Roland | FP-3 | Owner`s manual | Roland FP-3 Owner`s manual

®
Owner’s Manual
Thank you, and congratulations on your choice of the Roland Digital Piano FP-3.
Main Features
Stylish, Light, Compact Design
The refined design fits in anywhere; and since it is so lightweight and compact, it’s
easy to take the instrument with you wherever you go.
Authentic Piano Performances
High-quality concert grand piano tones, along with the Progressive Hammer Action
keyboard, which gives more realistic piano touch by providing a heavier feel in the
low end and a lighter feel in the upper notes, let you enjoy truly authentic piano
performances.
Wide Variety of Tones For Use in Many Musical Genres
In addition to piano tones, the FP-3 offers 40 different onboard tones, which can be
used for almost every conceivable style of music.
You can also play Drum Sets with the instrument.
“Session Partner” Lets You Enjoy Playing with a Session-Like Feel
Enjoy true session-like feel while performing along with a “Rhythm” section built
upon realistic drum and bass sounds.
You can have the “Rhythm” chord progression advance automatically, or you can
specify the chords to be played with your left hand.
Numerous Internal Songs
The FP-3 features four internal demo songs, along with a further fifty internal piano songs.
Experience a Variety of Performances with Dual and Split Functions
Layer two of the FP-3’s many internal tones, play with different tones assigned to the
left and right sections of the keyboard, and enjoy many other possibilities in working
with Performances.
Before using this unit,
carefully read the sections
entitled: “USING THE
UNIT SAFELY” and
“IMPORTANT NOTES”
(p. 2; p. 4). These sections
provide important
information concerning the
proper operation of the unit.
Additionally, in order to feel
assured that you have
gained a good grasp of every
feature provided by your
new unit, Owner’s manual
should be read in its
entirety. The manual should
be saved and kept on hand
as a convenient reference.
Keyboard Touch Can Be Set to Match Finger Strength
You can change the keyboard touch so it better suits the finger strength of the person
playing the keyboard.
Easy Recording Functions
You can easily record your own performances using simple button operations.
Two Headphone Jacks Provided
The FP-3 comes equipped with two headphone jacks, allowing two people to use
headphones simultaneously.
This is a convenient feature for use in lessons, or when playing pieces for four hands.
Includes Line In/Out Jacks
By connecting external audio equipment to the FP-3’s Line Out jacks you can play
sounds from the FP-3 through your audio setup, and with a CD player or other such
device connected to the Line In jacks, you can then play internal sounds along with
FP-3 Performances.
Copyright © 2000 ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in
any form without the written permission of ROLAND CORPORATION.
For the U.K.
IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.
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 BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.
Under no circumstances must either of the above wires be connected to the earth terminal of a three pin plug.
USING THE UNIT SAFELY
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.
Used for instructions intended to alert
the user to the risk of death or severe
injury should the unit be used
improperly.
Used for instructions intended to alert
the user to the risk of injury or material
damage should the unit be used
improperly.
* Material damage refers
other adverse effects
respect to the home
furnishings, as well
animals or pets.
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.
to damage or
caused with
and all its
to domestic
The ● symbol alerts the user to things that must be
carried out. The specific thing that must be done is
indicated by the design contained within the circle. In
the case of the symbol at left, it means that the powercord plug must be unplugged from the outlet.
001
005
• Before using this unit, make sure to read the
instructions below, and the Owner’s Manual.
• This unit should be used only with a rack or stand
that is recommended by Roland.
..........................................................................................................
..........................................................................................................
002c
006
• Do not open (or modify in any way) the unit or its
AC adaptor.
• 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.
..........................................................................................................
..........................................................................................................
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.
..........................................................................................................
2
008c
• Be sure to use only the AC adaptor supplied with
the unit. Also, make sure the line voltage at the
installation matches the input voltage specified on
the AC adaptor’s body. Other AC adaptors may
use a different polarity, or be designed for a
different voltage, so their use could result in
damage, malfunction, or electric shock.
..........................................................................................................
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
101b
• 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.
..........................................................................................................
• The unit and the AC adaptor should be located so
their location or position does not interfere with
their proper ventilation.
..........................................................................................................
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.
..........................................................................................................
012b
• Immediately turn the power off, remove the AC
adaptor 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 AC adaptor, the power-supply cord, or the
plug has been damaged; or
• 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.
..........................................................................................................
102c
• Always grasp only the plug on the AC adaptor
cord when plugging into, or unplugging from, an
outlet or this unit.
..........................................................................................................
103b
• Whenever the unit is to remain unused for an
extended period of time, disconnect the AC
adaptor.
..........................................................................................................
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.
..........................................................................................................
107c
• Never handle the AC adaptor or its plugs with
wet hands when plugging into, or unplugging
from, an outlet or this unit.
..........................................................................................................
108b
• Before moving the unit, disconnect the AC
adaptor and all cords coming from external
devices.
..........................................................................................................
109b
• Before cleaning the unit, turn off the power and
unplug the AC adaptor from the outlet (p. 8 ).
..........................................................................................................
110b
• Whenever you suspect the possibility of lightning
in your area, disconnect the AC adaptor from the
outlet.
..........................................................................................................
118
• Should you remove the screws fastening the music
stand or stand, make sure to put them in a safe
place out of children’s reach, so there is no chance
of them being swallowed accidentally.
..........................................................................................................
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
IMPORTANT NOTES
In addition to the items listed under “USING THE UNIT SAFELY” on page 2 and 3, please read and observe the following:
Power Supply
Additional Precautions
301
553
• Do not use this unit on the same power circuit with any
device that will generate line noise (such as an electric
motor or variable lighting system).
• 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.
302
554
• The AC adaptor will begin to generate heat after long
hours of consecutive use. This is normal, and is not a
cause for concern.
• Never strike or apply strong pressure to the display.
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.
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.
352
• This device may interfere with radio and television
reception. Do not use this device in the vicinity of such
receivers.
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.
355
• To avoid possible breakdown, do not use the unit in a wet
area, such as an area exposed to rain or other moisture.
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.
• Do not leave this instrument standing on end for more
than approximately two weeks. Doing so can adversely
impact the keyboard’s functionality.
359
• Do not paste stickers, decals, or the like to this instrument.
Peeling such matter off the instrument may damage the
exterior finish.
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.
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.
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.
Stand (FPS-10A: sold separately)
Cautions When Handling the Speaker Stand
• To prevent accidents caused by falling speakers, do not
use the speaker stands included with the stand FPS-10A in
combination with any other instrument or product.
• Be sure to use the provided velcro tape to keep the
speakers fixed to where they are set on the speaker stands.
• Setting the speakers sideways to increase power may
cause the velcro tape to separate, making it easier for the
speakers to fall; exercise due caution.
• Please use Roland speakers that meet the following
requirements:
<Weight: 10 kg or less;
Dimensions: 210 (W) x 280 (D) x 330 (H) mm or less>
When installed in combination with speakers other than
one described above, Roland no assurance as to the
stability thereof. Before attempting such use, be sure to
check carefully to ensure that stable installation continued
stability during use are possible.
• Merely screwing in the speaker stand attachment screws
as is without the proper preparation may result in damage
to the unit. Be absolutely sure to attach the speaker stand
attachment screws to the speaker stands.
4
Contents
USING THE UNIT SAFELY ............................................... 2
Selecting a Rhythm ............................................................ 28
IMPORTANT NOTES ......................................................... 4
Changing Rhythms As You Perform ........................ 28
Contents................................................................................. 5
Changing a Rhythm’s Tempo........................................... 29
Panel Descriptions ............................................................... 6
Selecting a Rhythm’s Chord Progression ....................... 30
Before You Play ................................... 8
Performing With the Chord Progression Specified
in the Left Hand (Rhythm Split Play).............................. 31
Making Connections............................................................ 8
Changing the Volume Balance Between the Keyboard
Installing the Music Stand .................................................. 9
and the Rhythm .................................................................. 32
Connecting Pedals.............................................................. 10
Chapter 3 Recording a Performance ... 33
Turning the Power On and Off ........................................ 10
Adjusting the Sound’s Volume and Brilliance............... 11
Connecting Headphones................................................... 11
Chapter 1 Playing the Keyboard......... 12
Recording a Performance.................................................. 33
Recording a Performance Using Rhythms............... 34
Recording a Performance Using Rhythms
(in Split Play) ................................................................ 35
Recording Selected Track buttons ............................. 36
Listening to Internal Songs ............................................... 12
Playing Back All Songs Continuously
(All Song Play).............................................................. 12
Erasing Recorded Performances ...................................... 37
Correspondence Between Recorded Performance and Track
Buttons .................................................................................. 37
Listening to Each Part Separately.............................. 13
Performing with a Variety of Sounds ............................. 14
Chapter 4 Other Functions .................. 38
Performing With Two Layered Tones (Dual Play) ....... 15
Changing the Damper Pedal’s Resonance...................... 38
Performing With Different Tones in the Left and
Changing How the Pedals Work ..................................... 38
Right Sides of the Keyboard (Split Play) ........................ 16
Changing Tones ........................................................... 17
Changing the Keyboard’s Split Point ....................... 17
Changing the Volume Balance for Dual Play and
Split Play.............................................................................. 18
Changing the Keyboard’s Touch ..................................... 19
Adding Breadth to the Sound (Chorus Effect)............... 20
Adding a Spinning Sound to Organ Tones
(Rotary Effect)............................................................... 20
Changing How the Pedal Effects Are Applied.............. 39
Changing the Pitch of the Lower Tone in Octave Steps
(Octave Shift) ...................................................................... 39
Tuning to Other Instruments’ Pitches (Master Tuning) .40
Adjusting the Tuning......................................................... 40
Changing the Beat Pattern ................................................ 41
Connecting MIDI Devices................................................. 42
Appendices ........................................ 45
Changing the Depth of Chorus Effect....................... 20
Adding Reverberation to Sounds (The Reverb Effect) . 21
Changing the Depth of Reverb Effect ....................... 21
Transposing the Key of the Keyboard (Key Transpose) 22
Using the Metronome........................................................ 23
Troubleshooting ................................................................. 45
Error Messages/Other Messages..................................... 47
Tone List .............................................................................. 48
Rhythm List......................................................................... 49
Changing the Tempo................................................... 23
Chord Progression Pattern List........................................ 50
Changing the Beat of Metronome ............................. 24
Chord Fingering List ......................................................... 52
Changing the Volume ................................................. 24
Internal Song List ............................................................... 54
Chapter 2 Playing Along with Rhythms25
Easy Operation List............................................................ 56
MIDI Implementation........................................................ 57
What is Session Partner? ................................................... 25
Performing Along With Rhythms ................................... 26
Performing Along With Drum Sounds .................... 26
Main Specifications ............................................................ 58
Index..................................................................................... 59
Performing With Chord Parts.................................... 26
About the lighting of the [Drum] and [Chord] button
indicators .............................................................................. 27
5
Panel Descriptions
Front Panel
1
1
2
3
4
[Volume] Knob
Adjusts the overall volume level (p. 11).
2
[Brilliance] Knob
Adjusts the tone brightness (p. 11).
3
[Split] Button
Allows you to play different tones in the left and right sides
of the keyboard (p. 16) and specify Rhythm chords with the
left hand (p. 31).
4
Tone Buttons
They are used to choose the kinds of sounds (Tone Groups)
played by the keyboard (p. 14).
5
Display
Displays information such as the song number, Rhythm
number, tempo, beat, and parameter settings values.
6
[-]/[+] Buttons
These two buttons are used to modify the values of a variety
of settings. Pressing both the [-] and [+] buttons
simultaneously returns the setting of a particular item or
function to its default value. Additionally, with certain
settings, the indicators of these buttons may change color
when the settings are changed.
7
[Tempo/Rhythm] Button
Press this to change the tempo or Rhythm (p. 23, p. 28)
8
Rhythm Button
Switches each Rhythm on or off.
5
6
7
8
9
10
11 12
13
[Chord] Button
Turns the Rhythm Drum part and Chord part on and off.
You can also turn only the Chord part off (p. 26).
9
[
(Metronome)] Button
Turns the internal metronome on and off (p. 23).
10 Recorder Buttons
Used for playing back and recording performances.
Such operations employ the following two buttons.
[Play] Button
Starts and stops playback of internal songs and recorded
performances (p. 12).
Used for starting recording of performances (p. 33).
Can also be used to force-stop Rhythms (p. 26).
[Rec] button
Puts the unit in the state whereby it is ready for recording
performances (p. 33).
11 [Chorus] Button
You can use this to add three-dimensional breadth and
“fatness” to sounds (p. 20).
12 [Reverb] Button
You can use this to add the characteristic reverberation of a
concert hall to what you play (p. 21).
13 [Song] Button
For selecting internal songs (p. 12).
Use these two buttons to determine whether a Rhythm is to
By holding down this button and pressing the [Reverb]
be played in each individual part.
button, you can change the keyboard’s touch sensitivity ( p.
