 7C | 0000 000a | Chord Note125 (0 - 1) |
| | | OFF, ON |
| 00 7D | 0000 000a | Chord Note126 (0 - 1) |
| | | OFF, ON |
| 00 7E | 0000 000a | Chord Note127 (0 - 1) |
| | | OFF, ON |
| 00 7F | 0000 000a | Chord Note128 (0 - 1) |
| | | OFF, ON |
|—————————————+———————————+————————————————————————————————————————————————————|
| 01 00 | 0aaa aaaa | Chord Pattern Name 1 (32 - 127) |
| | | |
| 01 01 | 0aaa aaaa | Chord Pattern Name 2 (32 - 127) |
| | | |
| 01 02 | 0aaa aaaa | Chord Pattern Name 3 (32 - 127) |
| | | |
| 01 03 | 0aaa aaaa | Chord Pattern Name 4 (32 - 127) |
| | | |
| 01 04 | 0aaa aaaa | Chord Pattern Name 5 (32 - 127) |
| | | |
| 01 05 | 0aaa aaaa | Chord Pattern Name 6 (32 - 127) |
| | | |
| 01 06 | 0aaa aaaa | Chord Pattern Name 7 (32 - 127) |
| | | |
| 01 07 | 0aaa aaaa | Chord Pattern Name 8 (32 - 127) |
| | | |
| 01 08 | 0aaa aaaa | Chord Pattern Name 9 (32 - 127) |
| | | |
318
| 01 09 | 0aaa aaaa | Chord Pattern Name 10 (32 - 127) |
| | | |
| 01 0A | 0aaa aaaa | Chord Pattern Name 11 (32 - 127) |
| | | |
| 01 0B | 0aaa aaaa | Chord Pattern Name 12 (32 - 127) |
| | | |
| 01 0C | 0aaa aaaa | Chord Pattern Name 13 (32 - 127) |
| | | |
| 01 0D | 0aaa aaaa | Chord Pattern Name 14 (32 - 127) |
| | | |
| 01 0E | 0aaa aaaa | Chord Pattern Name 15 (32 - 127) |
| | | |
| 01 0F | 0aaa aaaa | Chord Pattern Name 16 (32 - 127) |
| | | |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 01 10 | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍
Rhythm Group
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0aaa aaaa | Rhythm Group Name 1 (32 - 127) |
| | | |
| 00 01 | 0aaa aaaa | Rhythm Group Name 2 (32 - 127) |
| | | |
| 00 02 | 0aaa aaaa | Rhythm Group Name 3 (32 - 127) |
| | | |
| 00 03 | 0aaa aaaa | Rhythm Group Name 4 (32 - 127) |
| | | |
| 00 04 | 0aaa aaaa | Rhythm Group Name 5 (32 - 127) |
| | | |
| 00 05 | 0aaa aaaa | Rhythm Group Name 6 (32 - 127) |
| | | |
| 00 06 | 0aaa aaaa | Rhythm Group Name 7 (32 - 127) |
| | | |
| 00 07 | 0aaa aaaa | Rhythm Group Name 8 (32 - 127) |
| | | |
| 00 08 | 0aaa aaaa | Rhythm Group Name 9 (32 - 127) |
| | | |
| 00 09 | 0aaa aaaa | Rhythm Group Name 10 (32 - 127) |
| | | |
| 00 0A | 0aaa aaaa | Rhythm Group Name 11 (32 - 127) |
| | | |
| 00 0B | 0aaa aaaa | Rhythm Group Name 12 (32 - 127) |
| | | |
| 00 0C | 0aaa aaaa | Rhythm Group Name 13 (32 - 127) |
| | | |
| 00 0D | 0aaa aaaa | Rhythm Group Name 14 (32 - 127) |
| | | |
| 00 0E | 0aaa aaaa | Rhythm Group Name 15 (32 - 127) |
| | | |
| 00 0F | 0aaa aaaa | Rhythm Group Name 16 (32 - 127) |
| | | |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 10 | 0aaa aaaa | Recommended Rhythm Bank Select MSB (0 - 127) |
| 00 11 | 0aaa aaaa | Recommended Rhythm Bank Select LSB (0 - 127) |
| 00 12 | 0aaa aaaa | Recommended Rhythm Program Number (0 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 13 | 0aaa aaaa | Pad 1 Mode (0 - 2) |
| | | OFF, NOTE, PTN |
| 00 14 | 0aaa aaaa | Pad 1 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 15 | 0aaa aaaa | Pad 1 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 16 | 0000 000a | Pad 1 Rhythm Pattern Group (0 - 1) |
| | | USER, PRESET |
|# 00 17 | 0000 aaaa | |
| | 0000 bbbb | Pad 1 Rhythm Pattern Number (0 - 255) |
| 00 19 | 0aaa aaaa | Pad 2 Mode (0 - 2) |
| | | OFF, NOTE, PTN |
| 00 1A | 0aaa aaaa | Pad 2 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 1B | 0aaa aaaa | Pad 2 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 1C | 0000 000a | Pad 2 Rhythm Pattern Group (0 - 1) |
| | | USER, PRESET |
|# 00 1D | 0000 aaaa | |
| | 0000 bbbb | Pad 2 Rhythm Pattern Number (0 - 255) |
| 00 1F | 0aaa aaaa | Pad 3 Mode (0 - 2) |
| | | OFF, NOTE, PTN |
| 00 20 | 0aaa aaaa | Pad 3 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 21 | 0aaa aaaa | Pad 3 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 22 | 0000 000a | Pad 3 Rhythm Pattern Group (0 - 1) |
| | | USER, PRESET |
|# 00 23 | 0000 aaaa | |
| | 0000 bbbb | Pad 3 Rhythm Pattern Number (0 - 255) |
| 00 25 | 0aaa aaaa | Pad 4 Mode (0 - 2) |
| | | OFF, NOTE, PTN |
| 00 26 | 0aaa aaaa | Pad 4 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 27 | 0aaa aaaa | Pad 4 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 28 | 0000 000a | Pad 4 Rhythm Pattern Group (0 - 1) |
| | | USER, PRESET |
|# 00 29 | 0000 aaaa | |
| | 0000 bbbb | Pad 4 Rhythm Pattern Number (0 - 255) |
| 00 2B | 0aaa aaaa | Pad 5 Mode (0 - 2) |
| | | OFF, NOTE, PTN |
| 00 2C | 0aaa aaaa | Pad 5 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 2D | 0aaa aaaa | Pad 5 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 2E | 0000 000a | Pad 5 Rhythm Pattern Group (0 - 1) |
| | | USER, PRESET |
|# 00 2F | 0000 aaaa | |
| | 0000 bbbb | Pad 5 Rhythm Pattern Number (0 - 255) |
| 00 31 | 0aaa aaaa | Pad 6 Mode (0 - 2) |
| | | OFF, NOTE, PTN |
| 00 32 | 0aaa aaaa | Pad 6 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 33 | 0aaa aaaa | Pad 6 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 34 | 0000 000a | Pad 6 Rhythm Pattern Group (0 - 1) |
| | | USER, PRESET |
|# 00 35 | 0000 aaaa | |
| | 0000 bbbb | Pad 6 Rhythm Pattern Number (0 - 255) |
| 00 37 | 0aaa aaaa | Pad 7 Mode (0 - 2) |
| | | OFF, NOTE, PTN |
| 00 38 | 0aaa aaaa | Pad 7 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 39 | 0aaa aaaa | Pad 7 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 3A | 0000 000a | Pad 7 Rhythm Pattern Group (0 - 1) |
| | | USER, PRESET |
|# 00 3B | 0000 aaaa | |
| | 0000 bbbb | Pad 7 Rhythm Pattern Number (0 - 255) |
| 00 3D | 0aaa aaaa | Pad 8 Mode (0 - 2) |
| | | OFF, NOTE, PTN |
| 00 3E | 0aaa aaaa | Pad 8 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 3F | 0aaa aaaa | Pad 8 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 40 | 0000 000a | Pad 8 Rhythm Pattern Group (0 - 1) |
Fantom-X678_r_e.book 319 ページ ２００７年３月２０日 火曜日 午前１０時２０分
MIDI Implementation
| | | USER, PRESET |
|# 00 41 | 0000 aaaa | |
| | 0000 bbbb | Pad 8 Rhythm Pattern Number (0 - 255) |
| 00 43 | 0aaa aaaa | Pad 9 Mode (0 - 2) |
| | | OFF, NOTE, PTN |
| 00 44 | 0aaa aaaa | Pad 9 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 45 | 0aaa aaaa | Pad 9 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 46 | 0000 000a | Pad 9 Rhythm Pattern Group (0 - 1) |
| | | USER, PRESET |
|# 00 47 | 0000 aaaa | |
| | 0000 bbbb | Pad 9 Rhythm Pattern Number (0 - 255) |
| 00 49 | 0aaa aaaa | Pad 10 Mode (0 - 2) |
| | | OFF, NOTE, PTN |
| 00 4A | 0aaa aaaa | Pad 10 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 4B | 0aaa aaaa | Pad 10 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 4C | 0000 000a | Pad 10 Rhythm Pattern Group (0 - 1) |
| | | USER, PRESET |
|# 00 4D | 0000 aaaa | |
| | 0000 bbbb | Pad 10 Rhythm Pattern Number (0 - 255) |
| 00 4F | 0aaa aaaa | Pad 11 Mode (0 - 2) |
| | | OFF, NOTE, PTN |
| 00 50 | 0aaa aaaa | Pad 11 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 51 | 0aaa aaaa | Pad 11 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 52 | 0000 000a | Pad 11 Rhythm Pattern Group (0 - 1) |
| | | USER, PRESET |
|# 00 53 | 0000 aaaa | |
| | 0000 bbbb | Pad 11 Rhythm Pattern Number (0 - 255) |
| 00 55 | 0aaa aaaa | Pad 12 Mode (0 - 2) |
| | | OFF, NOTE, PTN |
| 00 56 | 0aaa aaaa | Pad 12 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 57 | 0aaa aaaa | Pad 12 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 58 | 0000 000a | Pad 12 Rhythm Pattern Group (0 - 1) |
| | | USER, PRESET |
|# 00 59 | 0000 aaaa | |
| | 0000 bbbb | Pad 12 Rhythm Pattern Number (0 - 255) |
| 00 5B | 0aaa aaaa | Pad 13 Mode (0 - 2) |
| | | OFF, NOTE, PTN |
| 00 5C | 0aaa aaaa | Pad 13 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 5D | 0aaa aaaa | Pad 13 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 5E | 0000 000a | Pad 13 Rhythm Pattern Group (0 - 1) |
| | | USER, PRESET |
|# 00 5F | 0000 aaaa | |
| | 0000 bbbb | Pad 13 Rhythm Pattern Number (0 - 255) |
| 00 61 | 0aaa aaaa | Pad 14 Mode (0 - 2) |
| | | OFF, NOTE, PTN |
| 00 62 | 0aaa aaaa | Pad 14 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 63 | 0aaa aaaa | Pad 14 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 64 | 0000 000a | Pad 14 Rhythm Pattern Group (0 - 1) |
| | | USER, PRESET |
|# 00 65 | 0000 aaaa | |
| | 0000 bbbb | Pad 14 Rhythm Pattern Number (0 - 255) |
| 00 67 | 0aaa aaaa | Pad 15 Mode (0 - 2) |
| | | OFF, NOTE, PTN |
| 00 68 | 0aaa aaaa | Pad 15 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 69 | 0aaa aaaa | Pad 15 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 6A | 0000 000a | Pad 15 Rhythm Pattern Group (0 - 1) |
| | | USER, PRESET |
|# 00 6B | 0000 aaaa | |
| | 0000 bbbb | Pad 15 Rhythm Pattern Number (0 - 255) |
| 00 6D | 0aaa aaaa | Pad 16 Mode (0 - 2) |
| | | OFF, NOTE, PTN |
| 00 6E | 0aaa aaaa | Pad 16 Note Number (0 - 127) |
| | | C-1 - G9 |
| 00 6F | 0aaa aaaa | Pad 16 Velocity (0 - 127) |
| | | REAL, 1 - 127 |
| 00 70 | 0000 000a | Pad 16 Rhythm Pattern Group (0 - 1) |
| | | USER, PRESET |
|# 00 71 | 0000 aaaa | |
| | 0000 bbbb | Pad 16 Rhythm Pattern Number (0 - 255) |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 73 | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍ Patch Common
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0aaa aaaa | Patch Name 1 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 00 01 | 0aaa aaaa | Patch Name 2 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 00 02 | 0aaa aaaa | Patch Name 3 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 00 03 | 0aaa aaaa | Patch Name 4 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 00 04 | 0aaa aaaa | Patch Name 5 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 00 05 | 0aaa aaaa | Patch Name 6 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 00 06 | 0aaa aaaa | Patch Name 7 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 00 07 | 0aaa aaaa | Patch Name 8 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 00 08 | 0aaa aaaa | Patch Name 9 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 00 09 | 0aaa aaaa | Patch Name 10 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 00 0A | 0aaa aaaa | Patch Name 11 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 00 0B | 0aaa aaaa | Patch Name 12 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 00 0C | 0aaa aaaa | Patch Category (0 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 0D | 0000 000a | (reserve) <*> |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 0E | 0aaa aaaa | Patch Level (0 - 127) |
| 00 0F | 0aaa aaaa | Patch Pan (0 - 127) |
| | | L64 - 63R |
| 00 10 | 0000 000a | Patch Priority (0 - 1) |
| | | LAST, LOUDEST |
| 00 11 | 0aaa aaaa | Patch Coarse Tune (16 - 112) |
| | | -48 - +48 |
| 00 12 | 0aaa aaaa | Patch Fine Tune (14 - 114) |
| | | -50 - +50 |
| 00 13 | 0000 0aaa | Octave Shift (61 - 67) |
| | | -3 - +3 |
| 00 14 | 0000 00aa | Stretch Tune Depth (0 - 3) |
| | | OFF, 1 - 3 |
| 00 15 | 0aaa aaaa | Analog Feel (0 - 127) |
| 00 16 | 0000 000a | Mono/Poly (0 - 1) |
| | | MONO, POLY |
| 00 17 | 0000 000a | Legato Switch (0 - 1) |
| | | OFF, ON |
| 00 18 | 0000 000a | Legato Retrigger (0 - 1) |
| | | OFF, ON |
| 00 19 | 0000 000a | Portamento Switch (0 - 1) |
| | | OFF, ON |
| 00 1A | 0000 000a | Portamento Mode (0 - 1) |
| | | NORMAL, LEGATO |
| 00 1B | 0000 000a | Portamento Type (0 - 1) |
| | | RATE, TIME |
| 00 1C | 0000 000a | Portamento Start (0 - 1) |
| | | PITCH, NOTE |
| 00 1D | 0aaa aaaa | Portamento Time (0 - 127) |
| 00 1E | 0000 000a | (reserve) <*> |
|# 00 1F | 0000 aaaa | |
| | 0000 bbbb | (reserve) <*> |
| 00 21 | 0000 000a | (reserve) <*> |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 22 | 0aaa aaaa | Cutoff Offset (1 - 127) |
| | | -63 - +63 |
| 00 23 | 0aaa aaaa | Resonance Offset (1 - 127) |
| | | -63 - +63 |
| 00 24 | 0aaa aaaa | Attack Time Offset (1 - 127) |
| | | -63 - +63 |
| 00 25 | 0aaa aaaa | Release Time Offset (1 - 127) |
| | | -63 - +63 |
| 00 26 | 0aaa aaaa | Velocity Sens Offset (1 - 127) |
| | | -63 - +63 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 27 | 0000 aaaa | Patch Output Assign (0 - 13) |
| | | MFX, A, B, ---, ---, |
| | | 1, 2, 3, 4, ---, ---, ---, ---, |
| | | TONE |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 28 | 0000 000a | TMT Control Switch (0 - 1) |
| | | OFF, ON |
| 00 29 | 00aa aaaa | Pitch Bend Range Up (0 - 48) |
| 00 2A | 00aa aaaa | Pitch Bend Range Down (0 - 48) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 2B | 0aaa aaaa | Matrix Control 1 Source (0 - 109) |
| | | OFF, CC01 - CC31, CC33 - CC95, |
| | | BEND, AFT, SYS1 - SYS4, VELOCITY, |
| | | KEYFOLLOW, TEMPO, LFO1, LFO2, |
| | | PIT-ENV, TVF-ENV, TVA-ENV |
| 00 2C | 00aa aaaa | Matrix Control 1 Destination 1 (0 - 34) |
| | | OFF, PCH, CUT, RES, LEV, PAN, |
| | | DRY, CHO, REV, PIT-LFO1, |
| | | PIT-LFO2, TVF-LFO1, TVF-LFO2, |
| | | TVA-LFO1, TVA-LFO2, PAN-LFO1, |
| | | PAN-LFO2, LFO1-RATE, LFO2-RATE, |
| | | PIT-ATK, PIT-DCY, PIT-REL, |
| | | TVF-ATK, TVF-DCY, TVF-REL, |
| | | TVA-ATK, TVA-DCY, TVA-REL, |
| | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
| | | TIME |
| 00 2D | 0aaa aaaa | Matrix Control 1 Sens 1 (1 - 127) |
| | | -63 - +63 |
| 00 2E | 00aa aaaa | Matrix Control 1 Destination 2 (0 - 34) |
| | | OFF, PCH, CUT, RES, LEV, PAN, |
| | | DRY, CHO, REV, PIT-LFO1, |
| | | PIT-LFO2, TVF-LFO1, TVF-LFO2, |
| | | TVA-LFO1, TVA-LFO2, PAN-LFO1, |
| | | PAN-LFO2, LFO1-RATE, LFO2-RATE, |
| | | PIT-ATK, PIT-DCY, PIT-REL, |
| | | TVF-ATK, TVF-DCY, TVF-REL, |
| | | TVA-ATK, TVA-DCY, TVA-REL, |
| | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
| | | TIME |
| 00 2F | 0aaa aaaa | Matrix Control 1 Sens 2 (1 - 127) |
| | | -63 - +63 |
| 00 30 | 00aa aaaa | Matrix Control 1 Destination 3 (0 - 34) |
| | | OFF, PCH, CUT, RES, LEV, PAN, |
| | | DRY, CHO, REV, PIT-LFO1, |
| | | PIT-LFO2, TVF-LFO1, TVF-LFO2, |
| | | TVA-LFO1, TVA-LFO2, PAN-LFO1, |
| | | PAN-LFO2, LFO1-RATE, LFO2-RATE, |
| | | PIT-ATK, PIT-DCY, PIT-REL, |
| | | TVF-ATK, TVF-DCY, TVF-REL, |
| | | TVA-ATK, TVA-DCY, TVA-REL, |
| | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
| | | TIME |
| 00 31 | 0aaa aaaa | Matrix Control 1 Sens 3 (1 - 127) |
| | | -63 - +63 |
| 00 32 | 00aa aaaa | Matrix Control 1 Destination 4 (0 - 34) |
| | | OFF, PCH, CUT, RES, LEV, PAN, |
| | | DRY, CHO, REV, PIT-LFO1, |
| | | PIT-LFO2, TVF-LFO1, TVF-LFO2, |
| | | TVA-LFO1, TVA-LFO2, PAN-LFO1, |
| | | PAN-LFO2, LFO1-RATE, LFO2-RATE, |
| | | PIT-ATK, PIT-DCY, PIT-REL, |
| | | TVF-ATK, TVF-DCY, TVF-REL, |
| | | TVA-ATK, TVA-DCY, TVA-REL, |
| | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
| | | TIME |
| 00 33 | 0aaa aaaa | Matrix Control 1 Sens 4 (1 - 127) |
| | | -63 - +63 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 34 | 0aaa aaaa | Matrix Control 2 Source (0 - 109) |
| | | OFF, CC01 - CC31, CC33 - CC95, |
| | | BEND, AFT, SYS1 - SYS4, VELOCITY, |
| | | KEYFOLLOW, TEMPO, LFO1, LFO2, |
| | | PIT-ENV, TVF-ENV, TVA-ENV |
| 00 35 | 00aa aaaa | Matrix Control 2 Destination 1 (0 - 34) |
| | | OFF, PCH, CUT, RES, LEV, PAN, |
| | | DRY, CHO, REV, PIT-LFO1, |
| | | PIT-LFO2, TVF-LFO1, TVF-LFO2, |
| | | TVA-LFO1, TVA-LFO2, PAN-LFO1, |
| | | PAN-LFO2, LFO1-RATE, LFO2-RATE, |
| | | PIT-ATK, PIT-DCY, PIT-REL, |
| | | TVF-ATK, TVF-DCY, TVF-REL, |
| | | TVA-ATK, TVA-DCY, TVA-REL, |
| | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
| | | TIME |
| 00 36 | 0aaa aaaa | Matrix Control 2 Sens 1 (1 - 127) |
| | | -63 - +63 |
| 00 37 | 00aa aaaa | Matrix Control 2 Destination 2 (0 - 34) |
| | | OFF, PCH, CUT, RES, LEV, PAN, |
| | | DRY, CHO, REV, PIT-LFO1, |
| | | PIT-LFO2, TVF-LFO1, TVF-LFO2, |
| | | TVA-LFO1, TVA-LFO2, PAN-LFO1, |
| | | PAN-LFO2, LFO1-RATE, LFO2-RATE, |
| | | PIT-ATK, PIT-DCY, PIT-REL, |
| | | TVF-ATK, TVF-DCY, TVF-REL, |
| | | TVA-ATK, TVA-DCY, TVA-REL, |
| | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
| | | TIME |
| 00 38 | 0aaa aaaa | Matrix Control 2 Sens 2 (1 - 127) |
| | | -63 - +63 |
| 00 39 | 00aa aaaa | Matrix Control 2 Destination 3 (0 - 34) |
| | | OFF, PCH, CUT, RES, LEV, PAN, |
| | | DRY, CHO, REV, PIT-LFO1, |
| | | PIT-LFO2, TVF-LFO1, TVF-LFO2, |
| | | TVA-LFO1, TVA-LFO2, PAN-LFO1, |
| | | PAN-LFO2, LFO1-RATE, LFO2-RATE, |
| | | PIT-ATK, PIT-DCY, PIT-REL, |
| | | TVF-ATK, TVF-DCY, TVF-REL, |
| | | TVA-ATK, TVA-DCY, TVA-REL, |
| | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
| | | TIME |
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Fantom-X678_r_e.book 320 ページ ２００７年３月２０日 火曜日 午前１０時２０分
MIDI Implementation
| 00 3A | 0aaa aaaa | Matrix Control 2 Sens 3 (1 - 127) |
| | | -63 - +63 |
| 00 3B | 00aa aaaa | Matrix Control 2 Destination 4 (0 - 34) |
| | | OFF, PCH, CUT, RES, LEV, PAN, |
| | | DRY, CHO, REV, PIT-LFO1, |
| | | PIT-LFO2, TVF-LFO1, TVF-LFO2, |
| | | TVA-LFO1, TVA-LFO2, PAN-LFO1, |
| | | PAN-LFO2, LFO1-RATE, LFO2-RATE, |
| | | PIT-ATK, PIT-DCY, PIT-REL, |
| | | TVF-ATK, TVF-DCY, TVF-REL, |
| | | TVA-ATK, TVA-DCY, TVA-REL, |
| | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
| | | TIME |
| 00 3C | 0aaa aaaa | Matrix Control 2 Sens 4 (1 - 127) |
| | | -63 - +63 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 3D | 0aaa aaaa | Matrix Control 3 Source (0 - 109) |
| | | OFF, CC01 - CC31, CC33 - CC95, |
| | | BEND, AFT, SYS1 - SYS4, VELOCITY, |
| | | KEYFOLLOW, TEMPO, LFO1, LFO2, |
| | | PIT-ENV, TVF-ENV, TVA-ENV |
| 00 3E | 00aa aaaa | Matrix Control 3 Destination 1 (0 - 34) |
| | | OFF, PCH, CUT, RES, LEV, PAN, |
| | | DRY, CHO, REV, PIT-LFO1, |
| | | PIT-LFO2, TVF-LFO1, TVF-LFO2, |
| | | TVA-LFO1, TVA-LFO2, PAN-LFO1, |
| | | PAN-LFO2, LFO1-RATE, LFO2-RATE, |
| | | PIT-ATK, PIT-DCY, PIT-REL, |
| | | TVF-ATK, TVF-DCY, TVF-REL, |
| | | TVA-ATK, TVA-DCY, TVA-REL, |
| | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
| | | TIME |
| 00 3F | 0aaa aaaa | Matrix Control 3 Sens 1 (1 - 127) |
| | | -63 - +63 |
| 00 40 | 00aa aaaa | Matrix Control 3 Destination 2 (0 - 34) |
| | | OFF, PCH, CUT, RES, LEV, PAN, |
| | | DRY, CHO, REV, PIT-LFO1, |