[Drums] Button
Turns the Rhythm Drum part on and off (p. 26).
Press this button when you want to stop both the Drum and
Chord parts.
6
19).
In addition, you can hold down this button while pressing
other specified buttons to make various different settings
(p. 38 to p. 44).
Panel Descriptions
Rear Panel
Damper
Soft
R
R
L (Mono)
Stereo
MIDI
Line In
Line Out
1
2
3
4
Out
1
L (Mono)
Stereo
Pedal
In
On
Off
Power
DC In 9 V
5
6
7
Pedal Jacks
Accepts connection of the supplied pedal , or other suitable
pedals (p. 10).
2
MIDI Connectors
You can connect external MIDI devices to the FP-3 and
exchange performance data among them (p. 42).
3
Line In Jacks
Provide input of the audio signals. Used for connecting
audio equipment and other such devices (p. 8).
4
Line Out Jacks
Provide output of the audio signals. Also used for connecting
audio equipment and other such devices (p. 8).
These allow you to play sounds from the FP-3 through other
audio devices.
5
[Power] Switch
This switch turns the unit on/off (p. 10).
6
DC In Jack
Connect the supplied AC adaptor here (p. 8).
7
Cord Hook
Use this to fix in place the cord from the supplied AC adaptor
(p. 8).
7
Before You Play
Making Connections
NOTE
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.
The FP-3 does not contain an amp or speakers. To hear sound, either connect
an amplifier and speakers, or use stereo headphones.
* MIDI cable and stereo headphones are not included. Consult your Roland dealer if
you need to purchase accessories such as these.
fig.00-01
Damper
Soft
R
Out
Pedal
In
MIDI
L (Mono)
R
L (Mono)
Stereo
Stereo
Line In
Line Out
On
Off
Power
DC In 9 V
MIDI devices (p. 42)
Pedal switch
(DP-2, DP-6, etc.)
AC adaptor
Roland
Expression pedal (EV-5)
CD player,
audio devices
AC cable
Pedal switch
(DP-2, DP-6, etc.)
Stereo set, etc
Power outlet
Speaker with built-in amp,
keyboard amp, etc.
1.
Before you begin making connections, confirm the
following.
Is the volume level of the FP-3 or connected amp turned all the way down?
Is the power to the FP-3 or connected amp turned off?
8
Before You Play
2.
Connect the supplied AC adaptor to the FP-3, and then plug
its other end into a power outlet.
To prevent the inadvertent disruption of power to your unit (should the
plug be pulled out accidentally), and to avoid applying undue stress to the
DC In jack, anchor the power cord using the cord hook, as shown in the
illustration.
fig.00-02
Rear panel
On
Off
Power
DC In 9 V
3.
Connect the amp or audio gear to the Line Out jacks as
shown in the diagram.
In order to take full advantage of the FP-3’s sound we recommend that you
play it in stereo.
When using the system in mono, connect to the Line Out L (Mono) jack.
→If you are using headphones, refer to “Connecting Headphones” (p. 11).
→For instructions on connecting to the Pedal jacks, refer to “Connecting Pedals” (p. 10).
→For instructions on connecting to the MIDI connectors, refer to “Connecting MIDI
Devices” (p. 42).
Installing the Music Stand
fig.00-03
1.
Using the supplied screws, fasten the music stand to the
back of the FP-3 as illustrated.
Be sure to use the supplied screws for attaching the music stand.
Turn the screws clockwise to tighten them.
When attaching the music stand, support it firmly with one hand to make sure
that you do not drop it. Be careful, so you do not get your fingers pinched.
2.
To remove the music stand, support it with one hand while
loosening the screws.
NOTE
Do not apply excessive
force to the installed music
stand.
9
Before You Play
Connecting Pedals
1. Connect the pedal included with the FP-3 to one
Turning the Power On and
Off
of the Pedal jacks.
Once the connections have been completed, turn on or off
When connected to the Damper jack, the pedal can be
power to your various devices in the order specified. By
used as a damper pedal.
turning on devices in the wrong order, you risk causing
When connected to Soft, the pedal can be used as a soft
malfunction and/or damage to speakers and other devices.
pedal.
■ Turning On the Power
* Unplugging a pedal cord from the unit while the power is on
may cause the pedal’s effect to be applied without stopping.
The power of the FP-3 must be turned off before inserting or
removing a pedal cord.
1. Before you switch on the power, turn the volume
down all the way by rotating the [Volume] knob.
fig.00-05
Damper Pedal
Use this pedal to sustain the sound. While the pedal is
depressed, long lingering reverberations continue to be
added to the sound after you release from the keys.
When you depress the damper pedal on an acoustic piano,
the sound from the strings that were struck resonates with
other strings, adding rich reverberations and broadness to
the sound. You can adjust this resonance (sympathetic
resonance) when the damper pedal is depressed.
Also completely turn down the volume of any connected
audio device and other equipment.
2. Press the [Power] switch on the back of the unit.
After a few seconds, the unit becomes operable and
playing the keyboard produces sound.
fig.00-06
Rear panel
* The amount of the resonance obtained with the Damper pedal
can be changed. For more information and instructions, please
refer to “Changing the Damper Pedal’s Resonance” (p. 38).
Lower position
On
Off
Power
DC In 9 V
Soft Pedal
ON
This pedal is used to make the sound softer.
Playing with the soft pedal depressed produces a sound that
is not as strong as when otherwise played with the
equivalent strength. This is the same function as the left
pedal of an acoustic piano.
* When connected to the Soft Pedal jack, the pedal may also be
used as a sostenuto pedal or expression pedal. For more
information and instructions, please refer to “Changing How
the Pedals Work” (p. 38).
* By obtaining a second pedal, you can then use two pedals
simultaneously. If you wish to purchase the optional pedal
(DP-2/DP-6), please contact the dealer where you purchased
the FP-3.
10
* 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 of the connected external
equipment.
4. Adjust the volume of the connected external
device.
5. Adjust the FP-3’s volume to obtain the proper
volume level.
Before You Play
Connecting Headphones
■ Turning Off the Power
1. Before switching the power off, turn the volume
all the way down by rotating the [Volume] knob.
Also completely turn down the volume of any connected
Connecting headphones allows you to enjoy playing
anytime, even at night, without concern.
fig.00-09
audio device and other equipment.
2. Turn off the power to the connected external
equipment.
3. Press the [Power] switch on the back of the unit.
The power is switched off.
fig.00-07
Rear panel
Upper position
On
Off
Power
1. Plug the headphones into the Phones jack at the
front, on the left side of the piano.
Use the [Volume] knob on the FP-3 to adjust the volume
DC In 9 V
OFF
of the headphones.
* Make sure to use stereo headphones.
Some Notes on Using Headphones
Adjusting the Sound’s
Volume and Brilliance
fig.00-08
• To prevent damage to the cord, handle the headphones
only by the headset or the plug.
• The headphones may be damaged if the volume is too
high when they are plugged in. Lower the volume on the
FP-3 before plugging in the headphones.
• To prevent possible auditory damage, loss of hearing, or
damage to the headphones, the headphones should not
be used at an excessively high volume. Use the
headphones at a moderate volume level.
1. Use the [Volume] knob to adjust the overall
volume level.
Rotating the knob clockwise increases the volume;
counterclockwise rotation decreases it.
2. Use the [Brilliance] knob to adjust the overall
sound quality.
Rotating the knob clockwise makes the tone brighter;
rotating it counterclockwise makes the sound more
subdued.
11
Chapter 1 Playing the Keyboard
Listening to Internal Songs
For more on internal song
names, refer to “Internal
Song List” (p. 54).
Now, try listening to internal songs
The FP-3 comes with fifty four internal songs.
fig.01-01
2
1.
fig.01-02
Press the [-] or [+] button to select the song.
Press the [Play] button.
The song will begin playing back.
The selected song is played to the end, and then playback stops.
4.
1
Press the [Song] button, getting its indicator to light.
The following appears in the display.
2.
3.
3, 4
To stop playback, press the [Play] button once more.
The next time you press the [Play] button, the song that was stopped is
played from the beginning.
■ Playing Back All Songs Continuously (All Song Play)
Listening to all of internal songs repeatedly played back in succession is
known as “All Song Play.”
About the Display of
the Internal Songs
USr (User)—Stores
recorded Performances (for
more on recording →p. 33).
When “d.” is added—
Indicates one of the demo
songs that make use of the
FP-3’s various internal
tones.
When “P.” is added—
Indicates one of the piano
songs
NOTE
You cannot play the
internal song and Rhythm
(p. 26) at the same time.
fig.01-06
2
1.
Hold down the [Song] button and press the [Play] button.
Songs play back continuously.
When playback of the last song is reached, playback continues by returning
to the first song and playing that again.
2.
To stop playback, press the [Play] button.
All Song Play is exited when the performance is stopped.
The next time you press the [Play] button, the song that was stopped is
played from the beginning.
12
1
When you change the
volume balance between
the keyboard and the
Rhythm, the volume
balance between the
keyboard and the internal
song may change. Refer to
“Changing the Volume
Balance Between the
Keyboard and the Rhythm”
Chapter 1 Playing the Keyboard
When the following appears in the display
If there is any performance data stored in the FP-3’s memory, the following
appears in the display.
fig.01-03
Flashes in green Flashes in red
Flashes in green
Until you erase the performance data, you cannot play back an internal
song.
To erase the performance data and play back the internal song, press the
[Rec] button.
If you don’t want to erase the song, press the [Play] or [Song] button.
■ Listening to Each Part Separately
With the internal songs, you can select the performance part that is to be
played back.
With Piano songs 1 to 50, you can also practice each hand separately while
playing along with the song.
1.
Select the song to be played back.
2.
Hold down the [Play] button and press the button, either
[Chord (1)] or [
back.
(2)], for the part that is not to be played
The indicator on the selected button goes out.
The performance data is assigned to the Track buttons as shown below.
fig.01-05
Left-hand Right-hand
Part
Part
3.
Press the [Play] button.
The song will begin playing back.
The sound for the performance part selected in Step 2 is not played.
Temporarily preventing the sounds of a specified part from playing is called
“muting.”
4.
Hold down the [Play] button and press the button selected in
Step 2.
The sound of the muted part is then played.
13
Chapter 1 Playing the Keyboard
Performing with a Variety of Sounds
The FP-3 features 40 different internal sounds, allowing you to enjoy
performing with sounds suitable for many different types of music.
These onboard sounds are called “Tones.” The Tones are divided into six
different groups, each of which is assigned to a different Tone button.
The Tone “Grand Piano 1” is selected when the instrument’s power is
turned on.
fig.01-07
1, 3
1.
2
Press one of the Tone buttons to choose a Tone Group.
You’ll hear the Tone assigned to Tone number 1 in the selected Tone Group.
Try fingering the keyboard.
The Tone number appears in the display.
fig.01-08
When you press the Tone button, the [-] and [+] buttons light in orange.
2.
Press the [-] or [+] button to select a Tone from the Tone
Group.
The indicator for the selected Tone button flashes, showing that the tone has
been selected.
3.
Finger the keyboard or press the flashing Tone button.
The Tone button’s indicator lights up, and you can check the sound. The
Tone you’ve selected is heard when you finger the keyboard.
The next time you choose this Tone button, the tone you’ve selected here is
played.
14
For more on Tones, refer to
“Tone List” (p. 48)
Chapter 1 Playing the Keyboard
Performing With Two Layered Tones
(Dual Play)
You can play two different sounds from a single key at the same time. This
method of performance is called “Dual Play.”
Example: Try Layering Piano and String Tones
fig.01-09
1
1.
Press the [Piano] button and the [Strings/Pad] button at the
same time.
The indicators for both buttons light.
Try fingering the keyboard.
Both the piano and string sounds play.
Pressing two Tone buttons at the same time in this manner activates Dual Play.
You can change the pitch of
the Lower Tone an octave at
a time. Refer to “Changing
the Pitch of the Lower Tone
in Octave Steps (Octave
Shift)” (p. 39).
In Dual Play, the Tone for the left button you press is called the “Upper
Tone,” and the Tone for the right button is called the “Lower Tone.”
The Tone button’s indicator lights in orange for the Upper Tone, and in red
for the Lower Tone.
fig.01-10
Orange
Red
Upper Tone
Lower Tone
You can vary the volumelevel balance of the two
tones. Take a look at
“Changing the Volume
Balance for Dual Play and
Split Play” (p. 18).
Here, the piano tone is the Upper Tone and the strings tone is the Lower
Tone.
2.
To exit Dual Play, press either Tone button.
Now, only the tone of the button you just pressed is sounded.
Switching the Upper Tone and Lower Tone
When in Dual Play, you can together press both of the Tone buttons for the
two currently selected tones a second time to assign the tone of the left
button to the Lower Tone, and the tone of the right button to the Upper
Tone.
You can easily switch between two tones, which is useful for times such as
when you have things set so the pedal’s effect is not applied to the Lower
Tone (see “MEMO”).
Although when you press
the pedal while in Dual
Play, the effect is applied to
both tones, you can set the
FP-3 so that the effect is not
applied to the Lower Tone.
Refer to “Changing How
the Pedal Effects Are
Applied” (p. 39).
15
Chapter 1 Playing the Keyboard
Performing With Different Tones in the Left and
Right Sides of the Keyboard (Split Play)
Performing with the keyboard divided at a certain key into a left side and a
right side is called “Split Play,” and the point at which the keyboard is
divided is called the “split point.”
In Split Play, you can have a different tone sound in the left and right sides.
Furthermore, when you use the Rhythm in performances, you can specify
chords with the keys in the left-hand part (for more detailed instructions,
refer to “Performing With the Chord Progression Specified in the Left Hand
(Rhythm Split Play)” (p. 31)).
When the instrument is turned on, the split point is set to “F 3.” The split
point key is included in the left side.
While in Split Play, a sound played in the right side is called an “Upper
Tone,” and the sound played in the left side is called a “Lower Tone.”
Example: Let’s try split play with the piano tones.
fig.01-11
2, 3 1
1.
Press the [Piano] button.
Now, the piano tone is selected.
2.
Press the [Split] button, getting its indicator to light.
The keyboard is divided into upper and lower sections.
fig.01-12
F 3 (Split Point)
Lower Tone
Upper Tone
The right-hand section of the keyboard plays piano tone, and the left-hand
section plays Acoustic Bass+Cymbal tone.
You can play a tone for the right side (the Upper Tone) before splitting the
keyboard.
The Tone button’s indicator lights in orange for the Upper Tone, and in red
for the Lower Tone.
3.
To exit Split Play, press the [Split] button once more.
The [Split] button’s indicator light goes out and the upper tone becomes the
tone for the entire keyboard.
16
When you switch from
Dual Play (p. 15) to Split
Play, the Upper Tone used
in Dual Play is selected as
the Upper Tone for Split
Play.
You can vary the volumelevel balance of the two
tones. Take a look at
“Changing the Volume
Balance for Dual Play and
Split Play” (p. 18).
Chapter 1 Playing the Keyboard
■ Changing Tones
fig.01-13
1
1.
2
Hold down the [Split] button and press the Tone button for
the tone you want to change, whether the Upper or Lower
Tone.
The indicators for the [-] and [+] buttons light in the same color as the
indicator of the selected tone button.
When orange, it indicates that the Upper Tone can be changed; when red, it
is the Lower Tone that is being changed.
2.
When the tone of the same
Tone button is selected for
both the Upper and Lower
Tones, you can determine
which of the Tones is being
changed by the color of the
indicators for the [-] and [+]
buttons.
Use the Tone buttons and the [-] and [+] buttons to select the
Tones.
For more on selecting tones, refer to “Performing with a Variety of Sounds”
(p. 14).
■ Changing the Keyboard’s Split Point
You can change the location where the keyboard is divided (the split point)
within the range of B1 through B6.
You can change the pitch of
the Lower Tone an octave at
a time. Refer to “Changing
the Pitch of the Lower Tone
in Octave Steps (Octave
Shift)” (p. 39).
This is set to “F 3” when the instrument is turned on.
This setting remains in effect until you turn off the power.
fig.01-14
F3
B1
1.
B6
Hold down the [Split] button and press a key set as the split
point.
The key you pressed becomes the split point, and belongs to the left-hand
section of the keyboard.
The name of the key acting
as the split point is
indicated in the display, as
shown below.
Display
C
d_
d
E_
Letter
name
C
D
D
E
Display
E
F
F
G
Letter
name
E
F
F
G
Display
A_
A b_
b
Letter
name
A
A
B
B
While the [Split] button is held down, the key being used as the split point
appears in the display.
With the [Split] button held down, you can change the value, even by
pressing the [-] or [+] button.
Additionally, by holding down the [Split] button and pressing the [-] or [+]
button one time, you can display the currently selected value.
When you release the [Split] button, you return to the previous screen.
By holding down the [Split]
button and pressing both
the [-] and [+] buttons
simultaneously, the setting
returns to its original value.
17
Chapter 1 Playing the Keyboard
Changing the Volume Balance for Dual
Play and Split Play
You can change the volume balance of the Upper and Lower Tones in Dual
Play (p. 15) and Split Play (p. 16).
When the instrument is turned on, this is set to “5–5” (“Lower Tone
volume”–“Upper Tone volume”).
fig.01-15
2
1.
Hold down the [Song] button and press the [Split] button.
The indicators for the [Song] and [Split] buttons flash in red.
fig.01-16
Lower Tone volume
(The Tone button’s indicator light is red)
2.
Upper Tone volume
(The Tone button’s indicator light is Orange)
Press the [-] or [+] buttons to adjust the volume balance.
To restore the normal default volume balance, press the [-] and [+] buttons
simultaneously.
3.
Press the [Song] button.
The indicators return to their previous state.
18
1
3
Chapter 1 Playing the Keyboard
Changing the Keyboard’s Touch
You can change the touch sensitivity, or response of the keys.
When the instrument is turned on, this is set to “Normal.”
fig.01-17
2
1.
1 3
Hold down the [Song] button and press the [Reverb] button.
The indicators for the [Song] and [Reverb] buttons flash in red.
fig.01-18
2.
3.
Press the [-] or [+] buttons to select the touch.
Indicate
Description
OFF
(Fixed)
The sound plays at one set volume, regardless of the force
used to play the keys.
1 (Light)
A light keyboard touch is selected. You can achieve fortissimo (ff) play with a less forceful touch than usual, so the
keyboard feels lighter. This setting makes it easy to play,
even for children.
2 (Normal)
This sets the standard keyboard touch. You can play with
the most natural touch. This is the closest to the touch of
an acoustic piano.
3 (Heavy)
Here, a heavy keyboard touch is selected. You have to finger the keyboard more forcefully than usual in order to
play fortissimo (ff), so the keyboard touch feels heavier.
Dynamic fingering adds even more feeling to what you
play.
Press the [Song] button.
The indicators return to their previous state.
19
Chapter 1 Playing the Keyboard
Adding Breadth to the Sound (Chorus Effect)
You can apply a chorus effect to the notes you play on the keyboard. By
adding the chorus effect, you can give the sound greater dimension, with
more fatness and breadth.
The settings of the chorus effect are memorized independently for each
sound, and remain in effect until you turn off the power.
fig.01-19
1, 2
1.
Press the [Chorus] button, getting its indicator to light.
Try fingering the keyboard.
The chorus effect is applied to the currently selected tone.
2.
The remove the chorus effect, press the [Chorus] button once
more, extinguishing the indicator.
Some tones initially have
chorus applied. Selecting
such a tone makes the
[Chorus] button’s indicator
light up automatically.
■ Adding a Spinning Sound to Organ Tones (Rotary Effect)
Some organ tones selected with the [Organ] button feature a rotary effect.
When one of these tones is selected, you can use the [Chorus] button to
change the speed of the rotary effect.
What the rotary effect does is to add a “spinning” effect similar to the sound
of an organ using a rotating speaker.
For more information on
Tones applied the Rotary
effect, see “Tone List” (p. 48).
Press the [Organ] button and select the organ tone.
Each time pressing the [Chorus] button, switch the speed of
the rotary effect between rapid and slow rotation.
When a tone that has the Rotary effect added is selected, the [Chorus]
button’s indicator flashes in red or green.
When the [Chorus] button’s indicator flashes in red, a more rapid rotary
effect is applied.
When the [Chorus] button’s indicator flashes in green, a slower rotary effect
is applied.
■ Changing the Depth of Chorus Effect
You can select from ten levels of depth for the chorus effect.
1.
Hold down the [Chorus] button and press the [-] or [+] button.
The [Chorus] button’s indicator flashes in red.
The depth for the chorus effect being applied to the currently selected tone
appears in the display.
20
NOTE
You cannot change the
levels of depth for the
rotary effect.
Chapter 1 Playing the Keyboard
fig.01-20
2.
Press the [-] or [+] button to change the depth of effect.
3.
Press the [Chorus] button once more.
The button’s indicator returns to its previous state.
The next time you choose the same tone, the chorus effect with the depth
you’ve selected here is applied.
Adding Reverberation to Sounds (The Reverb Effect)
You can apply a reverb effect to the notes you play on the keyboard. With
the reverb effect, you obtain a pleasant reverberation, making it sound as if
you were performing in a concert hall or similar space.
fig.01-21
1, 2
1.
Press the [Reverb] button, getting its indicator to light.
Try fingering the keyboard.
The reverb effect is applied to the entire tone.
2.
The eliminate the Reverb effect, press the [Reverb] button
once more, extinguishing the indicator.
■ Changing the Depth of Reverb Effect
You can select from ten levels of depth for the reverb effect.
1.
Hold down the [Reverb] button and press the [-] or [+]
button.
The [Reverb] button’s indicator flashes in red.
The selected depth for the reverb effect appears in the display.
fig.01-22
2.
Press the [-] or [+] button to change the depth of the effect.
3.
Press the [Reverb] button once more.
NOTE
You cannot make separate
reverb effect depth settings
for each individual tone.
The effect is applied at the
same depth to all tones.
The indicator returns to its previous state.
21
Chapter 1 Playing the Keyboard
Transposing the Key of the Keyboard
(Key Transpose)
You can transpose the key of a performance without having to shift the
position of your fingers on the keyboard. This feature is called “Key
Transpose.”
This lets you take a song in a difficult key with lots of sharps ( ) and flats
( ) and play it in a key with fingering that’s easier for you. This is handy
when playing accompaniment to a song, to match what you play to the pitch
of the singer’s voice.
fig.01-23
Press the corresponding key
1.
1, 2
Hold down the [Song] button and press the key
corresponding to the tonic of the desired key.
The Key Transpose settings value continues to appear in the display while
the [Song] button is held down.
With the [Song] button held down, you can change the value, even by
pressing the [-] or [+] button.
Additionally, by holding down the [Song] button and pressing the [-] or [+]
button one time, you can display the currently selected Key Transpose value.
The available range is -6–0–5.
fig.01-24
When you release the [Song] button, you return to the previous screen.
2.
To return to the original key, hold down the [Song] button
and press the C key (the tonic of C Major).
Example: Playing a Song in the Key of E Major After Transposition
to C Major
Hold down the [Song] button and press the E key (since E is the tonic).
Counting from C as a reference point, one moves up four keys, including the
black keys, to reach E, thus “4” appears in the display.
fig.01-25
22
By holding down the [Song]
button and pressing both
the [-] and [+] buttons
simultaneously, the setting
returns to its original value.
Chapter 1 Playing the Keyboard
Using the Metronome
Here’s how you can make use of the metronome.
fig.02-01
1, 2
1.
Press the [
sound.
(Metronome)] button to have the metronome
The [Tempo/Rhythm] button’s indicator flashes in red and green in time
with the beat selected at that time. The indicator lights in red on the
downbeats, and in green on weak beats.
The tempo appears in the display.
fig.02-02
2.
To stop the metronome, press the [
again.
(Metronome)] button
■ Changing the Tempo
1.
Press the [Tempo/Rhythm] button, so you have the tempo
displayed.
Pressing the [Tempo/Rhythm] button alternately displays the tempo and
the currently selected Rhythm number (indicated by an initial “r”).
When the tempo is displayed, the [-] and [+] buttons light in red.
2.
About Rhythm, refer to
“Chapter 2 Playing Along
with Rhythms” (p. 25).
Press the [-] or [+] button to adjust the tempo.
23
Chapter 1 Playing the Keyboard
■ Changing the Beat of Metronome
1.
While holding down the [Tempo/Rhythm] button, press the
[-] or [+] button.
The [Tempo/Rhythm] button’s indicator flashes in red.
The currently selected beat is displayed.
fig.02-03
2.
Press the [-] or [+] button to select the beat.
You can select from the following beats.
3.
Display
Beat
Display
Beat
2.2
2/2
6.4
6/4
0.4
Weak beats only
7.4
7/4
2.4
2/4
3.8
3/8
3.4
3/4
6.8
6/8
4.4
4/4
9.8
9/8
5.4
5/4
12.8
12/8
Press the [Tempo/Rhythm] button.
The button’s indicator returns to its previous state.
■ Changing the Volume
The volume of the metronome can be adjusted, with ten volume levels
available.
This is set to “5” when the instrument is turned on.
1.
While holding down the [
[-] or [+] button.
The [
(Metronome)] button, press the
(Metronome)] button’s indicator flashes in red.
The currently selected metronome volume is displayed.
fig.02-04
2.
Press the [-] or [+] button to adjust the volume.
3.
Press the [
(Metronome)] button.
The button’s indicator returns to its previous state.
24
NOTE
You cannot change the
metronome beat while a
song or Rhythm is being
played.
Chapter 2 Playing Along with Rhythms
What is Session Partner?