| | | PIT-LFO2, TVF-LFO1, TVF-LFO2, |
| | | TVA-LFO1, TVA-LFO2, PAN-LFO1, |
| | | PAN-LFO2, LFO1-RATE, LFO2-RATE, |
| | | PIT-ATK, PIT-DCY, PIT-REL, |
| | | TVF-ATK, TVF-DCY, TVF-REL, |
| | | TVA-ATK, TVA-DCY, TVA-REL, |
| | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
| | | TIME |
| 00 41 | 0aaa aaaa | Matrix Control 3 Sens 2 (1 - 127) |
| | | -63 - +63 |
| 00 42 | 00aa aaaa | Matrix Control 3 Destination 3 (0 - 34) |
| | | OFF, PCH, CUT, RES, LEV, PAN, |
| | | DRY, CHO, REV, PIT-LFO1, |
| | | PIT-LFO2, TVF-LFO1, TVF-LFO2, |
| | | TVA-LFO1, TVA-LFO2, PAN-LFO1, |
| | | PAN-LFO2, LFO1-RATE, LFO2-RATE, |
| | | PIT-ATK, PIT-DCY, PIT-REL, |
| | | TVF-ATK, TVF-DCY, TVF-REL, |
| | | TVA-ATK, TVA-DCY, TVA-REL, |
| | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
| | | TIME |
| 00 43 | 0aaa aaaa | Matrix Control 3 Sens 3 (1 - 127) |
| | | -63 - +63 |
| 00 44 | 00aa aaaa | Matrix Control 3 Destination 4 (0 - 34) |
| | | OFF, PCH, CUT, RES, LEV, PAN, |
| | | DRY, CHO, REV, PIT-LFO1, |
| | | PIT-LFO2, TVF-LFO1, TVF-LFO2, |
| | | TVA-LFO1, TVA-LFO2, PAN-LFO1, |
| | | PAN-LFO2, LFO1-RATE, LFO2-RATE, |
| | | PIT-ATK, PIT-DCY, PIT-REL, |
| | | TVF-ATK, TVF-DCY, TVF-REL, |
| | | TVA-ATK, TVA-DCY, TVA-REL, |
| | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
| | | TIME |
| 00 45 | 0aaa aaaa | Matrix Control 3 Sens 4 (1 - 127) |
| | | -63 - +63 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 46 | 0aaa aaaa | Matrix Control 4 Source (0 - 109) |
| | | OFF, CC01 - CC31, CC33 - CC95, |
| | | BEND, AFT, SYS1 - SYS4, VELOCITY, |
| | | KEYFOLLOW, TEMPO, LFO1, LFO2, |
| | | PIT-ENV, TVF-ENV, TVA-ENV |
| 00 47 | 00aa aaaa | Matrix Control 4 Destination 1 (0 - 34) |
| | | OFF, PCH, CUT, RES, LEV, PAN, |
| | | DRY, CHO, REV, PIT-LFO1, |
| | | PIT-LFO2, TVF-LFO1, TVF-LFO2, |
| | | TVA-LFO1, TVA-LFO2, PAN-LFO1, |
| | | PAN-LFO2, LFO1-RATE, LFO2-RATE, |
| | | PIT-ATK, PIT-DCY, PIT-REL, |
| | | TVF-ATK, TVF-DCY, TVF-REL, |
| | | TVA-ATK, TVA-DCY, TVA-REL, |
| | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
| | | TIME |
| 00 48 | 0aaa aaaa | Matrix Control 4 Sens 1 (1 - 127) |
| | | -63 - +63 |
| 00 49 | 00aa aaaa | Matrix Control 4 Destination 2 (0 - 34) |
| | | OFF, PCH, CUT, RES, LEV, PAN, |
| | | DRY, CHO, REV, PIT-LFO1, |
| | | PIT-LFO2, TVF-LFO1, TVF-LFO2, |
| | | TVA-LFO1, TVA-LFO2, PAN-LFO1, |
| | | PAN-LFO2, LFO1-RATE, LFO2-RATE, |
| | | PIT-ATK, PIT-DCY, PIT-REL, |
| | | TVF-ATK, TVF-DCY, TVF-REL, |
| | | TVA-ATK, TVA-DCY, TVA-REL, |
| | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
| | | TIME |
| 00 4A | 0aaa aaaa | Matrix Control 4 Sens 2 (1 - 127) |
| | | -63 - +63 |
| 00 4B | 00aa aaaa | Matrix Control 4 Destination 3 (0 - 34) |
| | | OFF, PCH, CUT, RES, LEV, PAN, |
| | | DRY, CHO, REV, PIT-LFO1, |
| | | PIT-LFO2, TVF-LFO1, TVF-LFO2, |
| | | TVA-LFO1, TVA-LFO2, PAN-LFO1, |
| | | PAN-LFO2, LFO1-RATE, LFO2-RATE, |
| | | PIT-ATK, PIT-DCY, PIT-REL, |
| | | TVF-ATK, TVF-DCY, TVF-REL, |
| | | TVA-ATK, TVA-DCY, TVA-REL, |
| | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
| | | TIME |
| 00 4C | 0aaa aaaa | Matrix Control 4 Sens 3 (1 - 127) |
| | | -63 - +63 |
| 00 4D | 00aa aaaa | Matrix Control 4 Destination 4 (0 - 34) |
| | | OFF, PCH, CUT, RES, LEV, PAN, |
| | | DRY, CHO, REV, PIT-LFO1, |
| | | PIT-LFO2, TVF-LFO1, TVF-LFO2, |
| | | TVA-LFO1, TVA-LFO2, PAN-LFO1, |
| | | PAN-LFO2, LFO1-RATE, LFO2-RATE, |
| | | PIT-ATK, PIT-DCY, PIT-REL, |
| | | TVF-ATK, TVF-DCY, TVF-REL, |
| | | TVA-ATK, TVA-DCY, TVA-REL, |
| | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, |
| | | TIME |
| 00 4E | 0aaa aaaa | Matrix Control 4 Sens 4 (1 - 127) |
| | | -63 - +63 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 4F | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍ Patch Common MFX
+——————————————————————————————————————————————————————————————————————————————+
320
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0aaa aaaa | MFX Type (0 - 127) |
| 00 01 | 0aaa aaaa | MFX Dry Send Level (0 - 127) |
| 00 02 | 0aaa aaaa | MFX Chorus Send Level (0 - 127) |
| 00 03 | 0aaa aaaa | MFX Reverb Send Level (0 - 127) |
| 00 04 | 0000 00aa | MFX Output Assign (0 - 3) |
| | | A, B, ---, --- |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 05 | 0aaa aaaa | MFX Control 1 Source (0 - 101) |
| | | OFF, CC01 - CC31, CC33 - CC95, |
| | | BEND, AFT, SYS1 - SYS4 |
| 00 06 | 0aaa aaaa | MFX Control 1 Sens (1 - 127) |
| | | -63 - +63 |
| 00 07 | 0aaa aaaa | MFX Control 2 Source (0 - 101) |
| | | OFF, CC01 - CC31, CC33 - CC95, |
| | | BEND, AFT, SYS1 - SYS4 |
| 00 08 | 0aaa aaaa | MFX Control 2 Sens (1 - 127) |
| | | -63 - +63 |
| 00 09 | 0aaa aaaa | MFX Control 3 Source (0 - 101) |
| | | OFF, CC01 - CC31, CC33 - CC95, |
| | | BEND, AFT, SYS1 - SYS4 |
| 00 0A | 0aaa aaaa | MFX Control 3 Sens (1 - 127) |
| | | -63 - +63 |
| 00 0B | 0aaa aaaa | MFX Control 4 Source (0 - 101) |
| | | OFF, CC01 - CC31, CC33 - CC95, |
| | | BEND, AFT, SYS1 - SYS4 |
| 00 0C | 0aaa aaaa | MFX Control 4 Sens (1 - 127) |
| | | -63 - +63 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 0D | 000a aaaa | MFX Control Assign 1 (0 - 16) |
| | | OFF, 1 - 16 |
| 00 0E | 000a aaaa | MFX Control Assign 2 (0 - 16) |
| | | OFF, 1 - 16 |
| 00 0F | 000a aaaa | MFX Control Assign 3 (0 - 16) |
| | | OFF, 1 - 16 |
| 00 10 | 000a aaaa | MFX Control Assign 4 (0 - 16) |
| | | OFF, 1 - 16 |
|# 00 11 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 1 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 15 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 2 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 19 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 3 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 1D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 4 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 21 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 5 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 25 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 6 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 29 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 7 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 2D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 8 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 31 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 9 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 35 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 10 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 39 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 11 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 3D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 12 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 41 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 13 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 45 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 14 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 49 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 15 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 4D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 16 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 51 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 17 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 55 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 18 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 59 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 19 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 5D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 20 (12768 - 52768) |
Fantom-X678_r_e.book 321 ページ ２００７年３月２０日 火曜日 午前１０時２０分
MIDI Implementation
| | | -20000 - +20000 |
|# 00 61 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 21 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 65 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 22 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 69 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 23 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 6D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 24 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 71 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 25 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 75 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 26 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 79 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 27 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 7D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 28 (12768 - 52768) |
| | | -20000 - +20000 |
|# 01 01 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 29 (12768 - 52768) |
| | | -20000 - +20000 |
|# 01 05 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 30 (12768 - 52768) |
| | | -20000 - +20000 |
|# 01 09 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 31 (12768 - 52768) |
| | | -20000 - +20000 |
|# 01 0D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 32 (12768 - 52768) |
| | | -20000 - +20000 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 01 11 | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍ Patch Common Chorus
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0000 aaaa | Chorus Type (0 - 3) |
| 00 01 | 0aaa aaaa | Chorus Level (0 - 127) |
| 00 02 | 0000 00aa | Chorus Output Assign (0 - 3) |
| | | A, B, ---, --- |
| 00 03 | 0000 00aa | Chorus Output Select (0 - 2) |
| | | MAIN, REV, MAIN+REV |
|—————————————+———————————+————————————————————————————————————————————————————|
|# 00 04 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 1 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 08 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 2 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 0C | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 3 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 10 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 4 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 14 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 5 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 18 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 6 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 1C | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 7 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 20 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 8 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 24 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 9 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 28 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 10 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 2C | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 11 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 30 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 12 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 34 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 13 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 38 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 14 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 3C | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 15 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 40 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 16 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 44 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 17 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 48 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 18 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 4C | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 19 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 50 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 20 (12768 - 52768) |
| | | -20000 - +20000 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 54 | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍
Patch Common Reverb
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0000 aaaa | Reverb Type (0 - 5) |
| 00 01 | 0aaa aaaa | Reverb Level (0 - 127) |
| 00 02 | 0000 00aa | Reverb Output Assign (0 - 3) |
| | | A, B, ---, --- |
|—————————————+———————————+————————————————————————————————————————————————————|
|# 00 03 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 1 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 07 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 2 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 0B | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 3 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 0F | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 4 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 13 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 5 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 17 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 6 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 1B | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 7 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 1F | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 8 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 23 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 9 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 27 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 10 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 2B | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 11 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 2F | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 12 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 33 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 13 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 37 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 14 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 3B | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 15 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 3F | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 16 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 43 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
321
Fantom-X678_r_e.book 322 ページ ２００７年３月２０日 火曜日 午前１０時２０分
MIDI Implementation
| | 0000 dddd | Reverb Parameter 17 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 47 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 18 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 4B | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 19 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 4F | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 20 (12768 - 52768) |
| | | -20000 - +20000 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 53 | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍ Patch TMT (Tone Mix Table)
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0000 aaaa | Structure Type 1 & 2 (0 - 9) |
| | | 1 - 10 |
| 00 01 | 0000 00aa | Booster 1 & 2 (0 - 3) |
| | | 0, +6, +12, +18 [dB] |
| 00 02 | 0000 aaaa | Structure Type 3 & 4 (0 - 9) |
| | | 1 - 10 |
| 00 03 | 0000 00aa | Booster 3 & 4 (0 - 3) |
| | | 0, +6, +12, +18 [dB] |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 04 | 0000 00aa | TMT Velocity Control (0 - 3) |
| | | OFF, ON, RANDOM, CYCLE |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 05 | 0000 000a | TMT1 Tone Switch (0 - 1) |
| | | OFF, ON |
| 00 06 | 0aaa aaaa | TMT1 Keyboard Range Lower (0 - 127) |
| | | C-1 - UPPER |
| 00 07 | 0aaa aaaa | TMT1 Keyboard Range Upper (0 - 127) |
| | | LOWER - G9 |
| 00 08 | 0aaa aaaa | TMT1 Keyboard Fade Width Lower (0 - 127) |
| 00 09 | 0aaa aaaa | TMT1 Keyboard Fade Width Upper (0 - 127) |
| 00 0A | 0aaa aaaa | TMT1 Velocity Range Lower (1 - 127) |
| | | 1 - UPPER |
| 00 0B | 0aaa aaaa | TMT1 Velocity Range Upper (1 - 127) |
| | | LOWER - 127 |
| 00 0C | 0aaa aaaa | TMT1 Velocity Fade Width Lower (0 - 127) |
| 00 0D | 0aaa aaaa | TMT1 Velocity Fade Width Upper (0 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 0E | 0000 000a | TMT2 Tone Switch (0 - 1) |
| | | OFF, ON |
| 00 0F | 0aaa aaaa | TMT2 Keyboard Range Lower (0 - 127) |
| | | C-1 - UPPER |
| 00 10 | 0aaa aaaa | TMT2 Keyboard Range Upper (0 - 127) |
| | | LOWER - G9 |
| 00 11 | 0aaa aaaa | TMT2 Keyboard Fade Width Lower (0 - 127) |
| 00 12 | 0aaa aaaa | TMT2 Keyboard Fade Width Upper (0 - 127) |
| 00 13 | 0aaa aaaa | TMT2 Velocity Range Lower (1 - 127) |
| | | 1 - UPPER |
| 00 14 | 0aaa aaaa | TMT2 Velocity Range Upper (1 - 127) |
| | | LOWER - 127 |
| 00 15 | 0aaa aaaa | TMT2 Velocity Fade Width Lower (0 - 127) |
| 00 16 | 0aaa aaaa | TMT2 Velocity Fade Width Upper (0 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 17 | 0000 000a | TMT3 Tone Switch (0 - 1) |
| | | OFF, ON |
| 00 18 | 0aaa aaaa | TMT3 Keyboard Range Lower (0 - 127) |
| | | C-1 - UPPER |
| 00 19 | 0aaa aaaa | TMT3 Keyboard Range Upper (0 - 127) |
| | | LOWER - G9 |
| 00 1A | 0aaa aaaa | TMT3 Keyboard Fade Width Lower (0 - 127) |
| 00 1B | 0aaa aaaa | TMT3 Keyboard Fade Width Upper (0 - 127) |
| 00 1C | 0aaa aaaa | TMT3 Velocity Range Lower (1 - 127) |
| | | 1 - UPPER |
| 00 1D | 0aaa aaaa | TMT3 Velocity Range Upper (1 - 127) |
| | | LOWER - 127 |
| 00 1E | 0aaa aaaa | TMT3 Velocity Fade Width Lower (0 - 127) |
| 00 1F | 0aaa aaaa | TMT3 Velocity Fade Width Upper (0 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 20 | 0000 000a | TMT4 Tone Switch (0 - 1) |
| | | OFF, ON |
| 00 21 | 0aaa aaaa | TMT4 Keyboard Range Lower (0 - 127) |
| | | C-1 - UPPER |
| 00 22 | 0aaa aaaa | TMT4 Keyboard Range Upper (0 - 127) |
| | | LOWER - G9 |
| 00 23 | 0aaa aaaa | TMT4 Keyboard Fade Width Lower (0 - 127) |
| 00 24 | 0aaa aaaa | TMT4 Keyboard Fade Width Upper (0 - 127) |
| 00 25 | 0aaa aaaa | TMT4 Velocity Range Lower (1 - 127) |
| | | 1 - UPPER |
| 00 26 | 0aaa aaaa | TMT4 Velocity Range Upper (1 - 127) |
| | | LOWER - 127 |
| 00 27 | 0aaa aaaa | TMT4 Velocity Fade Width Lower (0 - 127) |
| 00 28 | 0aaa aaaa | TMT4 Velocity Fade Width Upper (0 - 127) |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 29 | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍
Patch Tone
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0aaa aaaa | Tone Level (0 - 127) |
| 00 01 | 0aaa aaaa | Tone Coarse Tune (16 - 112) |
| | | -48 - +48 |
| 00 02 | 0aaa aaaa | Tone Fine Tune (14 - 114) |
| | | -50 - +50 |
| 00 03 | 000a aaaa | Tone Random Pitch Depth (0 - 30) |
| | | 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 |
| 00 04 | 0aaa aaaa | Tone Pan (0 - 127) |
| | | L64 - 63R |
| 00 05 | 000a aaaa | Tone Pan Keyfollow (54 - 74) |
| | | -100 - +100 |
| 00 06 | 00aa aaaa | Tone Random Pan Depth (0 - 63) |
| 00 07 | 0aaa aaaa | Tone Alternate Pan Depth (1 - 127) |
| | | L63 - 63R |
| 00 08 | 0000 000a | Tone Env Mode (0 - 1) |
| | | NO-SUS, SUSTAIN |
| 00 09 | 0000 00aa | Tone Delay Mode (0 - 3) |
| | | NORMAL, HOLD, KEY-OFF-NORMAL, |
| | | KEY-OFF-DECAY |
|# 00 0A | 0000 aaaa | |
| | 0000 bbbb | Tone Delay Time (0 - 149) |
| | | 0 - 127, MUSICAL-NOTES |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 0C | 0aaa aaaa | Tone Dry Send Level (0 - 127) |
| 00 0D | 0aaa aaaa | Tone Chorus Send Level (MFX) (0 - 127) |
| 00 0E | 0aaa aaaa | Tone Reverb Send Level (MFX) (0 - 127) |
322
| 00 0F | 0aaa aaaa | Tone Chorus Send Level (non MFX) (0 - 127) |
| 00 10 | 0aaa aaaa | Tone Reverb Send Level (non MFX) (0 - 127) |
| 00 11 | 0000 aaaa | Tone Output Assign (0 - 12) |
| | | MFX, A, B, ---, ---, |
| | | 1, 2, 3, 4, ---, ---, ---, --- |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 12 | 0000 000a | Tone Receive Bender (0 - 1) |
| | | OFF, ON |
| 00 13 | 0000 000a | Tone Receive Expression (0 - 1) |
| | | OFF, ON |
| 00 14 | 0000 000a | Tone Receive Hold-1 (0 - 1) |
| | | OFF, ON |
| 00 15 | 0000 000a | Tone Receive Pan Mode (0 - 1) |
| | | CONTINUOUS, KEY-ON |
| 00 16 | 0000 000a | Tone Redamper Switch (0 - 1) |
| | | OFF, ON |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 17 | 0000 00aa | Tone Control 1 Switch 1 (0 - 2) |
| | | OFF, ON, REVERSE |
| 00 18 | 0000 00aa | Tone Control 1 Switch 2 (0 - 2) |
| | | OFF, ON, REVERSE |
| 00 19 | 0000 00aa | Tone Control 1 Switch 3 (0 - 2) |
| | | OFF, ON, REVERSE |
| 00 1A | 0000 00aa | Tone Control 1 Switch 4 (0 - 2) |
| | | OFF, ON, REVERSE |
| 00 1B | 0000 00aa | Tone Control 2 Switch 1 (0 - 2) |
| | | OFF, ON, REVERSE |
| 00 1C | 0000 00aa | Tone Control 2 Switch 2 (0 - 2) |
| | | OFF, ON, REVERSE |
| 00 1D | 0000 00aa | Tone Control 2 Switch 3 (0 - 2) |
| | | OFF, ON, REVERSE |
| 00 1E | 0000 00aa | Tone Control 2 Switch 4 (0 - 2) |
| | | OFF, ON, REVERSE |
| 00 1F | 0000 00aa | Tone Control 3 Switch 1 (0 - 2) |
| | | OFF, ON, REVERSE |
| 00 20 | 0000 00aa | Tone Control 3 Switch 2 (0 - 2) |
| | | OFF, ON, REVERSE |
| 00 21 | 0000 00aa | Tone Control 3 Switch 3 (0 - 2) |
| | | OFF, ON, REVERSE |
| 00 22 | 0000 00aa | Tone Control 3 Switch 4 (0 - 2) |
| | | OFF, ON, REVERSE |
| 00 23 | 0000 00aa | Tone Control 4 Switch 1 (0 - 2) |
| | | OFF, ON, REVERSE |
| 00 24 | 0000 00aa | Tone Control 4 Switch 2 (0 - 2) |
| | | OFF, ON, REVERSE |
| 00 25 | 0000 00aa | Tone Control 4 Switch 3 (0 - 2) |
| | | OFF, ON, REVERSE |
| 00 26 | 0000 00aa | Tone Control 4 Switch 4 (0 - 2) |
| | | OFF, ON, REVERSE |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 27 | 0000 00aa | Wave Group Type (0 - 3) |
| | | INT, SRX, SAMPLE, MULTISAMPLE |
|# 00 28 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Wave Group ID (0 - 16384) |
| | | OFF, 1 - 16384 |
|# 00 2C | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Wave Number L (Mono) (0 - 16384) |
| | | OFF, 1 - 16384 |
|# 00 30 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Wave Number R (0 - 16384) |
| | | OFF, 1 - 16384 |
| 00 34 | 0000 00aa | Wave Gain (0 - 3) |
| | | -6, 0, +6, +12 [dB] |
| 00 35 | 0000 000a | Wave FXM Switch (0 - 1) |
| | | OFF, ON |
| 00 36 | 0000 00aa | Wave FXM Color (0 - 3) |
| | | 1 - 4 |
| 00 37 | 000a aaaa | Wave FXM Depth (0 - 16) |
| 00 38 | 0000 000a | Wave Tempo Sync (0 - 1) |
| | | OFF, ON |
| 00 39 | 00aa aaaa | Wave Pitch Keyfollow (44 - 84) |
| | | -200 - +200 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 3A | 000a aaaa | Pitch Env Depth (52 - 76) |
| | | -12 - +12 |
| 00 3B | 0aaa aaaa | Pitch Env Velocity Sens (1 - 127) |
| | | -63 - +63 |
| 00 3C | 0aaa aaaa | Pitch Env Time 1 Velocity Sens (1 - 127) |
| | | -63 - +63 |
| 00 3D | 0aaa aaaa | Pitch Env Time 4 Velocity Sens (1 - 127) |
| | | -63 - +63 |
| 00 3E | 000a aaaa | Pitch Env Time Keyfollow (54 - 74) |
| | | -100 - +100 |
| 00 3F | 0aaa aaaa | Pitch Env Time 1 (0 - 127) |
| 00 40 | 0aaa aaaa | Pitch Env Time 2 (0 - 127) |
| 00 41 | 0aaa aaaa | Pitch Env Time 3 (0 - 127) |
| 00 42 | 0aaa aaaa | Pitch Env Time 4 (0 - 127) |
| 00 43 | 0aaa aaaa | Pitch Env Level 0 (1 - 127) |
| | | -63 - +63 |
| 00 44 | 0aaa aaaa | Pitch Env Level 1 (1 - 127) |
| | | -63 - +63 |
| 00 45 | 0aaa aaaa | Pitch Env Level 2 (1 - 127) |
| | | -63 - +63 |
| 00 46 | 0aaa aaaa | Pitch Env Level 3 (1 - 127) |
| | | -63 - +63 |
| 00 47 | 0aaa aaaa | Pitch Env Level 4 (1 - 127) |
| | | -63 - +63 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 48 | 0000 0aaa | TVF Filter Type (0 - 6) |
| | | OFF, LPF, BPF, HPF, PKG, LPF2, |
| | | LPF3 |
| 00 49 | 0aaa aaaa | TVF Cutoff Frequency (0 - 127) |
| 00 4A | 00aa aaaa | TVF Cutoff Keyfollow (44 - 84) |
| | | -200 - +200 |
| 00 4B | 0000 0aaa | TVF Cutoff Velocity Curve (0 - 7) |
| | | FIXED, 1 - 7 |
| 00 4C | 0aaa aaaa | TVF Cutoff Velocity Sens (1 - 127) |
| | | -63 - +63 |
| 00 4D | 0aaa aaaa | TVF Resonance (0 - 127) |
| 00 4E | 0aaa aaaa | TVF Resonance Velocity Sens (1 - 127) |
| | | -63 - +63 |
| 00 4F | 0aaa aaaa | TVF Env Depth (1 - 127) |
| | | -63 - +63 |
| 00 50 | 0000 0aaa | TVF Env Velocity Curve (0 - 7) |
| | | FIXED, 1 - 7 |
| 00 51 | 0aaa aaaa | TVF Env Velocity Sens (1 - 127) |
| | | -63 - +63 |
| 00 52 | 0aaa aaaa | TVF Env Time 1 Velocity Sens (1 - 127) |
| | | -63 - +63 |
| 00 53 | 0aaa aaaa | TVF Env Time 4 Velocity Sens (1 - 127) |
| | | -63 - +63 |
| 00 54 | 000a aaaa | TVF Env Time Keyfollow (54 - 74) |
| | | -100 - +100 |
| 00 55 | 0aaa aaaa | TVF Env Time 1 (0 - 127) |
| 00 56 | 0aaa aaaa | TVF Env Time 2 (0 - 127) |
| 00 57 | 0aaa aaaa | TVF Env Time 3 (0 - 127) |
| 00 58 | 0aaa aaaa | TVF Env Time 4 (0 - 127) |
| 00 59 | 0aaa aaaa | TVF Env Level 0 (0 - 127) |
| 00 5A | 0aaa aaaa | TVF Env Level 1 (0 - 127) |
| 00 5B | 0aaa aaaa | TVF Env Level 2 (0 - 127) |
| 00 5C | 0aaa aaaa | TVF Env Level 3 (0 - 127) |
| 00 5D | 0aaa aaaa | TVF Env Level 4 (0 - 127) |
Fantom-X678_r_e.book 323 ページ ２００７年３月２０日 火曜日 午前１０時２０分
MIDI Implementation
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 5E | 000a aaaa | Bias Level (54 - 74) |
| | | -100 - +100 |
| 00 5F | 0aaa aaaa | Bias Position (0 - 127) |
| | | C-1 - G9 |
| 00 60 | 0000 00aa | Bias Direction (0 - 3) |
| | | LOWER, UPPER, LOWER&UPPER, ALL |
| 00 61 | 0000 0aaa | TVA Level Velocity Curve (0 - 7) |
| | | FIXED, 1 - 7 |
| 00 62 | 0aaa aaaa | TVA Level Velocity Sens (1 - 127) |
| | | -63 - +63 |
| 00 63 | 0aaa aaaa | TVA Env Time 1 Velocity Sens (1 - 127) |
| | | -63 - +63 |
| 00 64 | 0aaa aaaa | TVA Env Time 4 Velocity Sens (1 - 127) |
| | | -63 - +63 |
| 00 65 | 000a aaaa | TVA Env Time Keyfollow (54 - 74) |
| | | -100 - +100 |
| 00 66 | 0aaa aaaa | TVA Env Time 1 (0 - 127) |
| 00 67 | 0aaa aaaa | TVA Env Time 2 (0 - 127) |
| 00 68 | 0aaa aaaa | TVA Env Time 3 (0 - 127) |
| 00 69 | 0aaa aaaa | TVA Env Time 4 (0 - 127) |
| 00 6A | 0aaa aaaa | TVA Env Level 1 (0 - 127) |
| 00 6B | 0aaa aaaa | TVA Env Level 2 (0 - 127) |
| 00 6C | 0aaa aaaa | TVA Env Level 3 (0 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 6D | 0000 aaaa | LFO1 Waveform (0 - 12) |
| | | SIN, TRI, SAW-UP, SAW-DW, SQR, |
| | | RND, BEND-UP, BEND-DW, TRP, S&H, |
| | | CHS, VSIN, STEP |
|# 00 6E | 0000 aaaa | |
| | 0000 bbbb | LFO1 Rate (0 - 149) |
| | | 0 - 127, MUSICAL-NOTES |
| 00 70 | 0000 0aaa | LFO1 Offset (0 - 4) |
| | | -100, -50, 0, +50, +100 |
| 00 71 | 0aaa aaaa | LFO1 Rate Detune (0 - 127) |
| 00 72 | 0aaa aaaa | LFO1 Delay Time (0 - 127) |
| 00 73 | 000a aaaa | LFO1 Delay Time Keyfollow (54 - 74) |
| | | -100 - +100 |
| 00 74 | 0000 00aa | LFO1 Fade Mode (0 - 3) |
| | | ON-IN, ON-OUT, OFF-IN, OFF-OUT |
| 00 75 | 0aaa aaaa | LFO1 Fade Time (0 - 127) |
| 00 76 | 0000 000a | LFO1 Key Trigger (0 - 1) |
| | | OFF, ON |
| 00 77 | 0aaa aaaa | LFO1 Pitch Depth (1 - 127) |
| | | -63 - +63 |
| 00 78 | 0aaa aaaa | LFO1 TVF Depth (1 - 127) |
| | | -63 - +63 |
| 00 79 | 0aaa aaaa | LFO1 TVA Depth (1 - 127) |
| | | -63 - +63 |
| 00 7A | 0aaa aaaa | LFO1 Pan Depth (1 - 127) |
| | | -63 - +63 |
| 00 7B | 0000 aaaa | LFO2 Waveform (0 - 12) |
| | | SIN, TRI, SAW-UP, SAW-DW, SQR, |
| | | RND, BEND-UP, BEND-DW, TRP, S&H, |
| | | CHS, VSIN, STEP |
|# 00 7C | 0000 aaaa | |
| | 0000 bbbb | LFO2 Rate (0 - 149) |
| | | 0 - 127, MUSICAL-NOTES |
| 00 7E | 0000 0aaa | LFO2 Offset (0 - 4) |
| | | -100, -50, 0, +50, +100 |
| 00 7F | 0aaa aaaa | LFO2 Rate Detune (0 - 127) |
| 01 00 | 0aaa aaaa | LFO2 Delay Time (0 - 127) |
| 01 01 | 000a aaaa | LFO2 Delay Time Keyfollow (54 - 74) |
| | | -100 - +100 |
| 01 02 | 0000 00aa | LFO2 Fade Mode (0 - 3) |
| | | ON-IN, ON-OUT, OFF-IN, OFF-OUT |
| 01 03 | 0aaa aaaa | LFO2 Fade Time (0 - 127) |
| 01 04 | 0000 000a | LFO2 Key Trigger (0 - 1) |
| | | OFF, ON |
| 01 05 | 0aaa aaaa | LFO2 Pitch Depth (1 - 127) |
| | | -63 - +63 |
| 01 06 | 0aaa aaaa | LFO2 TVF Depth (1 - 127) |
| | | -63 - +63 |
| 01 07 | 0aaa aaaa | LFO2 TVA Depth (1 - 127) |
| | | -63 - +63 |
| 01 08 | 0aaa aaaa | LFO2 Pan Depth (1 - 127) |
| | | -63 - +63 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 01 09 | 0000 aaaa | LFO Step Type (0 - 1) |
| 01 0A | 0aaa aaaa | LFO Step1 (28 - 100) |
| | | -36 - +36 |
| 01 0B | 0aaa aaaa | LFO Step2 (28 - 100) |
| | | -36 - +36 |
| 01 0C | 0aaa aaaa | LFO Step3 (28 - 100) |
| | | -36 - +36 |
| 01 0D | 0aaa aaaa | LFO Step4 (28 - 100) |
| | | -36 - +36 |
| 01 0E | 0aaa aaaa | LFO Step5 (28 - 100) |
| | | -36 - +36 |
| 01 0F | 0aaa aaaa | LFO Step6 (28 - 100) |
| | | -36 - +36 |
| 01 10 | 0aaa aaaa | LFO Step7 (28 - 100) |
| | | -36 - +36 |
| 01 11 | 0aaa aaaa | LFO Step8 (28 - 100) |
| | | -36 - +36 |
| 01 12 | 0aaa aaaa | LFO Step9 (28 - 100) |
| | | -36 - +36 |
| 01 13 | 0aaa aaaa | LFO Step10 (28 - 100) |
| | | -36 - +36 |
| 01 14 | 0aaa aaaa | LFO Step11 (28 - 100) |
| | | -36 - +36 |
| 01 15 | 0aaa aaaa | LFO Step12 (28 - 100) |
| | | -36 - +36 |
| 01 16 | 0aaa aaaa | LFO Step13 (28 - 100) |
| | | -36 - +36 |
| 01 17 | 0aaa aaaa | LFO Step14 (28 - 100) |
| | | -36 - +36 |
| 01 18 | 0aaa aaaa | LFO Step15 (28 - 100) |
| | | -36 - +36 |
| 01 19 | 0aaa aaaa | LFO Step16 (28 - 100) |
| | | -36 - +36 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 01 1A | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍ Rhythm Common
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0aaa aaaa | Rhythm Name 1 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 00 01 | 0aaa aaaa | Rhythm Name 2 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 00 02 | 0aaa aaaa | Rhythm Name 3 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 00 03 | 0aaa aaaa | Rhythm Name 4 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 00 04 | 0aaa aaaa | Rhythm Name 5 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 00 05 | 0aaa aaaa | Rhythm Name 6 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 00 06 | 0aaa aaaa | Rhythm Name 7 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 00 07 | 0aaa aaaa | Rhythm Name 8 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 00 08 | 0aaa aaaa | Rhythm Name 9 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 00 09 | 0aaa aaaa | Rhythm Name 10 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 00 0A | 0aaa aaaa | Rhythm Name 11 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 00 0B | 0aaa aaaa | Rhythm Name 12 (32 - 127) |
| | | 32 - 127 [ASCII] |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 0C | 0aaa aaaa | Rhythm Level (0 - 127) |
| 00 0D | 0000 000a | (reserve) <*> |
|# 00 0E | 0000 aaaa | |
| | 0000 bbbb | (reserve) <*> |
| 00 10 | 0000 000a | (reserve) <*> |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 11 | 0000 aaaa | Rhythm Output Assign (0 - 13) |
| | | MFX, A, B, ---, ---, |
| | | 1, 2, 3, 4, ---, ---, ---, ---, |
| | | TONE |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 12 | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍
Rhythm Common MFX
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0aaa aaaa | MFX Type (0 - 127) |
| 00 01 | 0aaa aaaa | MFX Dry Send Level (0 - 127) |
| 00 02 | 0aaa aaaa | MFX Chorus Send Level (0 - 127) |
| 00 03 | 0aaa aaaa | MFX Reverb Send Level (0 - 127) |
| 00 04 | 0000 00aa | MFX Output Assign (0 - 3) |
| | | A, B, ---, --- |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 05 | 0aaa aaaa | MFX Control 1 Source (0 - 101) |
| | | OFF, CC01 - CC31, CC33 - CC95, |
| | | BEND, AFT, SYS1 - SYS4 |
| 00 06 | 0aaa aaaa | MFX Control 1 Sens (1 - 127) |
| | | -63 - +63 |
| 00 07 | 0aaa aaaa | MFX Control 2 Source (0 - 101) |
| | | OFF, CC01 - CC31, CC33 - CC95, |
| | | BEND, AFT, SYS1 - SYS4 |
| 00 08 | 0aaa aaaa | MFX Control 2 Sens (1 - 127) |
| | | -63 - +63 |
| 00 09 | 0aaa aaaa | MFX Control 3 Source (0 - 101) |
| | | OFF, CC01 - CC31, CC33 - CC95, |
| | | BEND, AFT, SYS1 - SYS4 |
| 00 0A | 0aaa aaaa | MFX Control 3 Sens (1 - 127) |
| | | -63 - +63 |
| 00 0B | 0aaa aaaa | MFX Control 4 Source (0 - 101) |
| | | OFF, CC01 - CC31, CC33 - CC95, |
| | | BEND, AFT, SYS1 - SYS4 |
| 00 0C | 0aaa aaaa | MFX Control 4 Sens (1 - 127) |
| | | -63 - +63 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 0D | 000a aaaa | MFX Control Assign 1 (0 - 16) |
| | | OFF, 1 - 16 |
| 00 0E | 000a aaaa | MFX Control Assign 2 (0 - 16) |
| | | OFF, 1 - 16 |
| 00 0F | 000a aaaa | MFX Control Assign 3 (0 - 16) |
| | | OFF, 1 - 16 |
| 00 10 | 000a aaaa | MFX Control Assign 4 (0 - 16) |
| | | OFF, 1 - 16 |
|# 00 11 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 1 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 15 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 2 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 19 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 3 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 1D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 4 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 21 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 5 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 25 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 6 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 29 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 7 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 2D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 8 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 31 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 9 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 35 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 10 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 39 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 11 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 3D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 12 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 41 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 13 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 45 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 14 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 49 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 15 (12768 - 52768) |
323
Fantom-X678_r_e.book 324 ページ ２００７年３月２０日 火曜日 午前１０時２０分
MIDI Implementation
| | | -20000 - +20000 |
|# 00 4D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 16 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 51 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 17 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 55 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 18 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 59 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 19 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 5D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 20 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 61 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 21 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 65 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 22 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 69 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 23 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 6D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 24 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 71 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 25 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 75 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 26 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 79 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 27 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 7D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 28 (12768 - 52768) |
| | | -20000 - +20000 |
|# 01 01 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 29 (12768 - 52768) |
| | | -20000 - +20000 |
|# 01 05 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 30 (12768 - 52768) |
| | | -20000 - +20000 |
|# 01 09 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 31 (12768 - 52768) |
| | | -20000 - +20000 |
|# 01 0D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 32 (12768 - 52768) |
| | | -20000 - +20000 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 01 11 | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍
Rhythm Common Chorus
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0000 aaaa | Chorus Type (0 - 3) |
| 00 01 | 0aaa aaaa | Chorus Level (0 - 127) |