“Session Partner” Lets You Enjoy Playing with a Session-Like Feel
“Session Partner” is a function that lets you select the On/Off status of the
two Rhythm buttons along with the “Rhythm,” making it easy to add
accompaniment.
You can play intros, endings, and fill-ins (short phrases inserted at transition
points in the song) by pressing buttons as you play the keyboard.
Additionally, you can also have chord changes be made automatically as
you play the Rhythm, giving you piano performances with a session-like
feel—like having a whole band backing you.
What You Can Do With “Session Partner”
“Session Partner” lets you mainly do the following things.
• Play along to a Rhythm’s Drum Part in place of the metronome sound
(p. 26)
• Play piano with a session-like feel along with Rhythms while the chord
progression continues automatically (p. 26)
• Play the piano to provide your own accompaniment as you specify
chords with the left hand (the left part of the keyboard) (p. 31)
• Record Rhythms along with specified chords, then use the entire
keyboard to perform along with this prerecorded accompaniment (p. 35)
By changing the chords and Rhythms, even while playing the same melody,
you can easily enjoy creating all kinds of new arrangements.
We encourage you to enjoy the variety of performance options open to you
by using the “Session Partner” feature.
What are the FP-3’s “Rhythms?”
The FP-3 features internal “Rhythms” complementing Jazz, Rock, and other
various musical genres.
“Rhythms,” which combine rhythmic patterns, bass patterns, and other
elements found in different musical styles, form the foundation of
performance accompaniment in the “Session Partner” function.
Additionally, each Rhythm is composed of a “Drum Part” and a “Chord
Part.”
Drum Parts consist of drum sounds. Chord Parts are Parts in which chords
are played, with the bass sound forming the foundation, but also using other
instrumental sounds. You can play each of these Parts by pressing the
[Drums] and [Chord] buttons.
25
Chapter 2 Playing Along with Rhythms
Performing Along With Rhythms
fig.02-05
■ Performing Along With Drum Sounds
Now, try performing as the sound of the Rhythm’s Drum Part plays.
Since a wide variety of musical genres is provided, be sure to use a Rhythm
that best suits the song you are performing. Please refer to “Selecting a
Rhythm” (p. 28).
1.
Press the [Drums] button.
The [Drums] button’s indicator lights up, and the intro begins to play.
2.
When you press the [Drums] button once more, the ending is
played, and the Rhythm stops.
The [Drums] button’s indicator goes out.
■ Performing With Chord Parts
In addition to the Drum Parts, you can also perform with “Chord Parts” that
use bass and other sounds.
The chord progression is automatic, so feel free to play the melody any way
you like.
Furthermore, you can also stop the Chord Part during the performance and
have only the Drum Part continue playing.
1.
Press the [Chord] button.
The indicators for the [Chord] and [Drums] buttons light up, and the intro
begins to play.
2.
Press the [Chord] button, extinguishing the indicator.
The Chord Part sound stops, and only the Drum Part continues playing.
3.
When you press the [Drums] button once more, the ending is
played, and the Rhythm stops.
The lights for the [Chord] button and the [Drums] button go out.
26
You cannot play the
internal song and Rhythm
at the same time.
For more information on
the different Rhythm types,
refer to the “Rhythm List”
(p. 49).
To Immediately Stop a
Rhythm
You can press the [Play]
button to stop a Rhythm
immediately. Additionally,
when the [Drums] button
indicator is lit in red, if you
then press the [Drums]
button once more, you can
immediately stop the intro
or ending, even when
while these are being
played.
You can change the chord
progression patterns. Refer
to the “Chord Progression
Pattern List” (p. 50).
Press the [Chord] button again, getting the button’s indicator
to light.
The Chord Part sound starts playing again.
4.
NOTE
You can also specify the
chords to be played in a
Rhythm. For details, refer to
“Performing With the
Chord Progression
Specified in the Left Hand
(Rhythm Split Play)” (p. 31).
Chapter 2 Playing Along with Rhythms
Playing Only the Bass Sound of the Chord Part
A Rhythm’s Chord Part not only contains its fundamental bass sound, but
may also include the sound of instruments other than the bass. However,
you can have just the bass sound of such Chord Parts play.
You can also change the settings while the Rhythm is being played.
This setting is effective for all Rhythms until the FP-3’s power is turned off.
1.
Hold down the [Song] button and press the [Chord] button.
The indicators for the [Song] and [Chord] buttons flash in red.
fig.02-07
2.
Press the [-] or [+] button to select the setting.
Indication
On
OFF
3.
Description
All of the Chord Part’s sounds are played.
Only the Chord Part’s bass sound is played.
Press the [Song] button.
The indicators return to their previous state.
About the lighting of the [Drums] and [Chord] button indicators
The indicators of the [Drums] and [Chord] buttons indicate the status of the
Rhythm performance, as shown below.
Indicator
Dark
Lit in red
Performance
Performance is stopped
Intro/Fill-In/Ending is being played
Lit in green
Rhythm is being performed
27
Chapter 2 Playing Along with Rhythms
Selecting a Rhythm
Now, try changing the Rhythm being performed.
fig.02-09
2
1.
1 43
Press the [Tempo/Rhythm] button so that the Rhythm
number appears in the display.
Rhythm numbers are indicated by an “r” before the number.
When a Rhythm is displayed, the [-] and [+] buttons light in green.
fig.02-10
2.
Press the [-] or [+] button to select the Rhythm.
3.
Press the [Chord] or [Drums] button.
The button’s indicator lights up, and the intro of the selected Rhythm begins
to play.
4.
To stop the performance, press the [Drums] button.
An Ending is played, then the Rhythm stops.
The indicator for the [Chord] or [Drums] button goes out.
■ Changing Rhythms As You Perform
If you change Rhythms while a Rhythm is being played, the selected
Rhythm begins after the fill-in is played. The indicator for the [Chord]
button or [Drums] button lights in red while the fill-in is played.
What’s a “Fill In”?
A short improvisational phrase inserted at the bar line is called a “Fill In.”
The phrase best suited to the selected Rhythm is played.
28
NOTE
You cannot change
Rhythms while the intro or
ending is being played.
Chapter 2 Playing Along with Rhythms
Changing a Rhythm’s Tempo
You can change the tempo of the selected Rhythm.
Furthermore, you can change the tempo as the Rhythm is being played.
fig.02-08
2
1.
1
Press the [Tempo/Rhythm] button to have the tempo
displayed.
Pressing the [Tempo/Rhythm] button alternately displays the tempo and
the currently selected Rhythm number (indicated by an initial “r”).
When the tempo is displayed, the [-] and [+] buttons light in red.
2.
Press the [+] and [-] buttons to adjust the tempo.
The tempo can be changed within the range from
20 ~ 250.
When the [Chord] button or [Drums] button is pressed, the Rhythm is
played at the selected tempo.
Pressing both the [-] and [+] buttons simultaneously returns the tempo to
96.
29
Chapter 2 Playing Along with Rhythms
Selecting a Rhythm’s Chord Progression
When playing the Chord Part while performing, the chord progression is
automatic. You can change the chord progression pattern if you want.
These settings cannot be memorized independently for each Rhythm.
1.
Hold down the [Chord] button and press the [-] or [+] button.
For more information on
chord progression patterns,
refer to the “Chord
Progression Pattern List”
(p. 50).
The [Chord] button’s indicator flashes in red.
The currently selected chord progression pattern number and the root of the
beginning chord are displayed.
The performance stops when the Rhythm is played.
The root is indicated in the
display as shown below.
fig.02-11
Chord progression pattern number
2.
3.
The root of the beginning chord
Press the [-] or [+] button to change the chord progression
pattern.
Press the key corresponding to the root note of the first
chord.
The chord progression that follows is changed to match the specified chord.
fig.02-12
C
C
4.
E
D
F
E
F
A
G
B
A
B
Press the [Chord] button once more.
The button’s indicator returns to its previous state.
30
Display
C
C
d
E_
Letter
name
C
C
D
E
Display
E
F
F
G
Letter
name
E
F
F
G
Display
A_
A b_
b
Letter
name
A
A
B
B
You can specify chords
yourself in Split Play. For
details, refer to “Performing
With the Chord Progression
Specified in the Left Hand
(Rhythm Split Play)” (p. 31).
Chapter 2 Playing Along with Rhythms
Performing With the Chord Progression
Specified in the Left Hand (Rhythm Split Play)
Performing with the keyboard divided at a certain key into a left side and a
right side is called “Split Play.”
When using the Rhythm while Split Play is in effect, you can specify the
chords with the keys in the left part of the keyboard.
NOTE
When specifying the
chords in the left part of the
keyboard, Dual Play (p. 15)
is disabled in the right part.
fig.02-13
1, 5
4 2
1.
Press the [Split] button, getting its indicator to light.
2.
Press the [Chord] button, getting its indicator to light.
The indicators for the [Chord] and [Drums] buttons flash, and the FP-3 is
put into standby mode.
When the [Split] button is pressed while a performance is in progress, the
Rhythm stops.
3.
The chord is specified with a key in the left part of the
keyboard, and the Rhythm begins.
fig.02-14
F 3 (Split point)
The point at which the
keyboard is divided is
called the “split point”; you
can also change this split
point. For more
information, take a look at
“Changing the Keyboard’s
Split Point” (p. 17).
The range specified a chord
Specify the chord in the left part of the keyboard, and perform the melody
in the right side.
It is not necessary to continue holding down the keys for chords in the left
side. Even after you release the key, the same chord continues until the next
chord is played.
When specifying chords, sounds from the left side of the keyboard are not
played.
4.
To stop the Rhythm, press the [Drums] button.
After the ending is done, the performance stops.
The indicators for the [Chord] and [Drums] buttons then start flashing, and
the FP-3 is put into standby mode.
5.
You can specify chords
simply with your finger,
even without playing the
keys for all the chords’
constituent notes. For more
information about chord
fingering, refer to the “Chord
Fingering List” (p. 52).
To exit Split Play, press the [Split] button, extinguishing the
indicator.
While in Split Play, when
the [Chord] button is off,
and only the Drum part is
being played, you can
perform in the left side of
the keyboard using the
Lower Tone (p. 16).
31
Chapter 2 Playing Along with Rhythms
Changing the Volume Balance Between
the Keyboard and the Rhythm
When using Rhythms in a performance, you can change the balance
between the Rhythm volume and the volume of the performance played on
the keyboard.
When the power is turned on, the volume balance is set to “5–5” (“Keyboard
volume” – “Rhythm volume”).
When you change the
volume balance between
the keyboard and the
Rhythm, the volume
balance between the
keyboard and the internal
song may change.
fig.02-15
2
1.
Hold down the [Song] button and press the [Drums] button.
The [Song] and [Drums] buttons’ indicator flashes in red.
The selected volume balance appears in the display.
fig.02-16
Keyboard volume
2.
Rhythm volume
Press the [-] or [+] button to adjust the volume balance.
To restore the normal default volume balance, press the [-] and [+] buttons
simultaneously.
3.
Press the [Song] button.
The buttons’ indicator return to their previous state.
32
1
3
Chapter 3 Recording a Performance
You can easily record your performances.
You can play back a performance you have recorded to check what and how
you played, and play melodies on the keyboard along with prerecorded
accompaniment using the Rhythm.
Notes Regarding Recording
• Only one song can be recorded. With second or later recordings, the
previously recorded song is erased as the new material is recorded.
When recording a new performance, it is probably a good idea to erase
the previously recorded performance first (p. 37).
To Record Without Erasing
the Previously Recorded
Performance...
1st Pass
• Recorded performances are erased when the power is turned off.
2nd Pass
Recording a Performance
The first Performance is preserved
This records only what you play on the keyboard, without using the Rhythm.
fig.03-01
3
1.
2
4 6, 8 7 5
Press the [Song] button, getting its indicator to light.
The song number appears in the display.
2.
3.
4.
Press the [-] button to display the “USr.”
Select the Tone to be played.
If necessary, sound the metronome.
1
NOTE
When you record
additional material without
erasing the previously
recorded sounds, the song
is recorded at the initially
recorded tempo.
While listening the metronome, select the tempo and beat of the song (p. 23).
5.
Press the [Rec] button.
The [Rec] button’s indicator lights, the [Play] button’s indicator begins
flashing, and the FP-3 is put into recording standby.
6.
Press the [Play] button or play a key on the keyboard to
begin recording.
Press the [Play] button, and after two measures of count sound, recording
begins.
Recording will begin when you start playing the keyboard, even if you do
not press the [Play] button. In this case, a count is not sounded.
7.
Press the [Rec] button or the [Play] button to stop recording.
The indicators for the [Rec] and [Play] buttons are extinguished, and
recording stops.
Listening to the Recorded Performance
8.
Press the [Play] button.
Press the [Play] button again, and playback stops.
During the count-in, the
count measure is indicated
in the display as “-2” then
“-1.”