| 00 02 | 0000 00aa | Chorus Output Assign (0 - 3) |
| | | A, B, ---, --- |
| 00 03 | 0000 00aa | Chorus Output Select (0 - 2) |
| | | MAIN, REV, MAIN+REV |
|—————————————+———————————+————————————————————————————————————————————————————|
|# 00 04 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 1 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 08 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 2 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 0C | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 3 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 10 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 4 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 14 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 5 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 18 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 6 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 1C | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 7 (12768 - 52768) |
| | | -20000 - +20000 |
324
|# 00 20 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 8 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 24 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 9 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 28 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 10 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 2C | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 11 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 30 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 12 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 34 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 13 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 38 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 14 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 3C | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 15 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 40 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 16 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 44 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 17 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 48 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 18 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 4C | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 19 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 50 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 20 (12768 - 52768) |
| | | -20000 - +20000 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 54 | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍ Rhythm Common Reverb
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0000 aaaa | Reverb Type (0 - 5) |
| 00 01 | 0aaa aaaa | Reverb Level (0 - 127) |
| 00 02 | 0000 00aa | Reverb Output Assign (0 - 3) |
| | | A, B, ---, --- |
|—————————————+———————————+————————————————————————————————————————————————————|
|# 00 03 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 1 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 07 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 2 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 0B | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 3 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 0F | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 4 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 13 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 5 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 17 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 6 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 1B | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 7 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 1F | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 8 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 23 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 9 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 27 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 10 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 2B | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 11 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 2F | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
Fantom-X678_r_e.book 325 ページ ２００７年３月２０日 火曜日 午前１０時２０分
MIDI Implementation
| | 0000 dddd | Reverb Parameter 12 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 33 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 13 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 37 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 14 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 3B | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 15 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 3F | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 16 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 43 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 17 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 47 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 18 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 4B | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 19 (12768 - 52768) |
| | | -20000 - +20000 |
|# 00 4F | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 20 (12768 - 52768) |
| | | -20000 - +20000 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 53 | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍
Rhythm Tone
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0aaa aaaa | Tone Name 1 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 00 01 | 0aaa aaaa | Tone Name 2 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 00 02 | 0aaa aaaa | Tone Name 3 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 00 03 | 0aaa aaaa | Tone Name 4 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 00 04 | 0aaa aaaa | Tone Name 5 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 00 05 | 0aaa aaaa | Tone Name 6 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 00 06 | 0aaa aaaa | Tone Name 7 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 00 07 | 0aaa aaaa | Tone Name 8 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 00 08 | 0aaa aaaa | Tone Name 9 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 00 09 | 0aaa aaaa | Tone Name 10 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 00 0A | 0aaa aaaa | Tone Name 11 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 00 0B | 0aaa aaaa | Tone Name 12 (32 - 127) |
| | | 32 - 127 [ASCII] |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 0C | 0000 000a | Assign Type (0 - 1) |
| | | MULTI, SINGLE |
| 00 0D | 000a aaaa | Mute Group (0 - 31) |
| | | OFF, 1 - 31 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 0E | 0aaa aaaa | Tone Level (0 - 127) |
| 00 0F | 0aaa aaaa | Tone Coarse Tune (0 - 127) |
| | | C-1 - G9 |
| 00 10 | 0aaa aaaa | Tone Fine Tune (14 - 114) |
| | | -50 - +50 |
| 00 11 | 000a aaaa | Tone Random Pitch Depth (0 - 30) |
| | | 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 |
| 00 12 | 0aaa aaaa | Tone Pan (0 - 127) |
| | | L64 - 63R |
| 00 13 | 00aa aaaa | Tone Random Pan Depth (0 - 63) |
| 00 14 | 0aaa aaaa | Tone Alternate Pan Depth (1 - 127) |
| | | L63 - 63R |
| 00 15 | 0000 000a | Tone Env Mode (0 - 1) |
| | | NO-SUS, SUSTAIN |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 16 | 0aaa aaaa | Tone Dry Send Level (0 - 127) |
| 00 17 | 0aaa aaaa | Tone Chorus Send Level (0 - 127) |
| 00 18 | 0aaa aaaa | Tone Reverb Send Level (0 - 127) |
| 00 19 | 0aaa aaaa | Tone Chorus Send Level (non MFX) (0 - 127) |
| 00 1A | 0aaa aaaa | Tone Reverb Send Level (non MFX) (0 - 127) |
| 00 1B | 0000 aaaa | Tone Output Assign (0 - 12) |
| | | MFX, A, B, ---, ---, |
| | | 1, 2, 3, 4, ---, ---, ---, --- |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 1C | 00aa aaaa | Tone Pitch Bend Range (0 - 48) |
| 00 1D | 0000 000a | Tone Receive Expression (0 - 1) |
| | | OFF, ON |
| 00 1E | 0000 000a | Tone Receive Hold-1 (0 - 1) |
| | | OFF, ON |
| 00 1F | 0000 000a | Tone Receive Pan Mode (0 - 1) |
| | | CONTINUOUS, KEY-ON |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 20 | 0000 00aa | WMT Velocity Control (0 - 2) |
| | | OFF, ON, RANDOM |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 21 | 0000 000a | WMT1 Wave Switch (0 - 1) |
| | | OFF, ON |
| 00 22 | 0000 00aa | WMT1 Wave Group Type (0 - 3) |
| | | INT, SRX, SAMPLE, MULTISAMPLE |
|# 00 23 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | WMT1 Wave Group ID (0 - 16384) |
| | | OFF, 1 - 16384 |
|# 00 27 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | WMT1 Wave Number L (Mono) (0 - 16384) |
| | | OFF, 1 - 16384 |
|# 00 2B | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | WMT1 Wave Number R (0 - 16384) |
| | | OFF, 1 - 16384 |
| 00 2F | 0000 00aa | WMT1 Wave Gain (0 - 3) |
| | | -6, 0, +6, +12 [dB] |
| 00 30 | 0000 000a | WMT1 Wave FXM Switch (0 - 1) |
| | | OFF, ON |
| 00 31 | 0000 00aa | WMT1 Wave FXM Color (0 - 3) |
| | | 1 - 4 |
| 00 32 | 000a aaaa | WMT1 Wave FXM Depth (0 - 16) |
| 00 33 | 0000 000a | WMT1 Wave Tempo Sync (0 - 1) |
| | | OFF, ON |
| 00 34 | 0aaa aaaa | WMT1 Wave Coarse Tune (16 - 112) |
| | | -48 - +48 |
| 00 35 | 0aaa aaaa | WMT1 Wave Fine Tune (14 - 114) |
| | | -50 - +50 |
| 00 36 | 0aaa aaaa | WMT1 Wave Pan (0 - 127) |
| | | L64 - 63R |
| 00 37 | 0000 000a | WMT1 Wave Random Pan Switch (0 - 1) |
| | | OFF, ON |
| 00 38 | 0000 00aa | WMT1 Wave Alternate Pan Switch (0 - 2) |
| | | OFF, ON, REVERSE |
| 00 39 | 0aaa aaaa | WMT1 Wave Level (0 - 127) |
| 00 3A | 0aaa aaaa | WMT1 Velocity Range Lower (1 - 127) |
| | | 1 - UPPER |
| 00 3B | 0aaa aaaa | WMT1 Velocity Range Upper (1 - 127) |
| | | LOWER - 127 |
| 00 3C | 0aaa aaaa | WMT1 Velocity Fade Width Lower (0 - 127) |
| 00 3D | 0aaa aaaa | WMT1 Velocity Fade Width Upper (0 - 127) |
| 00 3E | 0000 000a | WMT2 Wave Switch (0 - 1) |
| | | OFF, ON |
| 00 3F | 0000 00aa | WMT2 Wave Group Type (0 - 3) |
| | | INT, SRX, SAMPLE, MULTISAMPLE |
|# 00 40 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | WMT2 Wave Group ID (0 - 16384) |
| | | OFF, 1 - 16384 |
|# 00 44 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | WMT2 Wave Number L (Mono) (0 - 16384) |
| | | OFF, 1 - 16384 |
|# 00 48 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | WMT2 Wave Number R (0 - 16384) |
| | | OFF, 1 - 16384 |
| 00 4C | 0000 00aa | WMT2 Wave Gain (0 - 3) |
| | | -6, 0, +6, +12 [dB] |
| 00 4D | 0000 000a | WMT2 Wave FXM Switch (0 - 1) |
| | | OFF, ON |
| 00 4E | 0000 00aa | WMT2 Wave FXM Color (0 - 3) |
| | | 1 - 4 |
| 00 4F | 000a aaaa | WMT2 Wave FXM Depth (0 - 16) |
| 00 50 | 0000 000a | WMT2 Wave Tempo Sync (0 - 1) |
| | | OFF, ON |
| 00 51 | 0aaa aaaa | WMT2 Wave Coarse Tune (16 - 112) |
| | | -48 - +48 |
| 00 52 | 0aaa aaaa | WMT2 Wave Fine Tune (14 - 114) |
| | | -50 - +50 |
| 00 53 | 0aaa aaaa | WMT2 Wave Pan (0 - 127) |
| | | L64 - 63R |
| 00 54 | 0000 000a | WMT2 Wave Random Pan Switch (0 - 1) |
| | | OFF, ON |
| 00 55 | 0000 00aa | WMT2 Wave Alternate Pan Switch (0 - 2) |
| | | OFF, ON, REVERSE |
| 00 56 | 0aaa aaaa | WMT2 Wave Level (0 - 127) |
| 00 57 | 0aaa aaaa | WMT2 Velocity Range Lower (1 - 127) |
| | | 1 - UPPER |
| 00 58 | 0aaa aaaa | WMT2 Velocity Range Upper (1 - 127) |
| | | LOWER - 127 |
| 00 59 | 0aaa aaaa | WMT2 Velocity Fade Width Lower (0 - 127) |
| 00 5A | 0aaa aaaa | WMT2 Velocity Fade Width Upper (0 - 127) |
| 00 5B | 0000 000a | WMT3 Wave Switch (0 - 1) |
| | | OFF, ON |
| 00 5C | 0000 00aa | WMT3 Wave Group Type (0 - 3) |
| | | INT, SRX, SAMPLE, MULTISAMPLE |
|# 00 5D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | WMT3 Wave Group ID (0 - 16384) |
| | | OFF, 1 - 16384 |
|# 00 61 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | WMT3 Wave Number L (Mono) (0 - 16384) |
| | | OFF, 1 - 16384 |
|# 00 65 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | WMT3 Wave Number R (0 - 16384) |
| | | OFF, 1 - 16384 |
| 00 69 | 0000 00aa | WMT3 Wave Gain (0 - 3) |
| | | -6, 0, +6, +12 [dB] |
| 00 6A | 0000 000a | WMT3 Wave FXM Switch (0 - 1) |
| | | OFF, ON |
| 00 6B | 0000 00aa | WMT3 Wave FXM Color (0 - 3) |
| | | 1 - 4 |
| 00 6C | 000a aaaa | WMT3 Wave FXM Depth (0 - 16) |
| 00 6D | 0000 000a | WMT3 Wave Tempo Sync (0 - 1) |
| | | OFF, ON |
| 00 6E | 0aaa aaaa | WMT3 Wave Coarse Tune (16 - 112) |
| | | -48 - +48 |
| 00 6F | 0aaa aaaa | WMT3 Wave Fine Tune (14 - 114) |
| | | -50 - +50 |
| 00 70 | 0aaa aaaa | WMT3 Wave Pan (0 - 127) |
| | | L64 - 63R |
| 00 71 | 0000 000a | WMT3 Wave Random Pan Switch (0 - 1) |
| | | OFF, ON |
| 00 72 | 0000 00aa | WMT3 Wave Alternate Pan Switch (0 - 2) |
| | | OFF, ON, REVERSE |
| 00 73 | 0aaa aaaa | WMT3 Wave Level (0 - 127) |
| 00 74 | 0aaa aaaa | WMT3 Velocity Range Lower (1 - 127) |
| | | 1 - UPPER |
| 00 75 | 0aaa aaaa | WMT3 Velocity Range Upper (1 - 127) |
| | | LOWER - 127 |
| 00 76 | 0aaa aaaa | WMT3 Velocity Fade Width Lower (0 - 127) |
| 00 77 | 0aaa aaaa | WMT3 Velocity Fade Width Upper (0 - 127) |
| 00 78 | 0000 000a | WMT4 Wave Switch (0 - 1) |
| | | OFF, ON |
| 00 79 | 0000 00aa | WMT4 Wave Group Type (0 - 3) |
| | | INT, SRX, SAMPLE, MULTISAMPLE |
|# 00 7A | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | WMT4 Wave Group ID (0 - 16384) |
| | | OFF, 1 - 16384 |
|# 00 7E | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | WMT4 Wave Number L (Mono) (0 - 16384) |
| | | OFF, 1 - 16384 |
|# 01 02 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | WMT4 Wave Number R (0 - 16384) |
| | | OFF, 1 - 16384 |
| 01 06 | 0000 00aa | WMT4 Wave Gain (0 - 3) |
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Fantom-X678_r_e.book 326 ページ ２００７年３月２０日 火曜日 午前１０時２０分
MIDI Implementation
| | | -6, 0, +6, +12 [dB] |
| 01 07 | 0000 000a | WMT4 Wave FXM Switch (0 - 1) |
| | | OFF, ON |
| 01 08 | 0000 00aa | WMT4 Wave FXM Color (0 - 3) |
| | | 1 - 4 |
| 01 09 | 000a aaaa | WMT4 Wave FXM Depth (0 - 16) |
| 01 0A | 0000 000a | WMT4 Wave Tempo Sync (0 - 1) |
| | | OFF, ON |
| 01 0B | 0aaa aaaa | WMT4 Wave Coarse Tune (16 - 112) |
| | | -48 - +48 |
| 01 0C | 0aaa aaaa | WMT4 Wave Fine Tune (14 - 114) |
| | | -50 - +50 |
| 01 0D | 0aaa aaaa | WMT4 Wave Pan (0 - 127) |
| | | L64 - 63R |
| 01 0E | 0000 000a | WMT4 Wave Random Pan Switch (0 - 1) |
| | | OFF, ON |
| 01 0F | 0000 00aa | WMT4 Wave Alternate Pan Switch (0 - 2) |
| | | OFF, ON, REVERSE |
| 01 10 | 0aaa aaaa | WMT4 Wave Level (0 - 127) |
| 01 11 | 0aaa aaaa | WMT4 Velocity Range Lower (1 - 127) |
| | | 1 - UPPER |
| 01 12 | 0aaa aaaa | WMT4 Velocity Range Upper (1 - 127) |
| | | LOWER - 127 |
| 01 13 | 0aaa aaaa | WMT4 Velocity Fade Width Lower (0 - 127) |
| 01 14 | 0aaa aaaa | WMT4 Velocity Fade Width Upper (0 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 01 15 | 000a aaaa | Pitch Env Depth (52 - 76) |
| | | -12 - +12 |
| 01 16 | 0aaa aaaa | Pitch Env Velocity Sens (1 - 127) |
| | | -63 - +63 |
| 01 17 | 0aaa aaaa | Pitch Env Time 1 Velocity Sens (1 - 127) |
| | | -63 - +63 |
| 01 18 | 0aaa aaaa | Pitch Env Time 4 Velocity Sens (1 - 127) |
| | | -63 - +63 |
| 01 19 | 0aaa aaaa | Pitch Env Time 1 (0 - 127) |
| 01 1A | 0aaa aaaa | Pitch Env Time 2 (0 - 127) |
| 01 1B | 0aaa aaaa | Pitch Env Time 3 (0 - 127) |
| 01 1C | 0aaa aaaa | Pitch Env Time 4 (0 - 127) |
| 01 1D | 0aaa aaaa | Pitch Env Level 0 (1 - 127) |
| | | -63 - +63 |
| 01 1E | 0aaa aaaa | Pitch Env Level 1 (1 - 127) |
| | | -63 - +63 |
| 01 1F | 0aaa aaaa | Pitch Env Level 2 (1 - 127) |
| | | -63 - +63 |
| 01 20 | 0aaa aaaa | Pitch Env Level 3 (1 - 127) |
| | | -63 - +63 |
| 01 21 | 0aaa aaaa | Pitch Env Level 4 (1 - 127) |
| | | -63 - +63 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 01 22 | 0000 0aaa | TVF Filter Type (0 - 6) |
| | | OFF, LPF, BPF, HPF, PKG, LPF2, |
| | | LPF3 |
| 01 23 | 0aaa aaaa | TVF Cutoff Frequency (0 - 127) |
| 01 24 | 0000 0aaa | TVF Cutoff Velocity Curve (0 - 7) |
| | | FIXED, 1 - 7 |
| 01 25 | 0aaa aaaa | TVF Cutoff Velocity Sens (1 - 127) |
| | | -63 - +63 |
| 01 26 | 0aaa aaaa | TVF Resonance (0 - 127) |
| 01 27 | 0aaa aaaa | TVF Resonance Velocity Sens (1 - 127) |
| | | -63 - +63 |
| 01 28 | 0aaa aaaa | TVF Env Depth (1 - 127) |
| | | -63 - +63 |
| 01 29 | 0000 0aaa | TVF Env Velocity Curve Type (0 - 7) |
| | | FIXED, 1 - 7 |
| 01 2A | 0aaa aaaa | TVF Env Velocity Sens (1 - 127) |
| | | -63 - +63 |
| 01 2B | 0aaa aaaa | TVF Env Time 1 Velocity Sens (1 - 127) |
| | | -63 - +63 |
| 01 2C | 0aaa aaaa | TVF Env Time 4 Velocity Sens (1 - 127) |
| | | -63 - +63 |
| 01 2D | 0aaa aaaa | TVF Env Time 1 (0 - 127) |
| 01 2E | 0aaa aaaa | TVF Env Time 2 (0 - 127) |
| 01 2F | 0aaa aaaa | TVF Env Time 3 (0 - 127) |
| 01 30 | 0aaa aaaa | TVF Env Time 4 (0 - 127) |
| 01 31 | 0aaa aaaa | TVF Env Level 0 (0 - 127) |
| 01 32 | 0aaa aaaa | TVF Env Level 1 (0 - 127) |
| 01 33 | 0aaa aaaa | TVF Env Level 2 (0 - 127) |
| 01 34 | 0aaa aaaa | TVF Env Level 3 (0 - 127) |
| 01 35 | 0aaa aaaa | TVF Env Level 4 (0 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 01 36 | 0000 0aaa | TVA Level Velocity Curve (0 - 7) |
| | | FIXED, 1 - 7 |
| 01 37 | 0aaa aaaa | TVA Level Velocity Sens (1 - 127) |
| | | -63 - +63 |
| 01 38 | 0aaa aaaa | TVA Env Time 1 Velocity Sens (1 - 127) |
| | | -63 - +63 |
| 01 39 | 0aaa aaaa | TVA Env Time 4 Velocity Sens (1 - 127) |
| | | -63 - +63 |
| 01 3A | 0aaa aaaa | TVA Env Time 1 (0 - 127) |
| 01 3B | 0aaa aaaa | TVA Env Time 2 (0 - 127) |
| 01 3C | 0aaa aaaa | TVA Env Time 3 (0 - 127) |
| 01 3D | 0aaa aaaa | TVA Env Time 4 (0 - 127) |
| 01 3E | 0aaa aaaa | TVA Env Level 1 (0 - 127) |
| 01 3F | 0aaa aaaa | TVA Env Level 2 (0 - 127) |
| 01 40 | 0aaa aaaa | TVA Env Level 3 (0 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 01 41 | 0000 000a | One Shot Mode (0 - 1) |
| | | OFF, ON |
| 01 42 | 0aaa aaaa | Aftertouch Time Ctrl Sens (1 - 127) |
| | | -63 - +63 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 01 43 | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
2. GS (Model ID = 42H)
❍
System Parameter