About “USr” in the
Display
When recording is stopped,
the “
” indication
changes to “
” in the
display. The “.” in the
display indicates that there
is Performance material
already recorded.
33
Chapter 3 Recording a Performance
■ Recording a Performance Using Rhythms
NOTE
You can also easily record session performances to the internal Rhythms
and chord progressions.
fig.03-02
1
1.
1
4 3
5 2
Select the Tone or Rhythm to be played.
Also set the Rhythm tempo to one that is easier to play (p. 29).
2.
When you record
additional material without
erasing the previously
recorded sounds, the song
is recorded at the initially
recorded tempo.
Press the [Rec] button.
For more on selecting tone
and Rhythm, refer to p. 14
and p. 28.
The [Rec] button’s indicator lights up, the [Play] button’s indicator flashes,
and the FP-3 is put into recording standby.
3.
Press the [Chord] button or the [Drums] button to begin
recording.
The Rhythm starts to play, while simultaneously recording begins.
4.
Press the [Drums] button to stop recording.
The ending is played, and the performance and recording stop.
When you press the [Rec] button or the [Play] button, recording stops
without the ending being played.
Listening to the Recorded Performance
5.
34
Press the [Play] button.
Press the [Play] button again to stop playback.
For more information on
the different Rhythm and
Chord progression pattern,
refer to the “Rhythm List”
(p. 49) and “Chord
Progression Pattern List”
(p. 50).
NOTE
A Rhythm cannot be
started while recording is
in progress.
Chapter 3 Recording a Performance
■ Recording a Performance Using Rhythms
(in Split Play)
NOTE
Specify the chord progression yourself to record session performances with
even greater freedom.
By prerecording only the Rhythm (accompaniment) using your preferred
chord progressions, you can then use the entire keyboard in session
performances as you play along with the playback of this recording.
When you record
additional material without
erasing the previously
recorded sounds, the song
is recorded at the initially
recorded tempo.
fig.03-06
3
1.
1
6 4
7 2
Select the Tone or Rhythm to be played.
Also set the Rhythm tempo to one that is easier to play (p. 29).
2.
Press the [Rec] button.
The [Rec] button’s indicator lights up, the [Play] button’s indicator flashes,
and the FP-3 is put into recording standby.
3.
Press the [Split] button, getting its indicator to light.
The keyboard is set to Split Play.
4.
Press the [Chord] button.
The indicators for the [Chord] and [Drums] buttons flash, and the FP-3 is
put into standby mode.
5.
Specify a chord by playing it on the left-hand keyboard
section.
The Rhythm’s intro starts to play, and at the same time, recording begins.
Record the accompaniment while specifying the chords in the left part of the
keyboard.
6.
Press the [Drums] button to stop recording.
The ending is played, and then the Rhythm and recording stop.
When you press the [Rec] button or the [Play] button, recording stops
without the ending being played.
Listening to the Recorded Performance
7.
Press the [Play] button.
Press the [Play] button again to stop playback.
35
Chapter 3 Recording a Performance
■ Recording Selected Track buttons
FP-3’s Recorder has three Track buttons.
When you press the [Rec] button, all Track buttons are set to be recorded,
but by selecting Track buttons that are not to be recorded, you can then
record only on the specific Track buttons you want.
For example, you can record each hand’s performance to different Track
buttons, or record over only certain Track buttons in a previously recorded
performance.
Only sounds from Drum set tones and Rhythm sounds can be recorded to
NOTE
When you record
additional material without
erasing the previously
recorded sounds, the song
is recorded at the initially
recorded tempo.
the [Drums (R)] button.
fig.03-03
1.
While holding down the [Rec] button, and turn off the
indicator light for the Track button, whether the [Drums (R)],
[Chord (1)], or [
(2)] button, for any track not to be recorded.
The [Rec] button’s indicator lights up, the [Play] button’s indicator flashes,
and the FP-3 is put into recording standby.
With the FP-3 in standby, go on to record the performance according to the
procedures as described in “Recording a Performance” (p. 33), “Recording
a Performance Using Rhythms” (p. 34) or “Recording a Performance Using
Rhythms (in Split Play)” (p. 35), starting from Step 3.
The performance is recorded only to the Track buttons whose indicator was lit.
About the Lighting of
Track Button Indicators
when the [Rec] Button
Is Pressed
Dark
Lit in orange Recording
Data Recorded
Lit in red
Recording along with internal songs
You can also record your own performance as you play along with the
internal piano songs.
When recording to specific Track buttons, the sounds on the selected Track
buttons are not played. For example, you can record what you are playing
with your right hand as you listen to the left-hand part.
1.
2.
With the [Song], [-] and [+] buttons select the song.
Hold down the [Rec] button and light the indicator for the
track button of the track you intend to play yourself.
The [Rec] button’s indicator lights up, the [Play] button’s indicator flashes,
and the FP-3 is put into recording standby.
3.
Press the [Play] button to start recording.
The material at the Track button whose indicator was lit in Step 2 is not
played.
4.
36
Press the [Rec] or [Play] button to stop recording.
Not Recording
Recording
No Data
Recorded
Correspondence
Between Internal Piano
Song Track Buttons
and Performance
[1] button: left-hand Part
[2] button: right-hand Part
No performance data is
assigned to the [R] button.
NOTE
When recording along with
an internal song, you will
not be able to obtain
playback at a modified
tempo.
Chapter 3 Recording a Performance
Erasing Recorded Performances
You can erase recorded performances.
fig.03-04
2
1.
1
Hold down the [Song] button and press the [Rec] button.
A confirmation message appears in the display.
fig.03-05
Flashes in green Flashes in red
2.
Flashes in green
Press the [Rec] button.
The recorded performance is erased.
If you do not want to erase the performance, press the [Play] or [Song]
button.
Correspondence Between Recorded Performance and
Track Buttons
A recorded performance will be assigned to the Track buttons as follows.
Track button
*
Performance recorded
[R]
• Rhythm (Drums Part, Chord Part) (p. 25)
• A performance of drum set tones
[1]
• Lower Tone in Dual play or Split play (p. 15, p. 16)
[2]
• The performance of the entire keyboard (except drum
set tones)
• Upper Tone in Dual play or Split play (p. 15, p. 16)
You can also record to the [1] button regular keyboard performances in which
only the [1] button is specified.
37
Chapter 4 Other Functions
Changing the Damper
Pedal’s Resonance
On an acoustic piano, depressing the damper pedal makes
fig.04-02
Flashes in red
Flashes in red
the notes you play resonate with other strings, adding rich
reverberations and fatness to the sound. The damper pedal
on the FP-3 recreates this resonance (Sympathetic Resonance)
when depressed.
You can select from ten levels of depth for the resonant
sound (resonance level).
2. Press the [-] or [+] button to select the pedal
function.
Indication
Description
1 (Soft Pedal)
Sets function to soft pedal. Setting made
when the instrument is turned on.
This is set to “5” when the instrument is turned on.
* This setting is effective only with tones 1, 2 and 5 for the
[Piano] button. You cannot make this setting with other tones.
2 (Sostenuto
When the pedal is pressed, only the
Pedal)
sounds of the keys being pressed are sustained. Connect the supplied pedal or a
1. Hold down the [Reverb] and [Chorus] buttons
separately available pedal.
and press the [-] or [+] button.
3 (Expres-
Allows control of the volume. You can
The indicators for the [Reverb] and [Chorus] buttons
sion Pedal)
also change the volume with the [Vol-
flash in red.
ume] knob, but by using this pedal you
The resonance for the currently selected tone appears in
can change the volume level without tak-
the display.
ing your hands off the keyboard. Connect a separately available expression
fig.04-01
pedal (EV-5).
4 (Start/Stop)
Flash in red
You can control the start/stop of
Rhythms by pressing the pedal, instead
of pressing the buttons.
2. Press the [-] or [+] button to select the resonance
level.
3. Press the [Reverb] or [Chorus] button.
The indicators return to their previous state.
If you press the pedal when the Rhythm
is stopped, the Rhythm begins from the
intro (the same result as the [Chord] button being pressed).
If you press the pedal when the Rhythm
is playing, the ending is played and the
Rhythm stops (the same result as the
Changing How the Pedals
Work
[Drums] button being pressed).
You cannot start only the Drum Part, or
stop only the Chord Part by pressing the
pedal. (See p. 26.)
Although a pedal connected to the Pedal [Soft] jack normally
functions as a soft pedal (p. 10), it can also be set to function
as a sostenuto pedal or expression pedal.
For use as a sostenuto pedal, connect the supplied pedal or a
separately available pedal. For use as an expression pedal,
connect the separately available expression pedal (EV-5).
When the instrument is turned on, this is set to function as a
soft pedal.
1. Hold down the [Song] button and press the
[E.Piano] button.
The indicators for the [Song] and [E.Piano] buttons flash
in red.
38
3. Press the [Song] button.
The indicators return to their previous state.
* Use only the specified expression pedal (EV-5; sold separately).
By connecting any other expression pedal, you risk causing
malfunction and/or damage to the unit.
* Be sure to switch off the power to the unit before attempting to
disconnect or connect a pedal cord.
Chapter 4 Other Functions
Changing How the Pedal
Effects Are Applied
When the pedal is pressed in Dual Play (p. 15) or Split Play
Changing the Pitch of the
Lower Tone in Octave Steps
(Octave Shift)
(p. 16), the pedal’s effect is applied to both the Upper Tone
You can change the pitch of the Lower Tone in Dual Play
and the Lower Tone, but you can change the settings for the
(p. 15) and Split Play (p. 16) an octave at a time.
tone to which the effect is applied.
Altering the pitch in one-octave units in this way is called
When the instrument is turned on, the setting determining
how the effects are applied is the same for both the Upper
Tone and the Lower Tone (“1” in the table below).
1. Hold down the [Song] button and press the
“Octave Shift.”
For example, you can raise the pitch of the Lower Tone to the
same pitch of the Upper Tone in Split Play.
The range of available pitch change spans from two octaves
[Organ] button.
higher to two octaves lower.
The indicators for the [Song] and [Organ] buttons flash
This setting remains in effect until you turn off the power.
in red.
1. Hold down the [Song] button and press the
fig.04-03
[Piano] button.
The indicators for the [Song] and [Piano] buttons flash in
Flashes in red
Flashes in red
red.
fig.04-04
2. Press the [-] or [+] button to select how the pedal
effects are to be applied.
Indication
1
Description
3
Flashes in red
Upper
Tone
❍
❍
Right Pedal
❍
❍
Left Pedal
is pressed, while each press of the [+] button raises the
x
❍
Right Pedal
pitch by one octave.
Upper Tone
x
❍
Left Pedal
Left pedal
❍
❍
Right Pedal
❍
x
Left Pedal
All enabled
Applied
2
Flashes in red
Lower
Tone
Pedal
2. Press the [-] or [+] button to select the pitch.
To return to the original pitch, press the [-] and [+]
only to the
enabled for
Lower Tone
The pitch is lowered one octave each time the [-] button
buttons simultaneously.
3. Press the [Song] button.
The indicators return to their previous state.
only
* Right pedal—connect to the [Damper] jack
* Left pedal—connect to the [Soft] jack
3. Press the [Song] button.
The indicators return to their previous state.
39
Chapter 4 Other Functions
Tuning to Other Instruments’
Pitches (Master Tuning)
Adjusting the Tuning
When playing ensemble with other instruments and in other
their original tuning.
such instances, you can match the standard pitch to another
Most modern songs are composed and played with the
instrument.
assumption that equal temperament (the most common
The standard pitch generally refers to the pitch of the note
tuning in use today) will be used, but when classical music
that’s played when you finger the middle A key. For a
was composed, there were a wide variety of other tuning
cleaner ensemble sound while performing with one or more
systems in existence. Playing a composition with its original
other instruments, ensure that each instrument’s basic pitch
tuning lets you enjoy the sonorities of the chords that the
is in tune with that of the other instruments. This tuning of
composer originally intended.
all the instruments to a standard pitch is called “master
1. Hold down the [Song] button and press the
You can play classical music such as baroque pieces using
tuning.”
[Chorus] button.
You can set the standard pitch anywhere in a range of 415.3
The indicators for the [Song] and [Chorus] buttons flash
Hz to 466.2 Hz.
in red.
When the instrument is turned on, the standard pitch is set to
fig.04-06
“440.0 Hz.”
This setting remains in effect until you turn off the power.
Flashes in red
1. Hold down the [Song] button and press the
[Voice/Winds] button.
Flashes in red
Temperament Tonic
The indicators for the [Song] and [Voice/Winds] buttons
flash in red.
2. Press the [-] or [+] button to change the
temperament, and press the key corresponding to
the keynote.
fig.04-05
You can choose from among the seven tunings described
Flashes in red
below.
Flashes in red
Temperament
The last three digits of the current standard pitch setting
1
Equal
appear in the display.
In this tuning, each octave is
divided into twelve equal steps.
Every interval produces about the
2. Press the [-] or [+] button to change the standard
same amount of slight dissonance.
pitch.
This setting is in effect when you
The pitch is lowered 0.1 Hz each time the [-] button is
turn on the power.
pressed. When the button is held down, the pitch drops
continuously.
Qualities
2
Pythagorean
This tuning, devised by the philos-
The pitch is raised 0.1 Hz each time the [+] button is
opher Pythagoras, eliminates dis-
pressed. When the button is held down, the pitch rises
sonance in fourths and fifths.
continuously.
Dissonance is produced by thirdinterval chords, but melodies are
To return to the original pitch, press the [-] and [+]
euphonious.
buttons simultaneously.
3. Press the [Song] button.
The indicators return to their previous state.
3
Just Major
This tuning eliminates ambiguities
in the fifths and thirds. It is
unsuited to playing melodies and
cannot be transposed, but is capable of beautiful sonorities.
40
Chapter 4 Other Functions
Temperament
Just Minor
4
Changing the Beat Pattern
Qualities
The Just tunings differ from major
and minor keys. You can get the
same effect with the minor scale as
with the major scale.
Mean Tone
5
but you can change the beat pattern to sound, for example,
one beat for every dotted quarter note.
1. Hold down the [Song] button and press the
This scale makes some compro-
Werckmeister
6
The metronome usually sounds one beat per quarter note,
mises in just intonation, enabling
[
(Metronome)] button.
transposition to other keys.
The indicators for the [Song] and [
(Metronome)]
buttons flash in red.
This temperament combines the
Mean Tone and Pythagorean tun-
fig.04-07
ings. Performances are possible in
all keys (first technique, III).
Kirnberger
7
Flashes in red
This is an improvement of the
Flashes in red
Mean Tone and Just tunings that
provides a high degree of freedom
of modulation. Performances are
2. Press the [-] or [+] button to change the beat
division.
possible in all keys (III).
Indication
The display is as follows:
The metronome sounds in the ordinary way.
—
fig.Chart3
Description
(Normal)
Display
C
d_
d
E_
E
F
F
G
A_ A
b_
b
Letter
name
C
D
D
E
E
F
F
G
A
B
B
A
When playing with tuning other than equal
temperament, you need to specify the keynote for tuning
the song to be performed (that is, the note that
corresponds to C for a major key or to A for a minor
key).
If you choose an equal temperament, there’s no need to
select a keynote.
3. Press the [Song] button.
The metronome plays with a backbeat added
A1
to each beat.
A2
Counting is with triplets for each beat.
A3
The added sounds are shuffled.
2. (
)
2 (
)
4. (
)
4 (
)
8. (
)
8(
)
16 (
)
The indicators buttons return to their original state.
* When performing in ensemble with other instruments, be
aware that depending on the key, there may be some shifting of
the pitch. Tune the FP-3 to the fundamental pitch of the other
instruments.
Counting starts at the beginning of the measure, in intervals of dotted half-note upbeats.
Counting starts at the beginning of the measure, in intervals of half-note upbeats.
Counting starts at the beginning of the measure,
in intervals of dotted quarter-note upbeats.
Counting starts at the beginning of the measure, in intervals of quarter-note upbeats.
Counting starts at the beginning of the measure, in intervals of dotted eighth-note upbeats.
Counting starts at the beginning of the measure, in intervals of eighth-note upbeats.
Counting starts at the beginning of the measure, in intervals of sixteenth-note upbeats.
3. Press the [Song] button.
The indicators return to their previous state.
→ If you select “A1” with a triplet rhythm (6/8, 9/8, 12/8), the
additional sound is played in the same way as “A2.”
→ Refer to “Using the Metronome” (p. 23).
41
Chapter 4 Other Functions
Connecting MIDI Devices
■ How to Enjoy MIDI
Recording Data of Performances Played on the FP-3 to a
About MIDI
Sequencer* and Automatically Playing Recorded
MIDI stands for “Musical Instrument Digital Interface,” and
is a worldwide standard for the exchange of performance
data (MIDI messages) and other information among
electronic instruments and computers.
The FP-3 features a MIDI connector and a computer
connector to allow performance information to be exchanged
with external devices. Connecting the keyboard to other
devices with these connectors provides you with an even
greater variety of ways to use your keyboard.
Performance Data on the FP-3
* A separate publication titled “MIDI Implementation” is also
available. It provides complete details concerning the way
MIDI has been implemented on this unit. If you should require
this publication (such as when you intend to carry out bytelevel programming), please contact the nearest Roland Service
Center or authorized Roland distributor.
■ Connectors
fig.04-08
Connection example:
Connecting to a sequencer (the Roland MT series, etc.)
fig.04-09.e
Sequencer
* The MT-80s has no MIDI
Out connector.
Out
MIDI
In
FP-3
Damper
Soft
R
Out
Pedal
In
MIDI
L (Mono)
R
L (Mono)
Stereo
Stereo
Line In
Line Out
→ When connecting a sequencer, we recommend using it with
the settings described below.
• Local Control off (p. 43)
• MIDI Out Mode 1 (p. 44)
When the instrument is turned on, MIDI Out Mode is set
to “1.”
Performing on the FP-3 Using Sounds from Another
Out
In
MIDI
MIDI Out Connector
Sound Module*
Connection Example: Connecting to a MIDI Sound Module
fig.04-10.e
Sends data about what is being played on the keyboard and
Sound Module
other performance data.
THRU
MIDI
OUT
IN
Connect to the MIDI in connector on the external MIDI device.
MIDI In connector
FP-3
Receives messages sent from external MIDI devices.
Connect to the MIDI Out connector on the external MIDI device.
■ Making the Connections
* 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.
Damper
R
Soft
Out
Pedal
In
MIDI
L (Mono)
R
L (Mono)
Stereo
Stereo
Line In
Line Out
→ When connecting to a MIDI sound module, we recommend
using the system with MIDI Out Mode set to “2” (p. 44).
When the instrument is turned on, MIDI Out Mode is set to
“1.”
1. Turn the volume all the way down on the FP-3
and on the device you’re about to connect.
2. Turn off the power to the FP-3 and to the device
being connected.
3. Connect a MIDI cable (sold separately) between
the MIDI connectors on each device.
4. Switch on the power to the FP-3 and the
connected device.
5. Adjust the volume level on the FP-3 and the
connected device.
6. You should also set the MIDI settings as needed.
Make the settings for the MIDI send and receive
channels (p. 43) and for Local On/Off (p. 43).
42
What is a Sequencer?
A sequencer is a device that records the stream of MIDI
messages that is sent out by an instrument. These messages
convey all the details of what has occurred while the
instrument is played; including the timing of notes, their
sound, the force used to play them, and for how long.
Afterwards, you can send the recorded MIDI information
back to the instrument, and it will play automatically.
What is a MIDI Sound Module?
Inside a synthesizer or electronic piano is the section that
actually produces sound, known as the sound module. A
MIDI sound module produces sounds as the result of MIDI
messages sent to it by other devices.
Chapter 4 Other Functions
■ MIDI Settings
Local Control ON: The keyboard and the internal sound
MIDI Send Channel Settings
generator are in a linked state.
fig.04-13.e
MIDI features sixteen MIDI channels, numbered 1–16.
Sound is emitted
Simply connecting a cable is not enough for communication
to take place. The connected devices must be set to use the
same MIDI channels. Otherwise, no sound will be produced,
Sound Generator
and no sounds can be selected.
Local On
Select the transmission channel (1–16) of the FP-3.
When the instrument is turned on, this is set to Channel “1.”
The FP-3 receives messages on all channels, 1–16.
* When the keyboard is split into left and right sides, the
transmission channel for messages from the left-hand side is
fixed at “3.”
* When a Drum Set Tone is assigned to the keyboard, the
transmission channel is fixed at “10.”
Local Control OFF: The keyboard and the internal sound
generator are in an unlinked state. No sound will be
produced by the keyboard when it is played.
fig.04-14.e
No sound produced
1. Hold down the [Song] button and press the
[Guitar/Bass] button.
Sound Generator
The indicators for the [Song] and [Guitar/Bass] buttons
Local Off
flash in red.
fig.04-11
Flashes in red
Flashes in red
2. Press the [-] or [+] button to select the
transmission channel.
* When connecting a unit in the Roland MT series, you don’t
need to switch off Local Control. MT units transmit Local Off
messages when their power is switched on. If you first switch
on the FP-3, then the MT-series device, Local Control is
automatically switched off on the FP-3.
1. Hold down the [Song] button and press the
3. Press the [Song] button.
The indicators return to their previous state.
Switching Local Control On and Off
When connecting a MIDI sequencer, set Local Control to “Off.”
[Tempo/Rhythm] button.
The indicators for the [Song] and [Tempo/Rhythm]
buttons flash in red.
fig.04-15
When the instrument is turned on, this is set to “On.”
As illustrated, information describing what has been played
on the keyboard is passed to the internal sound generator
Flashes in red
Flashes in red
over two different routes, (1) and (2). As a result, you hear
overlapping or intermittent sounds. To prevent this from
happening, route (1) must be severed, by setting the unit to
what is known as “Local Off.”
2. Press the [-] or [+] button to switch Local Control
on and off.
3. Press the [Song] button.
fig.04-12.e
(1) Local On
Sequencer
Sound
Generator
MIDI
IN
The indicators return to their previous state.
MIDI
OUT
Memory
MIDI
OUT
Each note played
is sounded twice
MIDI
IN
(2) Thru function On
43
Chapter 4 Other Functions
Setting the MIDI Out Mode
3. Press the [Song] button.
By setting the MIDI Out Mode, you can select to have a more
suitable (to the external MIDI device) selection of MIDI data
be output from the MIDI Out connector when you make tone
changes on the FP-3.
Three settings for the MIDI Out Mode are available.
“MIDI Out Mode 1” is the power-up default setting.
MIDI
Descriptions
Out
Mode
1
MIDI
This setting is suitable for the connec-
Out
tion of sequencers. The MIDI informa-
Mode 1
tion shown below is output from the
MIDI Out connector when you make a
tone change on the FP-3.
When recording something on a
sequencer, this mode should assure that
when you play back the performance
on the FP-3, you will hear the same
tones used when the performance was
recorded.
• Program Change
• Reverb or chorus effect on/off
• Reverb or chorus effect depth
• Sympathetic resonance depth
MIDI
2
This setting is suited for connecting to a
Out
sound module. The MIDI information
Mode 2
on tone and effect is not output from
the MIDI Out connector when you
make a tone change on the FP-3.
3
MIDI
You can transmit performance data
Out
recorded with the FP-3. Additionally,
Mode 3
the MIDI messages that are output have
the same content as those in MIDI Out
Mode 1.
1. Hold down the [Song] button and press the
[Strings/Pad] button.
The indicators for the [Song] and [Strings/Pad] buttons
flash in red.
fig.04-17
Flashes in red
Flashes in red
2. Press the [-] or [+] button to select the MIDI Out
Mode.
44
The indicators return to their previous state.
Troubleshooting
If you think there’s a problem, read this first.
Case
No Power
No Sound
Cause/What to do
Case
Is the power cord properly connected? (p. 8)
Is the [Song] button indicator lit in green?
(p. 12)
Is the volume level of the FP-3 (p. 11) or con-
Songs cannot be played back when the [Song]
nected device turned all the way down?
Is the power to all devices turned on? (p. 10)
Cause/What to do
button’s indicator is on. Press the [Song] butSong Doesn’t Play
ton, getting its indicator to light.
Back
Does “dEL” appear in the display? (p. 13)
No Sound (With a
Is the MIDI cable connected and plugged in
MIDI Device Con-
correctly? (p. 42)
The internal songs cannot be played back
Does the MIDI channel match the connected
while recorded performance data remains in
instrument? (p. 43)
the FP-3’s memory. Try playing back the song
nected)
No Sound, Even
When Key is
Pressed
The Volume of the
Keyboard is Too
Low
after deleting the performance data.
Is Local Off selected? When Local Control is
set to OFF, no sound is produced by playing
The Volume of
Is the volume balance for the Rhythm (and
the keyboard. Set Local Control to “ON”
Internal Song is
internal song) turned all the way down?
(p. 43).
Too Low
(p. 32)
Is the volume balance for the keyboard
Only the Sound of
turned all the way down? (p. 32)
a Particular Instrument in a Song
Is the [Split] button’s indicator on? (p. 31)
No Sound From
No sound from the left side is produced if the
the Left Side
[Split] button’s indicator is on while the
Does Not Play
Cannot Select
Is the FP-3 in Dual Play? (p. 15)
Tone or Rhythm
Two Sounds are
Produced When
the Keyboard is
sequencer, set it to the Local OFF mode (p.
Played
43). Alternatively, set SOFT THRU on the
Cannot Record
the light is illuminated.