+——————————————————————————————————————————————————————————————————————————————+
| Start | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
|# 40 00 00 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Master Tune (24 - 2024) |
| | | -100.0 - 100.0 [cent] |
| 40 00 04 | 0aaa aaaa | Master Volume (0 - 127) |
| 40 00 05 | 0aaa aaaa | Master Key Shift (40 - 88) |
| | | -24 - +24 [semitone] |
| 40 00 06 | 0aaa aaaa | Master Pan (1 - 127) |
| | | L63 - 63R |
|—————————————+————————————————————————————————————————————————————————————————|
| 40 00 7F | 0aaa aaaa | Mode Set (0, 127) |
| | | GS-RESET, GS-EXIT |
|—————————————+————————————————————————————————————————————————————————————————|
❍ Common Parameter
+——————————————————————————————————————————————————————————————————————————————+
| Start | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 40 01 10 | 0aaa aaaa | Voice Reserve 1 (0 - 24) |
| 40 01 11 | 0aaa aaaa | Voice Reserve 2 (0 - 24) |
326
| 40 01 12 | 0aaa aaaa | Voice Reserve 3 (0 - 24) |
| 40 01 13 | 0aaa aaaa | Voice Reserve 4 (0 - 24) |
| 40 01 14 | 0aaa aaaa | Voice Reserve 5 (0 - 24) |
| 40 01 15 | 0aaa aaaa | Voice Reserve 6 (0 - 24) |
| 40 01 16 | 0aaa aaaa | Voice Reserve 7 (0 - 24) |
| 40 01 17 | 0aaa aaaa | Voice Reserve 8 (0 - 24) |
| 40 01 18 | 0aaa aaaa | Voice Reserve 9 (0 - 24) |
| 40 01 19 | 0aaa aaaa | Voice Reserve 10 (0 - 24) |
| 40 01 1A | 0aaa aaaa | Voice Reserve 11 (0 - 24) |
| 40 01 1B | 0aaa aaaa | Voice Reserve 12 (0 - 24) |
| 40 01 1C | 0aaa aaaa | Voice Reserve 13 (0 - 24) |
| 40 01 1D | 0aaa aaaa | Voice Reserve 14 (0 - 24) |
| 40 01 1E | 0aaa aaaa | Voice Reserve 15 (0 - 24) |
| 40 01 1F | 0aaa aaaa | Voice Reserve 16 (0 - 24) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 40 01 30 | 0aaa aaaa | Reverb Macro (0 - 7) |
| 40 01 31 | 0aaa aaaa | Reverb Character (0 - 7) |
| 40 01 32 | 0aaa aaaa | Reverb Pre-LPF (0 - 7) |
| 40 01 33 | 0aaa aaaa | Reverb Level (0 - 127) |
| 40 01 34 | 0aaa aaaa | Reverb Time (0 - 127) |
| 40 01 35 | 0aaa aaaa | Reverb Delay Feedback (0 - 127) |
| 40 01 36 | 0aaa aaaa | Reverb Send Level to Chorus<*> (0 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 40 01 38 | 0aaa aaaa | Chorus Macro (0 - 7) |
| 40 01 39 | 0aaa aaaa | Chorus Pre-LPF (0 - 7) |
| 40 01 3A | 0aaa aaaa | Chorus Level (0 - 127) |
| 40 01 3B | 0aaa aaaa | Chorus Feedback (0 - 127) |
| 40 01 3C | 0aaa aaaa | Chorus Delay (0 - 127) |
| 40 01 3D | 0aaa aaaa | Chorus Rate (0 - 127) |
| 40 01 3E | 0aaa aaaa | Chorus Depth (0 - 127) |
| 40 01 3F | 0aaa aaaa | Chorus Send Level to Reverb (0 - 127) |
|—————————————+————————————————————————————————————————————————————————————————|
❍ Part Parameter
+——————————————————————————————————————————————————————————————————————————————+
| Start | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
|# 40 1x 00 | 0aaa aaaa | Tone Number CC#00 Value (0 - 127) |
| | 0aaa aaaa | Tone Number PC Value (0 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 40 1x 02 | 0aaa aaaa | Rx. Channel (0 - 16) |
| | | 1 - 16, OFF |
| 40 1x 03 | 0000 000a | Rx. Pitch Bend (0 - 1) |
| | | OFF, ON |
| 40 1x 04 | 0000 000a | Rx. Channel Pressure (0 - 1) |
| | | OFF, ON |
| 40 1x 05 | 0000 000a | Rx. Program Change (0 - 1) |
| | | OFF, ON |
| 40 1x 06 | 0000 000a | Rx. Control Change (0 - 1) |
| | | OFF, ON |
| 40 1x 07 | 0000 000a | Rx. Poly Pressure (0 - 1) |
| | | OFF, ON |
| 40 1x 08 | 0000 000a | Rx. Note Message (0 - 1) |
| | | OFF, ON |
| 40 1x 09 | 0000 000a | Rx. RPN (0 - 1) |
| | | OFF, ON |
| 40 1x 0A | 0000 000a | Rx. NRPN (0 - 1) |
| | | OFF, ON |
| 40 1x 0B | 0000 000a | Rx. Modulation (0 - 1) |
| | | OFF, ON |
| 40 1x 0C | 0000 000a | Rx. Volume (0 - 1) |
| | | OFF, ON |
| 40 1x 0D | 0000 000a | Rx. Panpot (0 - 1) |
| | | OFF, ON |
| 40 1x 0E | 0000 000a | Rx. Expression (0 - 1) |
| | | OFF, ON |
| 40 1x 0F | 0000 000a | Rx. Hold-1 (0 - 1) |
| | | OFF, ON |
| 40 1x 10 | 0000 000a | Rx. Portamento (0 - 1) |
| | | OFF, ON |
| 40 1x 11 | 0000 000a | Rx. Sostenuto (0 - 1) |
| | | OFF, ON |
| 40 1x 12 | 0000 000a | Rx. Soft (0 - 1) |
| | | OFF, ON |
|—————————————+———————————+————————————————————————————————————————————————————|
| 40 1x 13 | 0aaa aaaa | Mono / Poly Mode (0 - 1) |
| | | MODE, POLY |
| 40 1x 14 | 0aaa aaaa | Assign Mode<*> (0 - 2) |
| | | SINGLE, LIMITED-MULTI, |
| | | FULL-MULTI |
| 40 1x 15 | 0aaa aaaa | Use for Rhythm Part (0 - 2) |
| | | OFF, MAP1, MAP2 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 40 1x 16 | 0aaa aaaa | Pitch Key Shift (40 - 88) |
| | | -24 - +24 [semitone] |
|# 40 1x 17 | 0000 aaaa | |
| | 0000 bbbb | Pitch Offset Fine (8 - 248) |
| | | -12.0 - +12.0 [Hz] |
| 40 1x 19 | 0aaa aaaa | Part Level (CC# 7) (0 - 127) |
| 40 1x 1A | 0aaa aaaa | Velocity Sens Depth (0 - 127) |
| | | -64 - +63 |
| 40 1x 1B | 0aaa aaaa | Velocity Sens Offset (0 - 127) |
| | | -64 - +63 |
| 40 1x 1C | 0aaa aaaa | Part Panpot (CC# 10) (0 - 127) |
| | | RANDOM, L63 - 63R |
| 40 1x 1D | 0aaa aaaa | Keyboard Range Low (0 - 127) |
| 40 1x 1E | 0aaa aaaa | Keyboard Range High (0 - 127) |
| 40 1x 1F | 0aaa aaaa | CC1 Controller Number (0 - 95) |
| 40 1x 20 | 0aaa aaaa | CC2 Controller Number (0 - 95) |
| 40 1x 21 | 0aaa aaaa | Chorus Send Level (CC# 93) (0 - 127) |
| 40 1x 22 | 0aaa aaaa | Reverb Send Level (CC# 93) (0 - 127) |
| 40 1x 23 | 0000 000a | Rx. Bank Select<*> (0 - 1) |
| | | OFF, ON |
| 40 1x 24 | 0000 000a | Rx. Bank Select LSB<*> (0 - 1) |
| | | OFF, ON |
|—————————————+———————————+————————————————————————————————————————————————————|
| 40 1x 30 | 0aaa aaaa | Tone Modify 1 (Vibrato Rate) (0 - 127) |
| | | -64 - +63 |
| 40 1x 31 | 0aaa aaaa | Tone Modify 2 (Vibrato Depth) (0 - 127) |
| | | -64 - +63 |
| 40 1x 32 | 0aaa aaaa | Tone Modify 3 (TVF Cutoff Freq.) (0 - 127) |
| | | -64 - +63 |
| 40 1x 33 | 0aaa aaaa | Tone Modify 4 (TVF Resonance) (0 - 127) |
| | | -64 - +63 |
| 40 1x 34 | 0aaa aaaa | Tone Modify 5 (TVF&TVA Env. Attack) (0 - 127) |
| | | -64 - +63 |
| 40 1x 35 | 0aaa aaaa | Tone Modify 6 (TVF&TVA Env. Decay) (0 - 127) |
| | | -64 - +63 |
| 40 1x 36 | 0aaa aaaa | Tone Modify 7 (TVF&TVA ENv. Release) (0 - 127) |
| | | -64 - +63 |
| 40 1x 37 | 0aaa aaaa | Tone Modify 8 (Vibrato Delay) (0 - 127) |
| | | -64 - +63 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 40 1x 40 | 0aaa aaaa | Scale Tuning C (0 - 127) |
| | | -64 - +63 [cent] |
| 40 1x 41 | 0aaa aaaa | Scale Tuning C# (0 - 127) |
| | | -64 - +63 [cent] |
| 40 1x 42 | 0aaa aaaa | Scale Tuning D (0 - 127) |
| | | -64 - +63 [cent] |
| 40 1x 43 | 0aaa aaaa | Scale Tuning D# (0 - 127) |
| | | -64 - +63 [cent] |
| 40 1x 44 | 0aaa aaaa | Scale Tuning E (0 - 127) |
| | | -64 - +63 [cent] |
| 40 1x 45 | 0aaa aaaa | Scale Tuning F (0 - 127) |
| | | -64 - +63 [cent] |
| 40 1x 46 | 0aaa aaaa | Scale Tuning F# (0 - 127) |
Fantom-X678_r_e.book 327 ページ ２００７年３月２０日 火曜日 午前１０時２０分
MIDI Implementation
| | | -64 - +63 [cent] |
| 40 1x 47 | 0aaa aaaa | Scale Tuning G (0 - 127) |
| | | -64 - +63 [cent] |
| 40 1x 48 | 0aaa aaaa | Scale Tuning G# (0 - 127) |
| | | -64 - +63 [cent] |
| 40 1x 49 | 0aaa aaaa | Scale Tuning A (0 - 127) |
| | | -64 - +63 [cent] |
| 40 1x 4A | 0aaa aaaa | Scale Tuning A# (0 - 127) |
| | | -64 - +63 [cent] |
| 40 1x 4B | 0aaa aaaa | Scale Tuning B (0 - 127) |
| | | -64 - +63 [cent] |
|—————————————+———————————+————————————————————————————————————————————————————|
| 40 2x 00 | 0aaa aaaa | Mod Pitch Control (40 - 88) |
| | | -24 - +24 [semitone] |
| 40 2x 01 | 0aaa aaaa | Mod TVF Cutoff Control (0 - 127) |
| | | -9600 - +9600 [cent] |
| 40 2x 02 | 0aaa aaaa | Mod Amplitude Control (0 - 127) |
| | | -100.0 - +100.0 [%] |
| 40 2x 03 | 0aaa aaaa | Mod LFO1 Rate Control (0 - 127) |
| | | -10.0 - +10.0 [Hz] |
| 40 2x 04 | 0aaa aaaa | Mod LFO1 Pitch Control (0 - 127) |
| | | 0 - 600 [cent] |
| 40 2x 05 | 0aaa aaaa | Mod LFO1 TVF Depth (0 - 127) |
| | | 0 - 2400 [cent] |
| 40 2x 06 | 0aaa aaaa | Mod LFO1 TVA Depth (0 - 127) |
| | | 0 - 100.0 [%] |
| 40 2x 07 | 0aaa aaaa | Mod LFO2 Rate Control (0 - 127) |
| | | -10.0 - +10.0 [Hz] |
| 40 2x 08 | 0aaa aaaa | Mod LFO2 Pitch Control (0 - 127) |
| | | 0 - 600 [cent] |
| 40 2x 09 | 0aaa aaaa | Mod LFO2 TVF Depth (0 - 127) |
| | | 0 - 2400 [cent] |
| 40 2x 0A | 0aaa aaaa | Mod LFO2 TVA Depth (0 - 127) |
| | | 0 - 100.0 [%] |
|—————————————+———————————+————————————————————————————————————————————————————|
| 40 2x 10 | 0aaa aaaa | Bend Pitch Control (64 - 88) |
| | | 0 - 24 [semitone] |
| 40 2x 11 | 0aaa aaaa | Bend TVF Cutoff Control (0 - 127) |
| | | -9600 - +9600 [cent] |
| 40 2x 12 | 0aaa aaaa | Bend Amplitude Control (0 - 127) |
| | | -100.0 - +100.0 [%] |
| 40 2x 13 | 0aaa aaaa | Bend LFO1 Rate Control (0 - 127) |
| | | -10.0 - +10.0 [Hz] |
| 40 2x 14 | 0aaa aaaa | Bend LFO1 Pitch Control (0 - 127) |
| | | 0 - 600 [cent] |
| 40 2x 15 | 0aaa aaaa | Bend LFO1 TVF Depth (0 - 127) |
| | | 0 - 2400 [cent] |
| 40 2x 16 | 0aaa aaaa | Bend LFO1 TVA Depth (0 - 127) |
| | | 0 - 100.0 [%] |
| 40 2x 17 | 0aaa aaaa | Bend LFO2 Rate Control (0 - 127) |
| | | -10.0 - +10.0 [Hz] |
| 40 2x 18 | 0aaa aaaa | Bend LFO2 Pitch Control (0 - 127) |
| | | 0 - 600 [cent] |
| 40 2x 19 | 0aaa aaaa | Bend LFO2 TVF Depth (0 - 127) |
| | | 0 - 2400 [cent] |
| 40 2x 1A | 0aaa aaaa | Bend LFO2 TVA Depth (0 - 127) |
| | | 0 - 100.0 [%] |
|—————————————+———————————+————————————————————————————————————————————————————|
| 40 2x 20 | 0aaa aaaa | CAf Pitch Control (40 - 88) |
| | | -24 - +24 [semitone] |
| 40 2x 21 | 0aaa aaaa | CAf TVF Cutoff Control (0 - 127) |
| | | -9600 - +9600 [cent] |
| 40 2x 22 | 0aaa aaaa | CAf Amplitude Control (0 - 127) |
| | | -100.0 - +100.0 [%] |
| 40 2x 23 | 0aaa aaaa | CAf LFO1 Rate Control (0 - 127) |
| | | -10.0 - +10.0 [Hz] |
| 40 2x 24 | 0aaa aaaa | CAf LFO1 Pitch Control (0 - 127) |
| | | 0 - 600 [cent] |
| 40 2x 25 | 0aaa aaaa | CAf LFO1 TVF Depth (0 - 127) |
| | | 0 - 2400 [cent] |
| 40 2x 26 | 0aaa aaaa | CAf LFO1 TVA Depth (0 - 127) |
| | | 0 - 100.0 [%] |
| 40 2x 27 | 0aaa aaaa | CAf LFO2 Rate Control (0 - 127) |
| | | -10.0 - +10.0 [Hz] |
| 40 2x 28 | 0aaa aaaa | CAf LFO2 Pitch Control (0 - 127) |
| | | 0 - 600 [cent] |
| 40 2x 29 | 0aaa aaaa | CAf LFO2 TVF Depth (0 - 127) |
| | | 0 - 2400 [cent] |
| 40 2x 2A | 0aaa aaaa | CAf LFO2 TVA Depth (0 - 127) |
| | | 0 - 100.0 [%] |
|—————————————+———————————+————————————————————————————————————————————————————|
| 40 2x 30 | 0aaa aaaa | PAf Pitch Control (40 - 88) |
| | | -24 - +24 [semitone] |
| 40 2x 31 | 0aaa aaaa | PAf TVF Cutoff Control (0 - 127) |
| | | -9600 - +9600 [cent] |
| 40 2x 32 | 0aaa aaaa | PAf Amplitude Control (0 - 127) |
| | | -100.0 - +100.0 [%] |
| 40 2x 33 | 0aaa aaaa | PAf LFO1 Rate Control (0 - 127) |
| | | -10.0 - +10.0 [Hz] |
| 40 2x 34 | 0aaa aaaa | PAf LFO1 Pitch Control (0 - 127) |
| | | 0 - 600 [cent] |
| 40 2x 35 | 0aaa aaaa | PAf LFO1 TVF Depth (0 - 127) |
| | | 0 - 2400 [cent] |
| 40 2x 36 | 0aaa aaaa | PAf LFO1 TVA Depth (0 - 127) |
| | | 0 - 100.0 [%] |
| 40 2x 37 | 0aaa aaaa | PAf LFO2 Rate Control (0 - 127) |
| | | -10.0 - +10.0 [Hz] |
| 40 2x 38 | 0aaa aaaa | PAf LFO2 Pitch Control (0 - 127) |
| | | 0 - 600 [cent] |
| 40 2x 39 | 0aaa aaaa | PAf LFO2 TVF Depth (0 - 127) |
| | | 0 - 2400 [cent] |
| 40 2x 3A | 0aaa aaaa | PAf LFO2 TVA Depth (0 - 127) |
| | | 0 - 100.0 [%] |
|—————————————+———————————+————————————————————————————————————————————————————|
| 40 2x 40 | 0aaa aaaa | CC1 Pitch Control (40 - 88) |
| | | -24 - +24 [semitone] |
| 40 2x 41 | 0aaa aaaa | CC1 TVF Cutoff Control (0 - 127) |
| | | -9600 - +9600 [cent] |
| 40 2x 42 | 0aaa aaaa | CC1 Amplitude Control (0 - 127) |
| | | -100.0 - +100.0 [%] |
| 40 2x 43 | 0aaa aaaa | CC1 LFO1 Rate Control (0 - 127) |
| | | -10.0 - +10.0 [Hz] |
| 40 2x 44 | 0aaa aaaa | CC1 LFO1 Pitch Control (0 - 127) |
| | | 0 - 600 [cent] |
| 40 2x 45 | 0aaa aaaa | CC1 LFO1 TVF Depth (0 - 127) |
| | | 0 - 2400 [cent] |
| 40 2x 46 | 0aaa aaaa | CC1 LFO1 TVA Depth (0 - 127) |
| | | 0 - 100.0 [%] |
| 40 2x 47 | 0aaa aaaa | CC1 LFO2 Rate Control (0 - 127) |
| | | -10.0 - +10.0 [Hz] |
| 40 2x 48 | 0aaa aaaa | CC1 LFO2 Pitch Control (0 - 127) |
| | | 0 - 600 [cent] |
| 40 2x 49 | 0aaa aaaa | CC1 LFO2 TVF Depth (0 - 127) |
| | | 0 - 2400 [cent] |
| 40 2x 4A | 0aaa aaaa | CC1 LFO2 TVA Depth (0 - 127) |
| | | 0 - 100.0 [%] |
|—————————————+———————————+————————————————————————————————————————————————————|
| 40 2x 50 | 0aaa aaaa | CC2 Pitch Control (40 - 88) |
| | | -24 - +24 [semitone] |
| 40 2x 51 | 0aaa aaaa | CC2 TVF Cutoff Control (0 - 127) |
| | | -9600 - +9600 [cent] |
| 40 2x 52 | 0aaa aaaa | CC2 Amplitude Control (0 - 127) |
| | | -100.0 - +100.0 [%] |
| 40 2x 53 | 0aaa aaaa | CC2 LFO1 Rate Control (0 - 127) |
| | | -10.0 - +10.0 [Hz] |
| 40 2x 54 | 0aaa aaaa | CC2 LFO1 Pitch Control (0 - 127) |
| | | 0 - 600 [cent] |
| 40 2x 55 | 0aaa aaaa | CC2 LFO1 TVF Depth (0 - 127) |
| | | 0 - 2400 [cent] |
| 40 2x 56 | 0aaa aaaa | CC2 LFO1 TVA Depth (0 - 127) |
| | | 0 - 100.0 [%] |
| 40 2x 57 | 0aaa aaaa | CC2 LFO2 Rate Control (0 - 127) |
| | | -10.0 - +10.0 [Hz] |
| 40 2x 58 | 0aaa aaaa | CC2 LFO2 Pitch Control (0 - 127) |
| | | 0 - 600 [cent] |
| 40 2x 59 | 0aaa aaaa | CC2 LFO2 TVF Depth (0 - 127) |
| | | 0 - 2400 [cent] |
| 40 2x 5A | 0aaa aaaa | CC2 LFO2 TVA Depth (0 - 127) |
| | | 0 - 100.0 [%] |
+——————————————————————————————————————————————————————————————————————————————+
x: BLOCK NUMBER (0-F)
Part 1 (MIDI ch = 1) x = 1
Part 2 (MIDI ch = 2) x = 2
: : :
Part 9 (MIDI ch = 9) x = 9
Part10 (MIDI ch = 10) x = 0
Part11 (MIDI ch = 11) x = A
Part12 (MIDI ch = 12) x = B
: : :
Part16 (MIDI ch = 16) x = F
❍ Drum Setup Parameter
+——————————————————————————————————————————————————————————————————————————————+
| Start | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 41 m0 00 | 0aaa aaaa | Drum Map Name 1 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 41 m0 01 | 0aaa aaaa | Drum Map Name 2 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 41 m0 02 | 0aaa aaaa | Drum Map Name 3 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 41 m0 03 | 0aaa aaaa | Drum Map Name 4 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 41 m0 04 | 0aaa aaaa | Drum Map Name 5 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 41 m0 05 | 0aaa aaaa | Drum Map Name 6 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 41 m0 06 | 0aaa aaaa | Drum Map Name 7 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 41 m0 07 | 0aaa aaaa | Drum Map Name 8 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 41 m0 08 | 0aaa aaaa | Drum Map Name 9 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 41 m0 09 | 0aaa aaaa | Drum Map Name 10 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 41 m0 0A | 0aaa aaaa | Drum Map Name 11 (32 - 127) |
| | | 32 - 127 [ASCII] |
| 41 m0 0B | 0aaa aaaa | Drum Map Name 12 (32 - 127) |
| | | 32 - 127 [ASCII] |
|—————————————+———————————+————————————————————————————————————————————————————|
| 41 m1 rr | 0aaa aaaa | Play Note Number (0 - 127) |
| 41 m2 rr | 0aaa aaaa | Level (0 - 127) |
| 41 m3 rr | 0aaa aaaa | Assign Group Number (0 - 127) |
| | | NON, 1 - 127 |
| 41 m4 rr | 0aaa aaaa | Panpot (0 - 127) |
| | | RAMDOM, L63 - 63R |
| 41 m5 rr | 0aaa aaaa | Reverb Send Level (0 - 127) |
| | | 0.0 - 1.0 |
| 41 m6 rr | 0aaa aaaa | Chorus Send Level (0 - 127) |
| | | 0.0 - 1.0 |
| 41 m7 rr | 0000 000a | Rx. Note Off (0 - 1) |
| | | OFF, ON |
| 41 m8 rr | 0000 000a | Rx. Note On (0 - 1) |
| | | OFF, ON |
|—————————————+————————————————————————————————————————————————————————————————|
m: Map number (0 = MAP1, 1 = MAP2)
rr: drum part note number (00H-7FH)
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MIDI Implementation
6. Supplementary Material
■
Decimal and Hexadecimal Table
(An “H” is appended to the end of numbers in hexadecimal notation.)
In MIDI documentation, data values and addresses/sizes of Exclusive messages, etc. are expressed as hexadecimal values for each 7 bits.
The following table shows how these correspond to decimal numbers.
+——————+——————++——————+——————++——————+——————++——————+——————+
| D | H || D | H || D | H || D | H |
+——————+——————++——————+——————++——————+——————++——————+——————+
| 0 | 00H || 32 | 20H || 64 | 40H || 96 | 60H |
| 1 | 01H || 33 | 21H || 65 | 41H || 97 | 61H |
| 2 | 02H || 34 | 22H || 66 | 42H || 98 | 62H |
| 3 | 03H || 35 | 23H || 67 | 43H || 99 | 63H |
| 4 | 04H || 36 | 24H || 68 | 44H || 100 | 64H |
| 5 | 05H || 37 | 25H || 69 | 45H || 101 | 65H |
| 6 | 06H || 38 | 26H || 70 | 46H || 102 | 66H |
| 7 | 07H || 39 | 27H || 71 | 47H || 103 | 67H |
| 8 | 08H || 40 | 28H || 72 | 48H || 104 | 68H |
| 9 | 09H || 41 | 29H || 73 | 49H || 105 | 69H |
| 10 | 0AH || 42 | 2AH || 74 | 4AH || 106 | 6AH |
| 11 | 0BH || 43 | 2BH || 75 | 4BH || 107 | 6BH |
| 12 | 0CH || 44 | 2CH || 76 | 4CH || 108 | 6CH |
| 13 | 0DH || 45 | 2DH || 77 | 4DH || 109 | 6DH |
| 14 | 0EH || 46 | 2EH || 78 | 4EH || 110 | 6EH |
| 15 | 0FH || 47 | 2FH || 79 | 4FH || 111 | 6FH |
| 16 | 10H || 48 | 30H || 80 | 50H || 112 | 70H |
| 17 | 11H || 49 | 31H || 81 | 51H || 113 | 71H |
| 18 | 12H || 50 | 32H || 82 | 52H || 114 | 72H |
| 19 | 13H || 51 | 33H || 83 | 53H || 115 | 73H |
| 20 | 14H || 52 | 34H || 84 | 54H || 116 | 74H |
| 21 | 15H || 53 | 35H || 85 | 55H || 117 | 75H |
| 22 | 16H || 54 | 36H || 86 | 56H || 118 | 76H |
| 23 | 17H || 55 | 37H || 87 | 57H || 119 | 77H |
| 24 | 18H || 56 | 38H || 88 | 58H || 120 | 78H |
| 25 | 19H || 57 | 39H || 89 | 59H || 121 | 79H |
| 26 | 1AH || 58 | 3AH || 90 | 5AH || 122 | 7AH |
| 27 | 1BH || 59 | 3BH || 91 | 5BH || 123 | 7BH |
| 28 | 1CH || 60 | 3CH || 92 | 5CH || 124 | 7CH |
| 29 | 1DH || 61 | 3DH || 93 | 5DH || 125 | 7DH |
| 30 | 1EH || 62 | 3EH || 94 | 5EH || 126 | 7EH |
| 31 | 1FH || 63 | 3FH || 95 | 5FH || 127 | 7FH |
+——————+——————++——————+——————++——————+——————++——————+——————+
D: decimal
H: hexadecimal
* Decimal values such as MIDI channel, bank select, and program change are listed as one greater than the values given in the above table.