When the [Song] button indicator flashes in
red it means that setting of functions is in
progress. Press the [Song] button once more,
Have you selected which of the Track Buttons
to be recorded? (p. 36)
song that features tempo changes, the tempos
voices. When playing together with a song or
of Performances recorded on other tracks are
Rhythm along with heavy use of the damper
altered along with these changes. In addition,
pedal, the performance data may exceed the
Tempo of
number of available voices, and as a result,
the Metronome tempo is also changed the
Recorded Song or
some notes or sounds played on the key-
same way.
Metronome is Off
board may not sound.
The Keyboard or
Are the settings for the Temperament (p. 40)
Song Register or
correct?
Is the setting for Master Tuning correct?
(p. 40)
Rhythm Does Not
Is the volume balance for the Rhythm turned
Sound
all the way down? (p. 32)
Chords Not Rec-
Is the [Split] button’s indicator off (p. 31)
ognized in the Left
When the [Split] button’s indicator is off
Side When Playing
while the Chord part is playing, the chord
Rhythms
progression then proceeds automatically.
When you record additional material
without erasing the previously recorded
Have you set Transpose? (p. 22)
Pitch is Off
track is not heard. Press the track button so
When you select for recording an internal
The FP-3 has a maximum polyphony of 64
Played
down the [Play] button, the music on that
then select the tone or Rhythm.
sequencer to “OFF.”
Not All Sounds Are
If the button’s light is out when you hold
Is the [Song] button indicator flashing in red?
Chord part is playing.
When the FP-3 is connected to an external
Is Track Mute on? (p. 13)
sounds, the song is recorded at the initially recorded tempo. (p. 37)
Performances that have been recorded are
Recorded Perfor-
erased when the power for the FP-3 is turned
mance is Erased
off or when a song is selected. Once erased,
Performances cannot be recovered.
45
Troubleshooting
Case
Cause/What to do
Case
Cause/What to do
Is the pedal connected correctly?
When listening through speakers:
Connect the pedal securely to the Pedal jack
Playing at loud volumes may cause instru-
(p. 10).
ments near the FP-3 to resonate. Resonation
Pedal Has No
Unplugging a pedal cord from the unit while
Effect, or Effect
the power is on may cause the pedal’s effect
“Sticks”
to be applied nonstop.
can also occur with fluorescent light tubes,
glass doors, and other objects. In particular,
this problem occurs more easily when the
bass component is increased, and when the
Be sure to switch off the power to the unit
sound is played at higher volumes. Use the
before attempting to disconnect or connect a
pedal cord (p. 10).
As the FP-3 piano sounds faithfully repro-
Low End Sounds
following measures to suppress such reso-
Are Strange/Have
nance.
a Rattling Sound
- Place speakers so they are 10–15 cm from
Reverb Remains
duce the depth and reverberation of actual
walls and other surfaces.
Even After Reverb
acoustic pianos, reverberation may still be
- Reduce the volume.
is Lifted
audible even after the reverb effect is
- Move the speakers away from any resonat-
removed from sounds.
ing objects.
With the acoustic piano settings, sounds in
When listening through headphones:
the upper 1 1/2-octave range are extended to
The cause lies somewhere else. Consult your
the end regardless of the damper pedal
Roland dealer or nearest Roland Service Cen-
Sound Suddenly
actions. The tone is also different in this
ter.
Changes at Key in
range. Roland’s pianos faithfully reproduce
The Volume Level
Could you be using a connection cable that
Upper Octaves
the sonic qualities of acoustic pianos. Fur-
of the Instrument
contains a resistor?
thermore, you can use the instrument’s Key
Connected to Line
Use a connection cable that does not contain a
Transpose setting to change that range over
In Jack is Too Low.
resistor.
which the damper pedal has no effect.
When listening through headphones:
Certain piano tones that feature vibrant,
sparking sounds contain a large high-frequency component, which may make it
appear that a metallic reverberation has been
applied. This faithfully reproduces the characteristics of acoustic pianos, and does not
High-Pitched
Whine is Produced
indicate any malfunction. Since this reverberation becomes particularly audible when
supplemented by heavy reverb, you may be
able to diminish the problem by reducing the
amount of reverb applied to the sound.
When listening through speakers:
Here, a different cause (such as resonance
produced by the FP-3) would be suspect.
Consult your Roland dealer or nearest
Roland Service Center.
46
Error Messages/Other Messages
Display
USr
Usr.
Meaning
User. Stores recorded Performances. (p. 12, p. 33)
The “.” in the display indicates that there is Performance material already
recorded. (p. 12, p. 33)
d.
Demo song number. (p. 12, p. 36)
P.
Piano song number. (p. 12, p. 36)
r.
Rhythm number. (p. 28)
This appears when you attempt to delete a recorded song (p. 37).
dEL
Additionally, this appears after recording a song when you try to select
another song (p. 13).
E.32
The amount of performance information is too large, and further recording is
not possible.
Too much MIDI data was sent from the external MIDI instrument at one
E.40
time, and the unit could not process the data. Reduce the amount of MIDI
data being sent to the FP-3.
E.41
A problem such as a loose MIDI cable or computer cable occurred. Make sure
the MIDI cables and computer cables are correctly hooked up.
A system error has occurred. Try performing the procedure over again.
E.51
Should this message continue to appear even after repeated attempts, please
consult the nearest Roland Service Center.
* Error messages are indicated by an “E.” before the number
When the Error message appears, the [-] and [+] button indicators flashes in red.
Press the [-] or [+] button, and you can cancel the error message.
47
Tone List
→ “Performing with a Variety of Sounds” (p. 14)
Piano
1
2
3
4
5
6
Grand Piano 1*
Grand Piano 2*
Rock Piano
Honky-tonk
Upright Piano*
Harpsichord
* indicates a tone with sympathetic resonance (p. 38).
E.Piano
1
2
3
4
5
6
7
8
Stage Rhodes
Dyno Rhodes
E.Piano
Suitcase
Wurly
Clavi
Vibraphone
Vibra Bell
Organ
1
2
3
4
5
6
Jazz Organ*
Rock Organ
Full Organ*
Lower Organ*
Church Organ
Nason Flute 8’
* indicates a tone with rotary effect (p. 20).
Guitar/Bass
1
2
3
4
5
6
Acoustic Guitar
Jazz Guitar
Acoustic Bass
Acoustic Bass + Cymbal
Fingered Bass
Thum Voice
Strings/Pad
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
C2 36
37
38
39
40
41
42
43
44
45
46
47
C3 48
49
50
51
52
53
54
55
56
57
58
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
73
74
75
76
77
78
79
1
2
3
4
5
6
Slow Strings
Strings
Warm JP Strings
Holy Voice
Sugar Key
Harp
80
81
82
83
C6 84
85
86
87
88
89
Voice/Winds
90
91
92
1
2
3
4
5
6
7
8
Jazz Scat
Rich Choir
Dreamy Choir
Alto Sax
Flute
Trumpet
Pop Drum Set
Vox Drum Set
93
94
95
C7 96
97
98
99
100
101
102
103
104
105
Pop Drum Set
Vox Drum Set
R&B Snare
Rock Snare
Rock Snare
Pop Snare m
Pop Snare Ghost
Pop Snare m
Finger Snap
707 Claps
Hand Clap
[EXC7]
Hand Clap2
[EXC7]
Hand Clap
Pop Pedal HH
[EXC1]
Hand Clap
Pop Snare Ghost
Pop Kick
Pop Kick
Pop Side Stick
Pop Sanre s
Pop Snare Ghost
Pop Snare s
Pop Low Tom f
Pop CHH 1
[EXC1]
Pop Low Tom
Pop CHH 2
[EXC1]
Pop Mid Tom f
Pop OHH
[EXC1]
Pop Mid Tom
Pop High Tom f
Pop Crash Cymbal 1
Pop High Tom
Pop Ride Cymbal 1
Pop Chinees Cymbal
Pop Ride Bell
Tambourine 2
Splash Cymbal
Cha Cha Cowbell
Pop Crash Cymbal 2
Vibra-slap 2
Pop Ride Cymbal 2
High Bongo 2
Low Bongo 2
Mute Conga
High Conga 2
Low Conga 2
High Timbale 2
Low Timbale 2
High Agogo
Low Agogo
Shaker 3
Shaker 4
Short Hi Whistle
[EXC2]
Long Low Whistle [EXC2]
Short Guiro
[EXC3]
Long Guiro
[EXC3]
Claves
High Wood Block
Low Wood Block
Mute Cuica
[EXC4]
Open Cuica
[EXC4]
Mute Triangle
[EXC5]
Open Triangle
[EXC5]
Shaker
Jingle Bell
Bar Chime
Castanets
Mute Surdo
[EXC6]
Open Surdo
[EXC6]
----Falamenco Hi-Timbale
Falamenco Lo-Timbale
Falamenco Tmbl Flam
Shekere 1
Shekere 2
Low Bongo Mute
--------------------Falamenco HC
Falamenco HC
Bongo Cowbell
----Bongo Cowbell
-----
R&B Snare
Rock Snare
Rock Snare
Pop Snare m
Pop Snare Ghost
Pop Snare m
Finger Snap
707 Claps
Hand Clap
[EXC7]
Hand Clap2
[EXC7]
Hand Clap
Pop Pedal HH
Hand Clap
Vox Dut
Vox Dom
Vox Tuush
Vox Hehho
Vox Doyear
Vox Thu!
Vox That
Vox Aahhh
Vox Tu
Vox Dooh
Vox Ptu
Vox Down
Vox Pa
Vox Bom
Vox Toear
Vox Aahhu
Vox Toya
Vox Thu
Vox Cheey
Vox Cymm
Vox Tub
Vox Pruru
Vox Tut
Vox Tyun
Vox Tdum
Vox Afahhhh
High Bongo 2
Low Bongo 2
Mute Conga
High Conga 2
Low Conga 2
High Timbale 2
Low Timbale 2
High Agogo
Low Agogo
Shaker 3
Shaker 4
Short Hi Whistle
[EXC2]
Long Low Whistle [EXC2]
Short Guiro
[EXC3]
Long Guiro
[EXC3]
Claves
High Wood Block
Low Wood Block
Mute Cuica
[EXC4]
Open Cuica
[EXC4]
Mute Triangle
[EXC5]
Open Triangle
[EXC5]
Shaker
Jingle Bell
Bar Chime
Castanets
Mute Surdo
[EXC6]
Open Surdo
[EXC6]
----Falamenco Hi-Timbale
Falamenco Lo-Timbale
Falamenco Tmbl Flam
Shekere 1
Shekere 2
Low Bongo Mute
--------------------Falamenco HC
Falamenco HC
Bongo Cowbell
----Bongo Cowbell
-----
* ---: No sound.
* [EXC]: will not sound simultaneously with other percussion
instruments of the same number.
48
Rhythm List
→ “Selecting a Rhythm” (p. 28)
No.
Genre
r01
Pop
r02
Name
Recommended
Tempo
Beat
No.