* A 7-bit byte can express data in the range of 128 steps. For data where greater precision is required, we must use two or more bytes. For example, two hexadecimal numbers aa bbH expressing two 7-bit bytes would indicate a value of aa x 128+bb.
* In the case of values which have a +/- sign, 00H = -64, 40H = +/-0, and 7FH = +63, so that the decimal expression would be 64 less than the value given in the above chart. In the case of two types, 00 00H = -8192, 40 00H = +/-0, and 7F 7FH = +8191. For example, if aa bbH were expressed as decimal, this would be aa bbH - 40 00H = aa x 128+bb - 64 x
128.
* Data marked “Use nibbled data” is expressed in hexadecimal in 4-bit units. A value expressed as a 2-byte nibble 0a 0bH has the value of a x 16+b.
<Example1> What is the decimal expression of 5AH?
From the preceding table, 5AH = 90
<Example2> What is the decimal expression of the value 12 34H given as hexadecimal for each 7 bits?
From the preceding table, since 12H = 18 and 34H = 52
18 x 128+52 = 2356
<Example3> What is the decimal expression of the nibbled value 0A 03
09 0D?
From the preceding table, since 0AH = 10, 03H = 3, 09H = 9, 0DH = 13
((10 x 16+3) x 16+9) x 16+13 = 41885
<Example4> What is the nibbled expression of the decimal value 1258?
16 ) 1258
16 ) 78 ...10
16 ) 4 ...14
0 ... 4
Since from the preceding table, 0 = 00H, 4 = 04H, 14 = 0EH, 10 = 0AH, the result is: 00 04 0E
0AH.
■
Examples of Actual MIDI Messages
<Example1> 92 3E 5F
9n is the Note-on status, and n is the MIDI channel number. Since 2H = 2, 3EH = 62, and
5FH = 95, this is a Note-on message with MIDI CH = 3, note number 62 (note name is D4), and velocity 95.
<Example2> CE 49
CnH is the Program Change status, and n is the MIDI channel number. Since EH = 14 and
49H = 73, this is a Program Change message with MIDI CH = 15, program number 74.
<Example3> EA 00 28
EnH is the Pitch Bend Change status, and n is the MIDI channel number. The 2nd byte (00H
= 0) is the LSB and the 3rd byte (28H = 40) is the MSB, but Pitch Bend Value is a signed number in which 40 00H (= 64 x 12+80 = 8192) is 0, so this Pitch Bend Value is
28 00H - 40 00H = 40 x 12+80 - (64 x 12+80) = 5120 - 8192 = -3072
If the Pitch Bend Sensitivity is set to 2 semitones, -8192 (00 00H) will cause the pitch to change -200 cents, so in this case -200 x (-3072) é÷ (-8192) = -75 cents of Pitch Bend is being applied to MIDI channel 11.
<Example4> B3 64 00 65 00 06 0C 26 00 64 7F 65 7F
BnH is the Control Change status, and n is the MIDI channel number. For Control Changes, the 2nd byte is the control number, and the 3rd byte is the value. In a case in which two or more messages consecutive messages have the same status, MIDI has a provision called
“running status” which allows the status byte of the second and following messages to be omitted. Thus, the above messages have the following meaning.
B3 64 00
(B3) 65 00
(B3) 06 0C
(B3) 26 00
(B3) 64 7F
(B3) 65 7F
MIDI ch.4, lower byte of RPN parameter number:
(MIDI ch.4) upper byte of RPN parameter number:
(MIDI ch.4) upper byte of parameter value:
(MIDI ch.4) lower byte of parameter value:
(MIDI ch.4) lower byte of RPN parameter number:
(MIDI ch.4) upper byte of RPN parameter number:
00H
00H
0CH
00H
7FH
7FH
In other words, the above messages specify a value of 0C 00H for RPN parameter number
00 00H on MIDI channel 4, and then set the RPN parameter number to 7F 7FH.
RPN parameter number 00 00H is Pitch Bend Sensitivity, and the MSB of the value indicates semitone units, so a value of 0CH = 12 sets the maximum pitch bend range to +/-12 semitones (1 octave). (On GS sound generators the LSB of Pitch Bend Sensitivity is ignored, but the LSB should be transmitted anyway (with a value of 0) so that operation will be correct on any device.)
Once the parameter number has been specified for RPN or NRPN, all Data Entry messages transmitted on that same channel will be valid, so after the desired value has been transmitted, it is a good idea to set the parameter number to 7F 7FH to prevent accidents.
This is the reason for the (B3) 64 7F (B3) 65 7F at the end.
It is not desirable for performance data (such as Standard MIDI File data) to contain many events with running status as given in <Example 4>. This is because if playback is halted during the song and then rewound or fast-forwarded, the sequencer may not be able to transmit the correct status, and the sound generator will then misinterpret the data. Take care to give each event its own status.
It is also necessary that the RPN or NRPN parameter number setting and the value setting be done in the proper order. On some sequencers, events occurring in the same (or consecutive) clock may be transmitted in an order different than the order in which they were received. For this reason it is a good idea to slightly skew the time of each event (about
1 tick for TPQN = 96, and about 5 ticks for TPQN = 480).
* TPQN: Ticks Per Quarter Note
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MIDI Implementation
■
Example of an Exclusive Message and
Calculating a Checksum
Roland Exclusive messages (RQ1, DT1) are transmitted with a checksum at the end (before
F7) to make sure that the message was correctly received. The value of the checksum is determined by the address and data (or size) of the transmitted Exclusive message.
● How to calculate the checksum
(hexadecimal numbers are indicated by “H”)
The checksum is a value derived by adding the address, size, and checksum itself and inverting the lower 7 bits.
Here’s an example of how the checksum is calculated. We will assume that in the Exclusive message we are transmitting, the address is aabbccddH and the data or size is eeffH.
aa + bb + cc + dd + ee + ff = sum sum ÷ 128 = quotient ... remainder
128 - remainder = checksum
<Example> Setting CHORUS TYPE of PERFORMANCE COMMON to
DELAY (DT1)
According to the Parameter Address Map
(P.311), the start address of Temporary
Performance is 10 00 00 00H, the offset address of CHORUS at PERFORMANCE COMMON is 04 00H, and the address of CHORUS TYPE is 00 00H. Therefore the address of CHORUS
TYPE of PERFORMANCE COMMON is;
10 00 00 00H
04 00H
+) 00 00H
10 00 04 00H
DELAY has the value of 02H.
So the system exclusive message should be sent is;
F0
(1)
41
(2)
10
(3)
00 6B
(4)
12
(5)
10 00 04 00 address
02 data
??
checksum
F7
(6)
(1) Exclusive Status (2) ID (Roland)
(4) Model ID (Fantom-X6/X7/X8)
(3) Device ID (17)
(5) Command ID (DT1) (6) End of Exclusive
Then calculate the checksum.
10H + 00H + 04H + 00H + 02H = 16 + 0 + 4 + 0 + 2 = 22 (sum)
22 (sum) ÷ 128 = 0 (quotient) ... 22 (remainder) checksum = 128 - 22 (remainder) = 106 = 6AH
This means that F0 41 10 00 6B 12 10 00 04 00 02 6A F7 is the message should be sent.
■
The Scale Tune Feature (address: 40 1x 40)
The scale tune feature allows you to finely adjust the individual pitch of the notes from C through B. Though the settings are made while working with one octave, the fine adjustments will affect all octaves. By making the appropriate Scale Tune settings, you can obtain a complete variety of tuning methods other than equal temperament. As examples, three possible types of scale setting are explained below.
* The scale tune value received by the part 1 is used in Patch mode and Piano mode.
❍
Equal Temperament
This method of tuning divides the octave into 12 equal parts. It is currently the most widely used form of tuning, especially in occidental music. On the Fantom, the default settings for the Scale Tune feature produce equal temperament.
❍
Just Temperament (Tonic of C)
The principal triads resound much more beautifully than with equal temperament, but this benefit can only be obtained in one key. If transposed, the chords tend to become ambiguous. The example given involves settings for a key in which C is the keynote.
❍
Arabian Scale
By altering the setting for Scale Tune, you can obtain a variety of other tunings suited for ethnic music. For example, the settings introduced below will set the unit to use the Arabian
Scale.
Example Settings
Note name Equal Temperament Just Temperament (Key-tone C) Arabian Scale
C
C#
D
Eb
0
0
0
0
0
-8
+4
+16
-6
+45
-2
-12
G#
A
Bb
B
E
F
F#
G
0
0
0
0
0
0
0
0
-14
-2
-10
+2
+14
-16
+14
-12
-51
-8
+43
-4
+47
0
-10
-49
The values in the table are given in cents. Convert these values to hexadecimal, and transmit them as Exclusive data.
For example, to set the tune (C-B) of the Part 1 Arabian Scale, send the following data:
F0 41 10 42 12 40 11 40 3A 6D 3E 34 0D 38 6B 3C 6F 40 36 0F 76 F7
■
ASCII Code Table
Patch Name and Performance Name, etc., of MIDI data are described the ASCII code in the table below.
+——————+——————+——————++——————+——————+——————++——————+——————+——————+
| D | H | Char || D | H | Char || D | H | Char |
+——————+——————+——————++——————+——————+——————++——————+——————+——————+
| 32 | 20H | SP || 64 | 40H | @ || 96 | 60H | ` |
| 33 | 21H | ! || 65 | 41H | A || 97 | 61H | a |
| 34 | 22H | " || 66 | 42H | B || 98 | 62H | b |
| 35 | 23H | # || 67 | 43H | C || 99 | 63H | c |
| 36 | 24H | $ || 68 | 44H | D || 100 | 64H | d |
| 37 | 25H | % || 69 | 45H | E || 101 | 65H | e |
| 38 | 26H | & || 70 | 46H | F || 102 | 66H | f |
| 39 | 27H | ` || 71 | 47H | G || 103 | 67H | g |
| 40 | 28H | ( || 72 | 48H | H || 104 | 68H | h |
| 41 | 29H | ) || 73 | 49H | I || 105 | 69H | i |
| 42 | 2AH | * || 74 | 4AH | J || 106 | 6AH | j |
| 43 | 2BH | + || 75 | 4BH | K || 107 | 6BH | k |
| 44 | 2CH | , || 76 | 4CH | L || 108 | 6CH | l |
| 45 | 2DH | — || 77 | 4DH | M || 109 | 6DH | m |
| 46 | 2EH | . || 78 | 4EH | N || 110 | 6EH | n |
| 47 | 2FH | / || 79 | 4FH | O || 111 | 6FH | o |
| 48 | 30H | 0 || 80 | 50H | P || 112 | 70H | p |
| 49 | 31H | 1 || 81 | 51H | Q || 113 | 71H | q |
| 50 | 32H | 2 || 82 | 52H | R || 114 | 72H | r |
| 51 | 33H | 3 || 83 | 53H | S || 115 | 73H | s |
| 52 | 34H | 4 || 84 | 54H | T || 116 | 74H | t |
| 53 | 35H | 5 || 85 | 55H | U || 117 | 75H | u |
| 54 | 36H | 6 || 86 | 56H | V || 118 | 76H | v |
| 55 | 37H | 7 || 87 | 57H | W || 119 | 77H | w |
| 56 | 38H | 8 || 88 | 58H | X || 120 | 78H | x |
| 57 | 39H | 9 || 89 | 59H | Y || 121 | 79H | y |
| 58 | 3AH | : || 90 | 5AH | Z || 122 | 7AH | z |
| 59 | 3BH | ; || 91 | 5BH | [ || 123 | 7BH | { |
| 60 | 3CH | < || 92 | 5CH | \ || 124 | 7CH | | |
| 61 | 3DH | = || 93 | 5DH | ] || 125 | 7DH | } |
| 62 | 3EH | > || 94 | 5EH | ^ ||——————+——————+——————+
| 63 | 3FH | ? || 95 | 5FH | _ |
+——————+——————+——————++——————+——————+——————+
D: decimal
H: hexadecimal
* “SP” is space.
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MIDI Implementation
<Bank Select and Program Change Correspondence Chart>
Patch
Group
USER
CARD
PR-A
PR-B
PR-C
PR-D
PR-E
PR-F
PR-G
PR-H
GM(2)
XP-A (SRX-01)
(SRX-02)
:
XP-B (SRX-01)
(SRX-02)
:
XP-C (SRX-01)
(SRX-02)
:
XP-D (SRX-01)
(SRX-02)
:
Number
001–128
129–256
001–128
129–256
001–128
001–128
001–128
001–128
001–128
001–128
001–128
001–128
001–256
001–
001–
:
001–
001–
:
001–
001–
:
001–
001–
:
Bank Select
MSB LSB
0
1
:
0
1
:
0
1
:
0–
0
1
:
68
69
70
71
64
65
66
67
0
1
32
33
93
93
:
93
93
:
121
93
93
:
93
93
:
87
87
87
87
87
87
87
87
87
87
87
87
Program
Number
1–128
1–128
1–128
1–128
1–128
1–
1–
:
1–
1–
:
1–
1–
:
1–
1–
:
1–128
1–128
1–128
1–128
1–128
1–128
1–128
1–128
* The XP groups vary depending on the Wave Expansion Board(s) you’ve installed. For information about an SRX series board, refer to the Owner’s
Manual that came with it.
Rhythm Set
Group
USER
CARD
PRST
GM(2)
XP-A (SRX-01)
(SRX-02)
:
XP-B (SRX-01)
(SRX-02)
:
XP-C (SRX-01)
(SRX-02)
:
XP-D (SRX-01)
(SRX-02)
:
Number
001–032
001–032
001–040
001–009
001–
001–
:
001–
001–
:
001–
001–
:
001–
001–
:
Bank Select
MSB
86
86
86
92
92
:
92
92
:
120
92
92
:
92
92
:
LSB
0
1
:
0
1
:
0
1
:
---
0
1
:
0
32
64
* The XP groups vary depending on the Wave Expansion Board(s) you’ve installed. For information about an SRX series board, refer to the Owner’s
Manual that came with it.
Program
Number
1–32
1–32
1–40
1–57
1–
1–
:
1–
1–
:
1–
1–
:
1–
1–
:
Performance
Group
USER
CARD
PRST
Number
01–64
01–64
01–64
MSB
85
85
85
Bank Select
LSB
0
32
64
Program
Number
1–64
1–64
1–64
* To switch multitimbres, the external MIDI device’s transmit channel needs to
be matched up with the Control Channel of the Fantom-X. (P.230)
330
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(Sound Generator Section) Date : Feb. 2, 2004
Version : 1.00
Remarks
Basic
Channel
Mode
Note
Number : True Voice
Velocity
Note On
Note Off
After
Touch
Pitch Bend
Control
Change
Function...
Default
Changed
Default
Messages
Altered
Key's
Channel's
Program
Change : True Number
System Exclusive
System
Common
83
84
91
92
93
94
95
1–31, 64–95
98, 99
100, 101
74
75
76
77
78
80
81
82
66
67
68
69
70
71
72
73
0, 32
1
2
4
5
6, 38
7
8
10
11
16
17
18
19
64
65
: Song Position
: Song Select
: Tune Request
1–16
1–16
Transmitted
Mode 3
Mono, Poly
**************
0–127
**************
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
X
X
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
X
X
X
*1
O *1
**************
1–16
1–16
Recognized
Mode 3
Mode 3, 4 (M = 1)
0–127
0–127
O
O
O *1
O *1
O *1
X
X
O
O
O
O
X
X
O
O
O
X
O
O
O
O
X
O
O
O
O
O
O
O
O
O
O
O
O
O (Tone 1 Level)
O (Tone 2 Level)
O (Tone 3 Level)
O (Tone 4 Level)
O
O (Reverb)
X
O (Chorus)
X
X
O
X
O
*1
*1
*1
*1
*1
*1
O *1
0–127
O *1
X
X
X
Memorized
* 2
Bank select
Modulation
Breath type
Foot type
Portamento time
Data entry
Volume
Balance
Panpot
Expression
General purpose controller 1
General purpose controller 2
General purpose controller 3
General purpose controller 4
Hold 1
Portamento
Sostenuto
Soft
Legato foot switch
Hold 2
Sound variation
Resonance
Release time
Attack time
Cutoff
Decay time
Vibrato rate
Vibrato depth
Vibrato delay
General purpose controller 5
General purpose controller 6
General purpose controller 7
General purpose controller 8
Portamento control
General purpose effects 1
Tremolo
General purpose effects 3
Celeste
Phaser
Pedal, Knob, D Beam
NRPN LSB, MSB
RPN LSB, MSB
Program No. 1–128
System
Real Time
: Clock
: Commands
X
X
X
X
Aux
Messages
: All Sound Off
: Reset All Controllers
: Local On/Off
: All Notes Off
: Active Sensing
: System Reset
Notes
Mode 1 : OMNI ON, POLY
Mode 3 : OMNI OFF, POLY
X
O *3
X
O *3
O *1
X
O
O
X
O (123–127)
O
X
* 1 O X is selectable.
* 2 Recognized as M=1 even if M ≠ 1.
* 3 Transmitted only when V-LINK is ON.
Mode 2 : OMNI ON, MONO
Mode 4 : OMNI OFF, MONO
O : Yes
X : No
331
Fantom-X678_r_e.book 332 ページ ２００７年３月２０日 火曜日 午前１０時２０分
(Sequencer Section)
Model Fantom-X6/X7/X8
Basic
Channel
Function...
Default
Changed
MIDI Implementation Chart
Transmitted Recognized
All channel
X
All channel
1–16
Date : Feb. 2, 2004
Version : 1.00
Remarks
There is no specific basic channel.
Mode
Default
Messages
Altered
Note
Number : True Voice
Velocity
Note On
Note Off
X
X
**************
0–127
**************
O
O
X
X
0–127
0–127
O
O
After
Touch
Key's
Channel's
O
O
O *1
O *1
Pitch Bend O O *1
0–119 O O *1
Control
Change
Program
Change : True Number
O
**************
O *1
0–127
System Exclusive
System
Common
: Quarter Frames
: Song Position
: Song Select
: Tune Request
System
Real Time
: Clock
: Commands
O
O *1
O *1
X
O
O *1
O *1
O *1
O *2
O *1
X
O
O *1
O *1
Aux
Messages
Notes
: All Sound Off
: Reset All Controllers
: Local On/Off
: All Notes Off
: Active Sensing
: System Reset
Mode 1 : OMNI ON, POLY
Mode 3 : OMNI OFF, POLY
O
O
X *2
O *3
O
X
O
O
X
O (123–127) *3
O
X
*1 O X is selectable.
*2 Not stored/transmitted when received, but can be created and transmitted using Microscope.
*3 Mode Messages (123–127) are recorded and transmitted, after all currently sounding notes
are turned off. The All Note Message itself is not recorded or transmitted. However, it can be
created in Microscope and transmitted.
Mode 2 : OMNI ON, MONO
Mode 4 : OMNI OFF, MONO
O : Yes
X : No
332
Fantom-X678_r_e.book 333 ページ ２００７年３月２０日 火曜日 午前１０時２０分
Specifications
Fantom-X6/X7/X8:
Synthesizer Keyboard (Conforms to General MIDI 2 System)
Keyboard
[X6] 61 keys (with velocity and channel aftertouch)
[X7] 76 keys (with velocity and channel aftertouch)
[X8] 88 keys (Progressive Hammer action Mechanism and channel aftertouch)
Sound Generator Section
Maximum Polyphony
128 voices (shared with the sampling section)
Parts
16 parts
Wave Memory
128 M bytes (16-bit linear equivalent)
Waveforms
1,480
Preset Memory
Patches: 1,024 + 256 (GM2)
Rhythm Sets: 40 + 9 (GM2)
Performances: 64
User Memory
Patches: 256
Rhythm Sets: 32
Performances: 64
Card Memory (PC card)
Patches: 256
Rhythm Sets: 32
Performances: 64
Effects
Multi-Effects: 3 systems, 78 types
Input Effects: 6 types
Mastering Effects: 3-band compressor
Sampling Section
Data Format
16-bit linear (File Type: .WAV/.AIFF)
Sampling Frequency
44.1 kHz (fixed)
Maximum Sampling Time
• When sampling memory isn’t expanded (32 MB) mono: 360 sec. approx., stereo: 180 sec. approx.
• When sampling memory is expanded with DIMM (544 MB) mono: 107 min. approx., stereo: 53 min. approx.
Number of Samples
User memory: 2,000 (maximum total approximately 32 MB)
Card memory: 7,000 (PC card)
Sequencer Section
Tracks
Phrase tracks (16 MIDI channels per track): 16
Tempo track: 1
Beat track: 1
Patterns
100
* Up to one hundred patterns can be created in a song
Resolution
480 TPQN
Tempo
5–300
Note Capacity
approx. 400,000 notes
Song Length
9,998 measures
Recording Method
Realtime recording, Step recording
Others
Arpeggio
Preset: 128
User: 128
Rhythm Pattern
Preset: 256 (32 groups)
User: 256 (32 groups)
333
Fantom-X678_r_e.book 334 ページ ２００７年３月２０日 火曜日 午前１０時２０分
Specifications
Chord Memory
Preset: 64
User: 64
Display
Graphic 320 x 240 dots backlit LCD (Color)
Pads
16 pads, Velocity and Aftertouch sensitive
Controllers
Pitch Bend/Modulation Lever
Control Knob x 4
Assignable Switch x 2
D Beam Controller
Connectors
Headphones Jack
A (MIX) Output Jacks (L/MONO, R): 1/4 inch TRS phone type
B Output Jacks (L, R): 1/4 inch phone type
Input Jacks (L/MONO/MIC, R): 1/4 inch phone type
Hold Pedal Jack (Half Pedal recognition)
Control Pedal Jack (assignable)
MIDI Connectors (IN, OUT, THRU)
USB Connector (supports file transfer (mass storage class) and
MIDI)
Digital Audio Interface (COAXIAL INPUT/OUTPUT)
AC Inlet
Expansion Slots
• Expansion of waveforms and patches for the internal sound generator
SRX expansion boards: 4 slots
• Expansion of sampling memory
DIMM: 1 slot (supports 128 MB, 256 MB, 512 MB (3.3 V))
External Storage Device
PC card: 1 slot (supports SmartMedia and CompactFlash using a PC card adapter)
Power Supply
AC 117 V, AC 230 V, AC 240 V (50/60 Hz)
AC 220 V (60 Hz)
Power Consumption
17 W
Dimensions
[X6] 1,050 (W) x 358 (D) x 125 (H) mm
41-3/8 (W) x 14-1/8 (D) x 4-15/16 (H) inches
[X7] 1,262 (W) 358 (D) x 125 (H) mm
49-11/16 (W) x 14-1/8 (D) x 4-15/16 (H) inches
[X8] 1,408 (W) 455 (D) x 165 (H) mm
55-7/16 (W) x 17-15/16 (D) x 6-1/2 (H) inches
Weight
[X6] 12.5 kg / 27 lbs 9 oz
[X7] 14.5 kg / 32 lbs
[X8] 29.5 kg / 65 lbs 1 oz
Accessories
Handbook
Owner’s Manual
Sample Data (Audio) CD
CD-ROM (Editor, USB MIDI driver)
PC Card Protector
Power Cord
Options
Wave Expansion Board: SRX Series
Keyboard Stand: [X6] [X7] KS-12 / [X8] KS-17
Pedal Switch: DP series
Foot Switch: BOSS FS-5U
Expression Pedal: EV-5
* In the interest of product improvement, the specifications and/or appearance of this unit are subject to change without prior notice.
334
Fantom-X678_r_e.book 335 ページ ２００７年３月２０日 火曜日 午前１０時２０分
Index
Symbols
+OCT/-OCT ................................................................... 24
.BMP .............................................................................. 220
.MID ................................................................................ 31
.SVQ ........................................................................ 31, 223
.TXT ....................................................................... 220, 223
.WAV ..................................................... 148, 202, 220, 223
A
A-Env Level 1–3
Patch .......................................................................... 73
Rhythm Set ............................................................... 95
A-Env T1 V-Sens
Patch .......................................................................... 72
Rhythm Set ............................................................... 94
A-Env T4 V-Sens
Patch .......................................................................... 73
Rhythm Set ............................................................... 94
A-Env Time 1–4
Patch .......................................................................... 73
Rhythm Set ............................................................... 94
A-Env Time KF .............................................................. 73
Aftertouch ...................................................................... 24
Aftertouch Sens ................................................... 162, 226
Aftertouch Time Ctrl Sens ........................................... 88
AIFF ....................................................... 148, 202, 220, 223
All Reset ........................................................................ 239
Alternate Pan Depth
Patch .......................................................................... 72
Rhythm Set ............................................................... 94
Amp ............................................................................... 156
Analog Feel .................................................................... 61
Arabian Scale
Performance ........................................................... 112
System Function .................................................... 232
Arp Accent ........................................................... 124, 130
Arp Motif ...................................................................... 130
Arp Part ........................................................................ 130
Arp Range .................................................................... 124
Arp Velocity ................................................................. 130
Arp/Rhythm Duration ............................................... 130
Arp/Rhythm Grid ...................................................... 129
Arpeggio ....................................................................... 128
Holding ................................................................... 128
On/Off .................................................................... 128
Arpeggio Style ............................................................. 129
Arpeggio Style Edit ............................................. 131, 138
Arpeggio/Rhythm Sync Switch ................................ 227
Assign a Name
File Name ................................................................ 199
Rhythm Tone Name ................................................ 87
Assign to Keyboard .................................................... 152
Assign To Pad .............................................................. 151
Assign Type ................................................................... 87
Assignable ...................................................................... 50
Control Setting ....................................................... 114
D Beam ...................................................... 50, 116, 122
Assignable Sw ................................................................ 51
Assignable Switche ....................................................... 46
Attack .................................................................... 124, 217
Attack Time Offset ........................................................ 62
Auditioning
Patch .......................................................................... 42
Auto Chop .................................................................... 158
Auto divide sampling ................................................. 143
Auto Punch-In .............................................................. 171
Auto Trigger ................................................................. 143
Auto Trigger Level ...................................................... 143
B
Background .................................................................. 233
Background Picture ..................................................... 233
Backing Up
User Data ................................................................ 235
Base Note ...................................................................... 161
Beat
Auto Chop .............................................................. 158
Track Edit ................................................................ 185
Beat Track ....................................................................... 31
Bend Range Down ......................................................... 67
Bend Range Up .............................................................. 67
Bias
Patch .......................................................................... 72
Track Edit ................................................ 186–187, 190
Bias Direction ................................................................. 72
Bias Level ........................................................................ 72
Bias Position ................................................................... 72
Bitmap File ................................................................... 221
BMP ............................................................................... 220
Bookmark ....................................................................... 37
Booster 1&2, 3&4 ........................................................... 65
BPM
Sample ..................................................................... 150
Brightness Ctrl ............................................................. 239
335
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Index
C
Card
File ........................................................................... 223
Format ..................................................................... 223
Patch .......................................................................... 39
Performance ............................................................. 99
Sample ..................................................................... 146
Song ......................................................................... 199
Storage ..................................................................... 219
USER .......................................................................... 52
Card Format ................................................................. 224
Category ......................................................................... 61
Ch/Part
Change Duration ................................................... 187
Change Velocity ..................................................... 186
Copy ........................................................................ 184
Data Thin ................................................................ 190
Erase ........................................................................ 183
Extract ..................................................................... 188
Quantize .................................................................. 181
Shift Clock ............................................................... 189
Transpose ................................................................ 185
Chain Play .................................................................... 164
Change Channel .......................................................... 186
Change Duration ......................................................... 187
Change Velocity .......................................................... 186
Chop .............................................................................. 157
Chop Type .................................................................... 158
Chord
Step Recording ....................................................... 175
Chord Form .................................................................. 133
Chord Memory ............................................................ 133
Chorus ..................................................................... 29, 215
Chorus Level ........................................................ 209, 211
Chorus Output Assign ....................................... 209, 211
Chorus Output Select ......................................... 209, 211
Chorus Send Level ........................................ 49, 115, 124
Chorus Source .............................................. 108, 209, 212
Chorus Type ......................................................... 208, 211
Clip 1 Note No. ............................................................ 239
Clip filter ....................................................................... 239
Clip Reset ...................................................................... 239
Color Cb Ctrl ................................................................ 239
Color Cr Ctrl ................................................................ 239
Combine ....................................................................... 158
Compare ......................................................................... 58
Patch .......................................................................... 60
Rhythm Set ............................................................... 86
Compare Function
Rhythm Set ............................................................... 85
Connecting
Amp and Speaker System ...................................... 19
Continuous Hold Pedal ...................................... 126, 226
Control Aftertouch ...................................................... 118
Control Bender ............................................................ 118
Control D Beam ........................................................... 119
Control Hold Pedal ..................................................... 118
336
Control Knob ................................................................ 119
Control Modulation .................................................... 118
Control Pedal ................................................. 25, 118, 126
Control Pedal Assign .......................................... 126, 226
Control Pedal Polarity ........................................ 126, 226
Control Setting ....................................................... 47, 114
Controller Section .......................................................... 26
Copy ...................................................................... 195, 224
Patch (Tone) Setting ................................................ 58
Phrases .................................................................... 184
Rhythm Tone Setting ............................................... 84
Copy Mode ................................................................... 184
Copy Times .................................................................. 184
Copying
File ............................................................................ 224
Patch (Tone) Setting ................................................ 58
Rhythm Tone Setting ............................................... 84
Count In ........................................................................ 170
Create ............................................................................ 194
Create Multisample ..................................................... 153
Create Rhythm ............................................................. 152
Ctrl ................................................................................. 114
CTRL Destination 1–4 ................................................... 81
CTRL Sens 1–4 ............................................................... 82
Ctrl Switch .................................................................... 118
CTRL Tone 1–4 .............................................................. 82
Ctrl Tx Ch ..................................................................... 239
Ctrl1–4 ............................................................................. 80
Current Part .................................................................. 100
Cursor ............................................................................. 34
Cutoff ...................................................... 49, 115, 123–124
Cutoff Frequency
Patch .......................................................................... 69
Rhythm Set ............................................................... 92
Cutoff Key follow .......................................................... 70
Cutoff Offset ................................................................... 61
Cutoff V-Curve
Patch .......................................................................... 70
Rhythm Set ............................................................... 92
Cutoff V-Sens
Patch .......................................................................... 70
Rhythm Set ............................................................... 93
D
D Beam
Assignable ......................................................... 50, 116
Pad Trigger ....................................................... 48, 114
Solo Synth ......................................................... 49, 115
D Beam Controller ....................................................... 121
D Beam Sens ................................................................. 226
Data Thin ...................................................................... 190
Data Thin Time ............................................................ 190
Data Thin Value ........................................................... 190
DEC ................................................................................. 35
Default File Type ......................................................... 233
Delay Time ..................................................................... 75
Delay Time KF ............................................................... 75
Delete .................................................................... 184, 224
Fantom-X678_r_e.book 337 ページ ２００７年３月２０日 火曜日 午前１０時２０分
Index
Deleting
Dividing Point ........................................................ 158
File ........................................................................... 224
Measure ................................................................... 184
Sample ..................................................................... 147
Demo Song ..................................................................... 23
Destination 1–4 ............................................................ 214
Device ID ...................................................................... 230
Digital Input Level ...................................................... 141
Dissolve Time .............................................................. 239
Drop Format ................................................................. 228
Dst .................................................................................. 184
Dst Measure ................................................................. 184
Dst Track / Pattern
Track Edit ........................................................ 184, 188
Duration ........................................................................ 137
E
Editing
Micro Edit ............................................................... 192
Patch .......................................................................... 56
Performance ........................................................... 107
Rhythm Group ....................................................... 139
Sample ..................................................................... 146
Song ......................................................................... 177
Track Edit ................................................................ 180
Editor ............................................................................. 236
Effect ........................................................................ 29, 206
Patch Mode ............................................................. 207
Performance Mode ................................................ 210
Emphasis ...................................................................... 155
End Point
Loop Point .............................................................. 179
Punch-In Recording .............................................. 171
Selecting .................................................................. 149
Envelope ......................................................................... 26
Equal Temperament
Performance ........................................................... 112
System Function .................................................... 232
Erase .............................................................................. 195
Song ......................................................................... 183
Exchange ....................................................................... 191
Expanding
Memory ................................................................... 244
Ext Bank Select LSB ..................................................... 112
Ext Bank Select MSB ................................................... 112
Ext Level ....................................................................... 112
Ext Pan .......................................................................... 113
Ext Program Number ................................................. 112
Extract ........................................................................... 188
F
Factory Reset ................................................................ 235
Fade Ctrl ....................................................................... 239
Fade Mode ...................................................................... 75
Fade Time ....................................................................... 75
Fantom-X Editor .......................................................... 236
Fantom-X Librarian ..................................................... 236
Favorite Patch ................................................................ 44
Features ......................................................................... 234
F-Env Depth
Patch .......................................................................... 71
Rhythm Set ............................................................... 93
F-Env Level 0–4
Patch .......................................................................... 71
F-Env Level 1–4
Rhythm Set ............................................................... 93
F-Env T1 V-Sens
Patch .......................................................................... 70
Rhythm Set ............................................................... 93
F-Env T4 V-Sens
Patch .......................................................................... 70
Rhythm Set ............................................................... 93
F-Env Time 1–4
Patch .......................................................................... 71
Rhythm Set ............................................................... 93
F-Env Time KF ............................................................... 71
F-Env V-Curve
Patch .......................................................................... 70
Rhythm Set ............................................................... 93
F-Env V-Sens
Patch .......................................................................... 70
Rhythm Set ............................................................... 93
File ................................................................................. 223
File Name ...................................................................... 199
File Utility ..................................................................... 223
Filter ................................................................................ 69
Filter Type ...................................................... 49, 115, 123
Patch .......................................................................... 69
Rhythm Set ............................................................... 92
Function Button ............................................................. 34
FXM ........................................................................... 63, 89
FXM Color
Patch .......................................................................... 63
Rhythm Set ............................................................... 89
FXM Depth
Patch .......................................................................... 63
Rhythm Set ............................................................... 89
FXM Switch
Patch .......................................................................... 63
Rhythm Set ............................................................... 89
G
Gap Time .............................................................. 143, 233
Gate Time ..................................................................... 174
General
Patch .......................................................................... 60
GM
Rhythm Set ............................................................... 87
Patch .......................................................................... 39
Rhythm Set ............................................................... 52
GM2
Patch .......................................................................... 39
Rhythm Set ............................................................... 52
Grid ................................................................................ 137
Grid Resolution ............................................................ 172
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Index
H
Hold ............................................................................... 160
Hold Pedal ...................................................................... 24
Hold Pedal Polarity
Control Pedal ......................................................... 126
System Parameter .................................................. 226
I
Import
Audio File ............................................................... 148
Text File ................................................................... 221
Import Audio ............................................... 148, 202, 220
Import BMP ............................................................ 43, 221
Import Text ................................................................... 221
Importing
Audio file ................................................................ 220
Bitmap File .............................................................. 221
WAV/AIFF File ..................................................... 202
INC .................................................................................. 35
Initializing
Memory Card ......................................................... 224
Patch Setting ............................................................. 57
Performance Setting .............................................. 119
Rhythm Set Settings ................................................ 84
Input Effect ................................................................... 142
Input Effect Setup ........................................................ 142
Input Effect SW ............................................................ 141
Input Effect Type ......................................................... 141
Input Quantize ............................................................. 172
Input Select ................................................... 141, 143, 233
Input Setting ........................................................ 141, 143
Input Source ................................................................. 141
Input Velo ..................................................................... 174
Insert ............................................................................. 185
J
Just Temperament ....................................................... 112
System Function .................................................... 232
K
Kbd Patch Rx/Tx Ch .................................................. 230
KBD/PAD Mute Group ............................................. 204
KBD/PAD Pattern ...................................................... 204
KBD/PAD Playback Mode ........................................ 204
Key Fade Lower ............................................................. 65
Key Fade Upper ............................................................. 66
Key Range Lower .......................................................... 65
Key Range Upper .......................................................... 65
Key Touch ...................................................................... 54
Key Trigger .................................................................... 75
Keyboard ...................................................................... 226
Keyboard Note ............................................................ 204
Keyboard Range Lower .............................................. 110
Keyboard Range Upper .............................................. 111
Keyboard Sens ............................................................. 226
Keyboard Switch ................................. 101, 103, 107, 110
Keyboard Velocity ....................................................... 226
Knob .................................................. 47, 51, 117, 124–125
338
Arpeggio ................................................................. 131
Assign ...................................................................... 125
Effect ........................................................................ 213
Rhythm Pattern ...................................................... 136
Selecting .................................................................. 149
Knob Assign 1–4 ............................................ 51, 117, 125
L
Layer .......................................................... 33, 97, 100, 102
LCD Contrast ................................................................. 22
Legato Retrigger ............................................................ 77
Legato Switch ................................................................. 77
Level .............................................................................. 217
Auto Chop .............................................................. 158
D Beam ...................................................... 49, 115, 124
Level V-Curve
Patch .......................................................................... 71
Rhythm Set ............................................................... 94
Level V-Sens
Patch .......................................................................... 71
Rhythm Set ............................................................... 94
LFO .......................................................................... 27, 124
LFO 1/2 ........................................................................... 74
LFO Osc 1 Pitch Depth ................................. 50, 115, 124
LFO Osc 1 Pulse Width Depth .................... 50, 116, 124
LFO Osc 2 Pitch Depth ................................. 50, 116, 124
LFO Osc 2 Pulse Width Depth .................... 50, 116, 124
LFO Rate ................................................... 49, 74, 115, 124
LFO Step Type ............................................................... 76
Librarian ....................................................................... 236
Live Setting ..................................................................... 42
Live Setting function ..................................................... 99
Load ............................................................................... 201
Load All Samples ........................................................ 202
Load Demo Song ......................................................... 234
Load Preset Sample at Stratup .................................. 234
Load Song ..................................................................... 202
Load Song+Samples .................................................... 201
Load User Samples at Stratup ................................... 234
Loading
Sample ............................................................. 147, 202
Song ......................................................... 177, 201–202
Song with Samples ................................................ 201
Local Switch ......................................................... 229, 239
Locate Position ............................................................. 179
Loop End Fine .............................................................. 150
Loop Mode ................................................................... 150
Loop Play ...................................................................... 166
Loop Point .................................................................... 179
Loop Recording ........................................................... 171
Loop Start ..................................................................... 149
Loop Start Fine ............................................................. 150
Loop Tune .................................................................... 150
Loop/Punch ................................................................. 171
Low Frequency Oscillator ............................................ 27
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Index
M
Magnify ................................................................. 186–187
Manual Punch-In ......................................................... 171
Master Key Shift .......................................................... 230
Master Level ................................................................. 229
Master Tune ................................................................. 229
Mastering ...................................................................... 217
Mastering Effect ..................................................... 29, 217
Matrix Control ............................................................... 80
Matrix Control 1–4 Source ........................................... 81
Measure, For
Change Channel .................................................... 187
Change Duration ................................................... 187
Change Velocity ..................................................... 186
Data Thin ................................................................ 190
Delete ....................................................................... 184
Erase ........................................................................ 183
Extract ..................................................................... 188
Insert ........................................................................ 185
Quantize .................................................................. 181
Shift Clock ............................................................... 189
Time Fit ................................................................... 191
Transpose ................................................................ 185
Memo
Live Setting Screen ................................................ 221
Memory .................................................................. 28, 244
Memory Card ............................................. 29, 31, 52, 248
Patch .......................................................................... 39
Performance ............................................................. 99
Memory Info ................................................................ 234
Merge ............................................................................ 188
Metronome ................................................................... 228
Metronome Level ........................................................ 228
Metronome Mode ........................................................ 228
Metronome Sound ...................................................... 228
MFX
HUMANIZER ........................................................ 273
RING MODULATOR ............................................ 275
MFX 1–3 Control Channel ......................................... 118
MFX Chorus Send Level .................................... 208, 211
MFX Control ................................................................ 213
MFX Control Channel ................................................ 214
MFX Ctrl Ch ................................................................. 118
MFX Output Assign ............................................ 208, 211
MFX Output Level .............................................. 208, 211
MFX Reverb Send Level ..................................... 208, 211
MFX Structure .............................................................. 215
MFX Type ............................................................. 208, 211
MFX1–3 ......................................................................... 213
MFX1–3 Source .................................................... 108, 212
MFX1–3 TYPE .............................................................. 215
Micro Edit ..................................................................... 192
MIDI ...................................................................... 222, 230
MIDI Channel .............................................................. 186
Change Duration ................................................... 187
Change Velocity ..................................................... 186
Copy ........................................................................ 184
Data Thin ................................................................ 190
Erase ........................................................................ 183
Extract ...................................................................... 188
Quantize .................................................................. 181
Shift Clock ............................................................... 189
Transpose ................................................................ 185
MIDI Clock ................................................................... 227
MIDI Mode ........................................................... 218, 222
MIDI Update ................................................................ 165
Misc ................................................................................. 78
Mix In Chorus Send Level .......................................... 141
Mix In Output Asgn .................................................... 141
Mix In Output Level ................................................... 141
Mix In Reverb Send Level .......................................... 141
Mix Sampling ............................................................... 143
Mix/Parallel ................................................................. 230
Mixer ................................................................. 33, 97, 103
MMC Mode .................................................................. 227
MMC Output ............................................................... 227
Mode ............................................................................... 33
Modulation Lever .......................................................... 24
Mono ............................................................................... 46
Mono/Poly ..................................................................... 77
Move ...................................................................... 195, 224
Moving
Dividing Point ........................................................ 158
File ............................................................................ 224
MTC ....................................................................... 227–228
MTC Error Level .......................................................... 228
MTC Frame Rate .......................................................... 227
MTC Offset Time Frame ............................................. 228
MTC Offset Time Hour .............................................. 228
MTC Offset Time Minute ........................................... 228
MTC Offset Time Second ........................................... 228
MTC Sync Output ....................................................... 227
Multi .............................................................................. 214
Multi-Effects ........................................................... 29, 213
Multi-Effects 1 Source ................................................. 212
Multi-Effects Chorus Send Level ...................... 208, 211
Multi-Effects Control .......................................... 213–214
Multi-Effects Control Channel .................................. 214
Multi-Effects Output Assign .............................. 208, 211
Multi-Effects Output Level ................................ 208, 211
Multi-Effects Reverb Send Level ....................... 208, 211
Multi-Effects Structure ............................................... 215
Multi-Effects Type ............................................... 208, 211
Multisample ........................................................... 32, 153
Mute ...................................................................... 105, 178
Mute Group .................................................................... 87
Mute Part ...................................................................... 105
Mute Switch ................................................................. 107
Muting
Tempo Track ........................................................... 166
339
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Index
N
Name ............................................................................... 36
File Name ................................................................ 199
Song Name ............................................................. 197
Non-Drop Format ....................................................... 228
Normalize ..................................................................... 156
Note ............................................................................... 161
Note Tx Ch ................................................................... 239
Note Type ..................................................................... 174
Number of Voices ........................................................ 111
O
Oct ................................................................................... 24
Oct Range ..................................................................... 131
Octave Shift ........................................................ 24, 45, 61
On/Off
Chord Memory ...................................................... 133
Effects ...................................................................... 206
Rhythm .................................................................... 135
Switching external input ...................................... 141
V-LINK .................................................................... 238
One Shot Mode .............................................................. 88
Open/Close .................................................................... 55
Original Key ................................................................. 150
OSC 1/2 Coarse Tune ................................... 49, 115, 123
OSC 1/2 Fine Tune ....................................... 49, 115, 123
OSC 1/2 Pulse Width ................................... 49, 115, 123
OSC 1/2 Waveform ...................................... 49, 115, 123
OSC Sync Switch ........................................................... 49
OSC1 Sync Switch ............................................... 115, 123
OSC2 Level ..................................................... 49, 115, 123
Output ............................................................................. 73
Output Gain ................................................................. 230
P
Pad ......................................................................... 122, 160
Mute Part ................................................................ 105
Rhythm Pattern ...................................................... 135
RPS ........................................................................... 203
Sample ..................................................................... 151
Pad Common Velo ...................................................... 162
Pad Control Mode ......................................... 48, 114, 123
PAD MODE .................................................................. 239
PAD Number ............................................................... 204
Pad Number ................................................... 48, 114, 122
Pad Part ........................................................................ 161
Pad Patch Rx/Tx Ch ................................................... 230
Pad Sens ........................................................................ 162
Pad Setting ................................................................... 161
Pad Trigger ................................................................... 122
Pad Velocity ................................................... 48, 114, 122
Pan Depth ....................................................................... 76
Pan Key Follow
Patch .......................................................................... 72
Part .................................................................................. 27
Part Attack Time Offset .............................................. 110
Part Chorus Send Level ...................................... 108, 210
Part Coarse Tune ......................................................... 109
340
Part Cutoff Offset ........................................................ 110
Part Decay Time Offset ............................................... 110
Part Fine Tune .............................................................. 109
Part Information .......................................................... 106
Part Legato Switch ...................................................... 109
Part Level ...................................................................... 108
Part Mono/Poly ........................................................... 109
Part Octave Shift .......................................................... 109
Part Output Assign ............................................. 108, 210
Part Output Level ................................................ 108, 210
Part Output MFX Select ...................................... 108, 210
Part Pan ......................................................................... 108
Part Pitch Bend Range ................................................ 109
Part Portamento Switch .............................................. 109
Part Portamento Time ................................................. 109
Part Release Time Offset ............................................ 110
Part Resonance Offset ................................................. 110
Part Reverb Send Level ...................................... 108, 211
Part Select ............................................................. 207, 210
Part Velocity Sensitivity Offset .................................. 111
Part Vibrato Delay ....................................................... 111
Part Vibrato Depth ...................................................... 111
Part Vibrato Rate ......................................................... 111
Patch ................................................................................ 61
Card ........................................................................... 39
GM ............................................................................. 39
GM2 ........................................................................... 39
Memory Card ........................................................... 39
PR-A–H ..................................................................... 39
Preset A–H ................................................................ 39
USER .......................................................................... 39
Wave Expansion Board ........................................... 39
XP-A–D ..................................................................... 39
Patch Bank .................................................................... 107
Patch Category ............................................................... 61
Patch Coarse Tune ......................................................... 61
Patch Finder ................................................................... 40
Patch Fine Tune ............................................................. 61
Patch Level ..................................................................... 61
Patch mode ..................................................................... 33
Patch Number .............................................................. 107
Patch Out Assign ........................................................... 73
Patch Output Assign ................................................... 207
Patch Pan ........................................................................ 61
Patch Parameter ............................................................. 60
Patch Play Screen ........................................................... 38
Patch Priority ................................................................. 61
Patch Remain ............................................................... 230
Patch Scale Tune for C–B ............................................ 232
Patch Type .................................................................... 107
Patch/Rhythm Set Group .......................................... 161
Patch/Rhythm Set Number ....................................... 161
Patch/Rhythm Set Type ............................................. 161
Patches ............................................................................ 27
Pattern ............................................................................. 31
PC Card Protector ....................................................... 248
PC card slot .................................................................. 248
Pedal/D Beam ............................................................. 226
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Index
P-Env Depth
Patch .......................................................................... 68
Rhythm Set ............................................................... 91
P-Env Level 0–4
Patch .......................................................................... 68
Rhythm Set ............................................................... 91
P-Env T1 V-Sens
Patch .......................................................................... 67
Rhythm Set ............................................................... 91
P-Env T4 V-Sens
Patch .......................................................................... 68
Rhythm Set ............................................................... 91
P-Env Time 1–4
Patch .......................................................................... 68
Rhythm Set ............................................................... 91
P-Env Time KF ............................................................... 68
P-Env V-Sens
Patch .......................................................................... 67
Rhythm Set ............................................................... 91
Performance ................................................................... 27
Card ........................................................................... 99
Memory Card ........................................................... 99
Preset ......................................................................... 99
PRST .......................................................................... 99
USER .......................................................................... 99
Performance Control Channel ................................... 230
Performance Layer Screen ..................................... 97–98
Performance Mixer Screen ..................................... 97–98
Performance Mode ........................................................ 33
Performance Part View ...................................... 106–107
Phase Lock .................................................................... 113
Phrase Loop ............................................................. 63, 89
Phrase Preview .............................................................. 42
Phrase Track ................................................................... 30
Piano Mode .................................................................... 54
Pitch
Patch .......................................................................... 67
Rhythm Set ............................................................... 91
Pitch Bend ....................................................................... 24
Pitch Depth ..................................................................... 75
Pitch Env
Patch .......................................................................... 68
Rhythm Set ............................................................... 91
Play Speed Ctrl ............................................................ 239
Playing Back
Demo Song ............................................................... 23
Song ......................................................................... 164
Portamento ............................................................... 47, 77
Portamento Mode .......................................................... 77
Portamento Start ............................................................ 78
Portamento Switch ........................................................ 77
Portamento Time ........................................................... 78
Portamento Type ........................................................... 77
Power .............................................................................. 21
Power Up Mode .......................................................... 234
PR-A–H ........................................................................... 39
Pre Sample Time .................................................. 143, 233
Preset ............................................................................... 52
Performance .............................................................. 99
Preset A–H
Patch .......................................................................... 39
Preset Memory ............................................................... 29
Preview ......................................................................... 232
Preview 1–4 Note Number ........................................ 232
Preview 1–4 Velocity ................................................... 232
Preview Function ........................................................ 183
Preview Mode .............................................................. 232
PRST
Performance .............................................................. 99
Punch-In Recording .................................................... 171
Q
Quantize ........................................................................ 181
Quantize Template ...................................................... 182
Quantize Type .............................................................. 181
Quick Play .................................................................... 164
R
Random Pan Depth
Patch .......................................................................... 72
Rhythm Set ............................................................... 94
Random Pitch Depth ..................................................... 67
Range ............................................................... 50, 116, 124
Range Max ...................................................... 50, 116, 122
Range Min ...................................................... 50, 116, 122
Range Min, Range Max .............. 183, 185–187, 189–191
Rate ........................................................................ 172, 182
Rate Detune .................................................................... 75
RATIO ........................................................................... 217
Realtime Control Knob ................................................. 47
Arpeggio ................................................................. 131
Assign ...................................................................... 125
Effect ........................................................................ 213
Rhythm Pattern ...................................................... 136
Selecting .................................................................. 149
Realtime Controller ..................................................... 124
Realtime Controller Knob .......................................... 125
Realtime Erase ............................................................. 173
Realtime Recording ..................................................... 170
Realtime Time Stretch ............................................. 63, 89
Rec Mode
Realtime Recording ............................................... 170
Step Recording ............................................... 174, 176
Rec Track
Realtime Recording ............................................... 170
Step Recording ............................................... 174, 176
Receive Bank Select
MIDI Filter .............................................................. 113
System Function ..................................................... 231
Receive Channel .......................................................... 112
Receive Channel Pressure .......................................... 113
Receive Exclusive ........................................................ 231
Receive Expression ...................................................... 113
Receive GM System On .............................................. 231
Receive GM2 System On ............................................ 231
Receive GS Reset .......................................................... 231
341
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Index
Receive Hold 1 ............................................................. 113
Receive Modulation .................................................... 113
Receive Pan .................................................................. 113
Receive Pitch Bend ...................................................... 113
Receive Polyphonic Key Pressure ............................. 113
Receive Program Change ................................... 113, 231
Receive Switch ............................................................. 112
Receive Volume ........................................................... 113
Recommended Tempo ............................................... 118
Record
RPS ........................................................................... 203
Recording
Song ......................................................................... 168
Recording Quantize .................................................... 172
Recording Select .......................................................... 172
Rehearsal Function ...................................................... 173
Release .................................................................. 124, 217
Release Time Offset ....................................................... 62
Remote Keyboard Switch ........................................... 231
Repeat ........................................................................... 179
Re-Sampling ................................................................. 143
Reset Grid function ..................................................... 149
Resolution ..................................................................... 181
Resonance ..................................................................... 124
D Beam ...................................................... 49, 115, 124
Patch .......................................................................... 69
Piano Mode ............................................................... 55
Rhythm Set ............................................................... 92
Resonance Offset ........................................................... 62
Resonance V-Sens
Patch .......................................................................... 70
Rhythm Set ............................................................... 93
Rest ................................................................................ 175
Reverb ..................................................................... 29, 216
Reverb Level ........................................................ 209, 212
Reverb Output Assign ........................................ 209, 212
Reverb Send Level ......................................... 49, 115, 124
Reverb Source .............................................. 108, 209, 212
Reverb Type ......................................................... 209, 212
Rhy Accent ................................................................... 124
Rhythm Accent ............................................................ 137
Rhythm Group Edit .................................................... 139
Rhythm Groups ........................................................... 135
Rhythm Level ................................................................. 87
Rhythm Out Assign ...................................................... 95
Rhythm Pattern ........................................................... 135
Rhythm Pattern Velocity ............................................ 137
Rhythm Set
GM ............................................................................. 52
USER .......................................................................... 52
Wave Expansion Board ........................................... 52
XP-A–D ..................................................................... 52
Rhythm Set Parameter .................................................. 87
Rhythm Sets ................................................................... 27
Ring Modulator ............................................................. 65
Roll Function ................................................................ 160
Roll Resolution ............................................................ 162
Rolled Chord ................................................................ 134
342
Routing ................................................................. 207, 210
RPS Function ................................................................ 203
S
Sample ............................................................................. 32
Sample Edit Screen ...................................................... 148
Sample List ................................................................... 146
Sample Parameters ...................................................... 150
Sampling ................................................................. 32, 141
System ..................................................................... 233
Sampling Length ......................................................... 143
Sampling mode ............................................................ 142
Save ................................................................................ 198
Save All Samples ......................................................... 200
Save as SMF .................................................................. 200
Save Song ...................................................................... 199
Save Song+Samples .................................................... 199
Saving
Arpeggio Style ........................................................ 132
Chord Form ............................................................ 134
Patch .......................................................................... 59
Piano Mode ............................................................... 55
Rhythm Group ....................................................... 140
Rhythm Pattern ...................................................... 139
Rhythm Set ............................................................... 86
Sample ............................................................. 159, 200
Song ................................................................. 198–200
System Function ..................................................... 225
System Settings ...................................................... 225
Scale Tune ............................................................. 111, 232
Scale Tune Switch ........................................................ 232
Screen Saver ................................................................. 233
Screen Saver Time ....................................................... 233
Screen Saver Type ....................................................... 233
Select
Rhythm Group ....................................................... 136
Rhythm Pattern ...................................................... 136
Sample ..................................................................... 146
Selecting
Editing ..................................................................... 146
Patch .............................................................. 39–40, 44
Performance .............................................................. 99
Rhythm Set ............................................................... 52
TONE ......................................................................... 46
Sens 1–4 ......................................................................... 214
Sequencer ........................................................................ 30
Sequencer Section .......................................................... 26
Shift Clock .................................................................... 189
Shuffle Resolution ....................................................... 172
Simultaneous Polyphony ............................................. 28
Skip Back Sampling ..................................................... 145
Skip Back Time ............................................................ 233
S-MRC Format ............................................................. 166
Soft Through ................................................................ 231
Solo ................................................................................ 105
Solo sampling ............................................................... 143
Solo Switch ................................................................... 107
Solo Synth ..................................................................... 123
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Index
Solo/Portamento ........................................................... 77
Song ................................................................................. 30
Playing .................................................................... 164
Song Clear .................................................................... 168
Song File ......................................................................... 31
Song Name ........................................................... 197, 199
Sound Generator Section .............................................. 26
Source 1–4 ..................................................................... 213
Split ................................................................... 33, 97, 102
Split Frequency High .................................................. 217
Split Frequency Low ................................................... 217
Src Channel, Dst Channel .......................................... 187
Src Measure, For .......................................................... 184
Src Track / Pattern
Copy ........................................................................ 184
Src Track / Src Pattern
Extract ..................................................................... 188
Merge ....................................................................... 188
SRX Info ........................................................................ 234
Stand ............................................................................... 20
Standard MIDI File ....................................................... 31
Start Fine ....................................................................... 150
Start Point ............................................. 149, 171, 176, 179
Step Recording ....................................................... 174
Start up .......................................................................... 234
Status
Change Channel .................................................... 187
Copy ........................................................................ 185
Data Thin ................................................................ 191
Erase ........................................................................ 183
Extract ..................................................................... 189
Shift Clock ............................................................... 190
Step 1–16 ......................................................................... 76
Step Back ...................................................................... 175
Step LFO ......................................................................... 76
Step Recording ............................................................. 174
Inputting ................................................................. 174
Stereo Switch ................................................................ 143
Stop Trigger .................................................................. 143
Storage Mode ............................................................... 219
Strength
Quantize .................................................................. 181
Recording Quantize .............................................. 172
Stretch Tune Depth ....................................................... 61
Structure Type ............................................................. 215
Structure Type 1 & 2, 3 & 4 .......................................... 63
SVQ ......................................................................... 31, 223
Switch .............................................................................. 51
Performance ........................................................... 117
Switch 1/2 .................................................................... 117
Patch .......................................................................... 51
Switch Assign .............................................................. 125
Sync Mode .................................................................... 227
Sync Output ................................................................. 227
Sync/Temp .................................................................. 227
Sys Ctrl 1–4 Source ...................................................... 233
System Control ............................................................ 233
System Ctrl ................................................................... 233
System Exclusive Message ......................................... 192
System Function .......................................................... 225
System Information ..................................................... 234
System Memory ............................................................. 29
System Parameter ........................................................ 226
System Write ................................................................ 225
T
Tap Tempo
Arpeggio ................................................................. 128
Rhythm Pattern ...................................................... 135
Song ................................................................. 166, 169
Template Set ................................................................. 161
Tempo ................................................................... 118, 128
Rhythm Pattern ...................................................... 135
Rhythm Set ............................................................. 124
Song ......................................................... 166, 169, 196
Tempo Override .......................................................... 227
Tempo Rec Sw ............................................................. 171
Tempo Recording ........................................................ 171
Tempo Track .................................................................. 31
Temporary Area ............................................................ 29
The Compare Function
Patch .......................................................................... 58
The Sampler section ...................................................... 26
THRESHOLD ............................................................... 217
Tie .................................................................................. 175
Time Fit ......................................................................... 191
Time H/M/S ................................................................ 191
Time Original H/M/S ................................................ 191
Time Signature ..................................................... 169, 196
Time Stretch ................................................................. 156
Time Stretch Type ....................................................... 150
Time Variant Amplifier ................................................ 26
Time Variant Filter ........................................................ 26
Times ............................................................................. 158
Timing ........................................................................... 182
TMT ................................................................................. 63
TMT Control Sw ............................................................ 66
TMT Velocity Control ................................................... 66
Tone Chorus Send
Patch .......................................................................... 74
Rhythm Set ......................................................... 95–96
Tone Chorus Send Level ............................................ 208
Tone Coarse Tune
Rhythm Set ............................................................... 91
Tone Delay ...................................................................... 79
Tone Delay Mode .......................................................... 78
Tone Delay Time ........................................................... 79
Tone Env Mode
Patch .......................................................................... 79
Rhythm Set ............................................................... 87
Tone Fine Tune
Patch .......................................................................... 67
Rhythm Set ............................................................... 91
Tone Level
Patch .......................................................................... 71
Rhythm Set ............................................................... 94
343
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Index
Tone Name ..................................................................... 87
Tone Out Assign
Patch .......................................................................... 73
Rhythm Set ............................................................... 95
Tone Out Level
Patch .......................................................................... 74
Rhythm Set ............................................................... 95
Tone Output Assign .................................................... 208
Tone Output Level ...................................................... 208
Tone Pan
Patch .......................................................................... 72
Rhythm Set ............................................................... 94
Tone Pitch Bend Range ................................................ 88
Tone Random Pitch Depth ........................................... 91
Tone Receive Expression .............................................. 88
Tone Receive Hold-1 ..................................................... 88
Tone Receive Pan Mode ............................................... 88
Tone Redamper Sw ....................................................... 80
Tone Reverb Send
Patch .......................................................................... 74
Rhythm Set ......................................................... 95–96
Tone Reverb Send Level ............................................. 208
Tone Rx Bender ............................................................. 79
Tone Rx Expression ....................................................... 79
Tone Rx Hold-1 .............................................................. 79
Tone Rx Pan Mode ........................................................ 80
Tone Select .................................................................... 207
Tones ............................................................................... 26
Track ................................................................................ 30
Track / Pattern
Change Channel .................................................... 186
Change Duration ................................................... 187
Change Velocity ..................................................... 186
Data Thin ................................................................ 190
Delete ....................................................................... 184
Erase ........................................................................ 183
Insert ........................................................................ 185
Quantize .................................................................. 181
Shift Clock ............................................................... 189
Transpose ................................................................ 185
Truncate .................................................................. 191
Trans ................................................................................ 25
Transmit Active Sensing ............................................ 230
Transmit Bank Select .................................................. 230
Transmit Edit Data ...................................................... 230
Transmit Program Change ........................................ 230
Transpose ......................................................... 25, 46, 185
Trigger Level ................................................................ 233
Trigger Quantize ......................................................... 203
Trim Sw ........................................................................ 143
Trimming Switch ......................................................... 233
Truncate ................................................................ 155, 191
TVA ................................................................................. 26
Patch .......................................................................... 71
Rhythm Set ............................................................... 94
TVA Depth ..................................................................... 75
TVA Env
Patch .......................................................................... 72
Rhythm Set ............................................................... 94
TVF .................................................................................. 26
Patch .......................................................................... 69
Rhythm Set ............................................................... 92
TVF Depth ...................................................................... 75
TVF Env
Patch .......................................................................... 71
Rhythm Set ............................................................... 93
TXT ........................................................................ 220, 223
Type
Chorus ..................................................................... 215
D Beam ...................................................... 50, 116, 122
Input Effect Type ................................................... 142
Multi-Effects ........................................................... 213
Reverb ...................................................................... 216
U
Unload ........................................................................... 155
Sample ............................................................. 147, 155
USB ........................................................................ 218, 231
Fantom-X Editor .................................................... 236
USB Mode ..................................................................... 231
USB Storage Mode ...................................................... 218
USB-MIDI Thru Sw ..................................................... 231
USER
Card ........................................................................... 52
Patch .......................................................................... 39
Performance .............................................................. 99
Rhythm Set ............................................................... 52
User Backup ................................................................. 235
User Memory ........................................................... 29, 31
User Restore ................................................................. 235
Using the Clip Filter .................................................... 239
V
VALUE Dial ................................................................... 35
Velo Fade Lower
Patch .......................................................................... 66
Rhythm Set ............................................................... 90
Velo Fade Upper
Patch .......................................................................... 66
Rhythm Set ............................................................... 90
Velo Range Lower
Patch .......................................................................... 66
Rhythm Set ............................................................... 90
Velo Range Upper
Patch .......................................................................... 66
Rhythm Set ............................................................... 90
Velocity ................................................................... 24, 161
Velocity Curve ............................................................. 113
Velocity Sens ................................................................ 204
Velocity Sens Offset ...................................................... 62
Version Info .................................................................. 234
VFX1–4 Ctrl .................................................................. 239
View .............................................................................. 194
V-LINK .......................................................................... 238
344
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Voice Reserve ......................................................... 28, 111
Volume .......................................................................... 186
W
WAV ...................................................... 148, 202, 220, 223
Wave ............................................................................... 88
Patch .......................................................................... 62
Wave Alter Pan Sw ....................................................... 90
Wave Bank
Patch .......................................................................... 62
Rhythm Set ............................................................... 88
Wave Coarse Tune ........................................................ 89
Wave Expansion Board .............................................. 240
Patch .......................................................................... 39
Rhythm Set ............................................................... 52
Wave Fine Tune ............................................................. 90
Wave Gain
Patch .......................................................................... 63
Rhythm Set ............................................................... 89
Wave Generator ............................................................. 26
Wave Group
Patch .......................................................................... 62
Rhythm Set ............................................................... 88
Wave Level ..................................................................... 90
Wave No. L (Mono)
Patch .......................................................................... 62
Rhythm Set ............................................................... 89
Wave No. R
Patch .......................................................................... 62
Rhythm Set ............................................................... 89
Wave Pan ........................................................................ 90
Wave Rnd Pan Sw ......................................................... 90
Wave Tempo Sync
Patch .......................................................................... 63
Waveform ....................................................................... 74
WG ................................................................................... 26
Window .......................................................................... 34
WMT ............................................................................... 89
WMT Velocity Control ................................................. 90
Write
Patch .......................................................................... 59
Performance ........................................................... 120
Rhythm Set ............................................................... 86
Sample ..................................................................... 159
X
XP-A–D
Patch .......................................................................... 39
Rhythm Set ............................................................... 52
Z
Zoom Edit
Patch .......................................................................... 57
Rhythm Set ............................................................... 84
Zoom In ........................................................................ 175
Zoom In/Out ............................................................... 148
Zoom Out ..................................................................... 175
Index
345
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DK
NO
LV
SI
GR
PL
CZ
SK
EE
LT
SE
FI
HU
ES
PT
NL
UK
DE
FR
IT
For EU Countries
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.
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.
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Key Features
- 76-key weighted action keyboard with aftertouch
- Powerful sound engine with over 3,000 sounds and 50 drum kits
- Extensive control options with assignable knobs, sliders, and buttons
- Intuitive workflow with a large color touchscreen display
- Built-in sequencer and sampler for creating and editing music
- USB audio/MIDI interface for connecting to a computer or other devices
- XLR and TRS outputs for connecting to a PA system or other audio gear
Related manuals
Frequently Answers and Questions
How many sounds does the FANTOM X7 have?
Does the FANTOM X7 have a sequencer?
Can the FANTOM X7 be used as a MIDI controller?
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