Genre
Cutting Guitar 1
90 ~ 120
4/4
r31
Pop
Pop
Cutting Guitar 2
90 ~ 120
4/4
r32
r03
Pop
EP Pop 1
80 ~ 110
4/4
r04
Pop
EP Pop 2
80 ~ 110
r05
Pop
Acoustic Pop 1
r06
Pop
r07
Name
Recommended
Tempo
Beat
Funk Pop 1
90 ~ 120
4/4
Pop
Funk Pop 2
90 ~ 120
4/4
r33
Pop
Funk Pop 3
90 ~ 120
4/4
4/4
r34
Pop
Funk Pop 4
90 ~ 120
4/4
80 ~ 110
4/4
r35
Pop
Hip Hop 1
80 ~ 110
4/4
Acoustic Pop 2
80 ~ 110
4/4
r36
Pop
Hip Hop 2
80 ~ 110
4/4
Pop
Piano Pop 1
85 ~ 115
4/4
r37
Pop
Easy Pop 1
100 ~ 130
4/4
r08
Pop
Piano Pop 2
85 ~ 115
4/4
r38
Pop
Easy Pop 2
100 ~ 130
4/4
r09
Latin
Bossa Nova 1
110 ~ 140
4/4
r39
Pop
Cutting Guitar 3
90 ~ 120
4/4
r10
Latin
Bossa Nova 2
110 ~ 140
4/4
r40
Pop
Cutting Guitar 4
90 ~ 120
4/4
r11
Ballad
Ballad 1
70 ~ 100
4/4
r41
Pop
Fusion 1
85 ~ 115
4/4
r12
Ballad
Ballad 2
70 ~ 100
4/4
r42
Pop
Fusion 2
85 ~ 115
4/4
r13
Jazz
Scat Swing 1
100 ~ 130
4/4
r43
Pop
Contemporary 1
85 ~ 115
4/4
r14
Jazz
Scat Swing 2
100 ~ 130
4/4
r44
Pop
Contemporary 2
85 ~ 115
4/4
r15
Pop
Country Pop 1
85 ~ 115
4/4
r45
Ballad
Piano Ballad 1
50 ~ 80
4/4
r16
Pop
Country Pop 2
85 ~ 115
4/4
r46
Ballad
Piano Ballad 2
50 ~ 80
4/4
r17
Pop
EP Pop 3
80 ~ 110
4/4
r47
Ballad
Piano Ballad 3
75 ~ 105
4/4
r18
Pop
EP Pop 4
80 ~ 110
4/4
r48
Ballad
Piano Ballad 4
75 ~ 105
4/4
r19
Shuffle
Shuffle 1
110 ~ 140
4/4
r49
Waltz
Jazz Waltz 1
90 ~ 120
3/4
r20
Shuffle
Shuffle 2
110 ~ 140
4/4
r50
Waltz
Jazz Waltz 2
90 ~ 120
3/4
r21
Shuffle
Shuffle 3
130 ~ 160
4/4
r51
Waltz
Piano Waltz 1
85 ~ 115
3/4
r22
Shuffle
Shuffle 4
130 ~ 160
4/4
r52
Waltz
Piano Waltz 2
85 ~ 115
3/4
r23
Jazz
Jazz 1
110 ~ 140
4/4
r53
Rock
Gospel Shout 1
125 ~ 155
4/4
r24
Jazz
Jazz 2
110 ~ 140
4/4
r54
Rock
Gospel Shout 2
125 ~ 155
4/4
r25
Jazz
Jazz 3
100 ~ 130
4/4
r55
Blues
Boogie 1
145 ~ 175
4/4
r26
Jazz
Jazz 4
100 ~ 130
4/4
r56
Blues
Boogie 2
145 ~ 175
4/4
r27
Latin
Beguine 1
90 ~ 120
4/4
r57
Blues
Blues 1
60 ~ 90
4/4
r28
Latin
Beguine 2
90 ~ 120
4/4
r58
Blues
Blues 2
60 ~ 90
4/4
r29
Latin
Mambo 1
90 ~ 120
4/4
r59
Rock
Rock 1
110 ~ 140
4/4
r30
Latin
Mambo 2
90 ~ 120
4/4
r60
Rock
Rock 2
110 ~ 140
4/4
49
Chord Progression Pattern List
→ “Selecting a Rhythm’s Chord Progression” (p. 30)
Recommended Rhythm Genre: All
Pattern 1
C
Am
Dm7
G7
I
VIm
IIm7
V7
G
F
E7
Recommended Rhythm Genre: All
Pattern 2
Am
Im
VII
VI
V7
Recommended Rhythm Genre: Jazz
Pattern 3
CM7
Am7
Dm7
G7
I M7
VIm7
IIm7
V7
Dm7
G7
CM7
Am7
IIm7
V7
I M7
VIm7
Dm7
G7
CM7
A7
IIm7
V7
I M7
VI7
Bm7
Em7
Am
VIIm7
IIIm7
VIm
G
Csus4
C
V
I sus4
I
G7
CM7
FM7
Recommended Rhythm Genre: Pop, Ballad
Pattern 4
Recommended Rhythm Genre: Pop
C
I
Pattern 5
F
IV
Recommended Rhythm Genre: Ballad, Jazz
Dm7
Pattern 6
50
IVm7
VII7
III M7
VIM7
Bm7 5
E7
Am7
A7
IIm7 5
V7
I m7
I7
Chord Progression Pattern List
Recommended Rhythm Genre: Blues, Rock, Pop
Pattern 7
C7
F7
C7
I7
IV7
I7
F7
C7
IV7
I7
G7
F7
C7
G7
V7
IV7
I7
V7
Recommended Rhythm Genre: Jazz
CM7
Cdim
I M7
I dim
Dm9
G7
CM7
Dm9
IIm9
V7
I M7
IIm9
Pattern 8
CM7
Cdim
I M7
I dim
Dm9
G7
CM7
IIm9
V7
I M7
Recommended Rhythm Genre: Latin, Pop
C
Am7
I
VIm7
Pattern 9
Dm7
G7sus4
IIm7
V7sus4
51
Chord Fingering List
● symbol: indicates the constituent notes of chords.
★ symbol: Chords shown with an “★” can be played by pressing just the key marked with the “★”.
→ “Performing With the Chord Progression Specified in the Left Hand (Rhythm Split Play)” (p. 31)
52
C
C#
D
E
E
F
CM7
C#M7
DM7
E M7
EM7
FM7
C7
C#7
D7
E 7
E7
F7
Cm
C#m
Dm
E m
Em
Fm
Cm7
C#m7
Dm7
E m7
Em7
Fm7
Cdim
C#dim
Ddim
E dim
Edim
Fdim
Cm7 ( 5 )
C#m7 ( 5 )
Dm7 ( 5 )
E m7 ( 5 )
Em7 ( 5 )
Fm7 ( 5 )
Caug
C#aug
Daug
E aug
Eaug
Faug
Csus4
C#sus4
Dsus4
E sus4
Esus4
Fsus4
C7sus4
C#7sus4
D7sus4
E 7sus4
E7sus4
F7sus4
C6
C#6
D6
E 6
E6
F6
Cm6
C#m6
Dm6
E m6
Em6
Fm6
Chord Fingering List
F#
G
A
A
B
B
F#M7
GM7
A M7
AM7
B M7
BM7
F#7
G7
A 7
A7
B 7
B7
F#m
Gm
A m
Am
B m
Bm
F#m7
Gm7
A m7
Am7
B m7
Bm7
F#dim
Gdim
A dim
Adim
B dim
Bdim
F#m7 ( 5 )
Gm7 ( 5 )
A m7 ( 5 )
Am7 ( 5 )
B m7 ( 5 )
Bm7 ( 5 )
F#aug
Gaug
A aug
Aaug
B aug
Baug
F#sus4
Gsus4
A sus4
Asus4
B sus4
Bsus4
F#7sus4
G7sus4
A 7sus4
A7sus4
B 7sus4
B7sus4
F#6
G6
A 6
A6
B 6
B6
F#m6
Gm6
A m6
Am6
B m6
Bm6
53
Internal Song List
→ “Listening to Internal Songs” (p. 12)
Song
Song Title
Composer
Copyright
No.
d. 1
Jobs For The Boys
J. Maul
© 2000 John Maul
d. 2
Howz It Feel?
S. Wilkie
© 2000 Scott Wilkie (ASCAP)
d. 3
Bop on the Rock
J. Maul
© 1992 Roland Corporation
d. 4
Yesterday’s Dream
J. Maul
© 1992 Roland Corporation
P. 1
Arabesque No. 1 in E-Major
C. Debussy
© 1994 Roland Corporation
P. 2
Gymnopedie No. 1
E. Satie
© 1997 Roland Corporation
P. 3
Golliwog’s Cakewalk
C. Debussy
© 1996 Roland Corporation
P. 4
Je Te Veux
E. Satie
© 1997 Roland Corporation
P. 5
“Clair de lune” from “Suite Bergamasque”
C. Debussy
© 1990 Roland Corporation
P. 6
“Passepied” from “Suite Bergamasque”
C. Debussy
© 1998 Roland Corporation
P. 7
Nocturne No. 2 in E-flat Major, Op. 9-2
F. Chopin
© 1993 Roland Corporation
P. 8
“Troika Drive: November” from “The Seasons,” Op. 37
P. Tchaikovsky
© 1996 Roland Corporation
P. 9
Polonaise No. 6 in A-flat Major “Héroïque,” Op. 53 (Excerpt)
F. Chopin
© 1994 Roland Corporation
P.10
Piano Sonata No. 14 in C-sharp Minor, “Moonlight” 1st Movement
L. v. Beethoven
© 1998 Roland Corporation
P.11
Rhapsody No. 2, Op. 79
J. Brahms
© 1998 Roland Corporation
P.12
Nocturne No. 5 in F-sharp Major, Op. 15-2
F. Chopin
© 1990 Roland Corporation
P.13
Mazurka No.5 in B-flat Major, Op. 7-1
F. Chopin
© 1995 Roland Corporation
P.14
“Doctor Gradus Ad Parnassum” from Suite “Children’s Corner”
C. Debussy
© 1995 Roland Corporation
P.15
Turkish March, Op.113
L. v. Beethoven
© 1996 Roland Corporation
P.16
Etude Op. 25-1 in A-flat Major “The Shepherd Boy”
F. Chopin
© 1995 Roland Corporation
P.17
Etude No. 5 in G-flat Major “Black Keys,” Op. 10-5
F. Chopin
© 1990 Roland Corporation
P. 18
Fantasie-Impromptu Op.66
F. Chopin
© 1994 Roland Corporation
P.19
Valse No. 1 in E-flat Major, Op. 18 “Grand Valse Brillante”
F. Chopin
© 1998 Roland Corporation
P.20
Valse No. 6 in D-flat Major, Op. 64-1 “Petit Chien”
F. Chopin
© 1990 Roland Corporation
P.21
Valse No. 2 in A-flat Major, Op.34-1 “Valse Brillante”
F. Chopin
© 1994 Roland Corporation
P.22
Valse No. 7 in C-sharp Minor, Op. 64-2
F. Chopin
© 1996 Roland Corporation
P.23
Rondo Brillante “Aufforderung Zum Tanz” in D-flat Major, Op. 65
C. M. v. Weber
© 1994 Roland Corporation
P.24
Slavonic Dance No. 10, Op. 72-2
A. Dvorák
© 1998 Roland Corporation
J. S. Bach
© 1992 Roland Corporation
L. v. Beethoven
© 1994 Roland Corporation
W. A. Mozart
© 1994 Roland Corporation
W. A. Mozart
© 1994 Roland Corporation
P.25
P.26
P.27
P.28
Menuet in G Major, BWV. Anh. 114 from “Notebook Of Anna
Magdalena Bach”
Bagatelle “Für Elise” WoO. 59
12 Variationen Über Ein Französisches Lied “Ah, Vuos Dirai-Je,
Maman,” K. 265
Turkisch March (Piano Sonate No. 11 in A Major, 3rd Movement
“Alla Turca”)
P.29
Salut D’Amour Op. 12
E. Elgar
© 1996 Roland Corporation
P.30
A Maiden’s Prayer
T. Badarzewska
© 1996 Roland Corporation
54
Internal Song List
Song
Song Title
Composer
Copyright
No.
P.31
Spinnerlied Op. 14-4
A. Ellmenreich
© 1994 Roland Corporation
P.32
“Berceuse” from “Dolly,” Op. 56
G. Fauré
© 1995 Roland Corporation
P.33
3-Romances Sans Paroles No. 3, Op. 17
G. Fauré
© 1996 Roland Corporation
P.34
“Gavotte” from Opera “Rosine”
F. Gossec
© 1996 Roland Corporation
P.35
“Arietta” from “Lyric Pieces, Volume 1” Op. 12-1
E. Grieg
© 1996 Roland Corporation
P.36
Invention No. 4 in D Minor, BWV. 775
J. S. Bach
© 1998 Roland Corporation
P.37
Invention No. 13 in A-Minor
J. S. Bach
© 1997 Roland Corporation
P.38
Invention Three-Part (Sinfonia) No. 12 in A Major, BWV. 798
J. S. Bach
© 1998 Roland Corporation
P.39
1st Mov. from Sonatina Op. 20 No. 1 in C-Major
F. Kuhlau
© 1996 Roland Corporation
P.40
No. 14 “La Styrienne” from “25 Easy Studies” Op. 100
F. Burgmuller
© 1992 Roland Corporation
P.41
Harmonious Blacksmith
G. Handel
© 1996 Roland Corporation
P.42
La Cinquantaine
G. P. Marie
© 1996 Roland Corporation
P.43
Blumenlied
G. Lange
© 1996 Roland Corporation
P.44
On Wings Of Song
F. Mendelssohn
© 1996 Roland Corporation
P.45
“Frühlingslied” from “Lieder Ohne Worte Heft 5,” Op. 62-6
F. Mendelssohn
© 1996 Roland Corporation
P.46
Moment musicaux No. 3, Op. 94-3
F. Schubert
© 1994 Roland Corporation
P.47
Military March No. 1, Op. 51-1
F. Schubert
© 1998 Roland Corporation
P.48
“Fröhlicher Landmann” from “Album Für Die Jugend” Op. 68
R. Schumann
© 1996 Roland Corporation
E. Satie
© 1997 Roland Corporation
R. Schumann
© 1997 Roland Corporation
P.49
P.50
“Grande Ritournelle” from “La Belle Excentrique (Fantaisie
Serieuse)”
“Träumerei” from “Scenes From Childhood” Op. 15
* All rights reserved. Unauthorized use of this material for purposes other than private, personal enjoyment is
a violation of applicable laws.
* No data for the internal songs that is played will be output from MIDI OUT connector.
■ Profile
John Maul
Scott Wilkie
John Maul is a musician, composer and arranger having graduated from
Scott Wilkie is a contemporary jazz record-
the Royal Academy of Music in London. John’s work encompasses studio
ing artist, based in southern California. He
recordings and live performances including work with top UK Jazz artists.
has several recordings available on Narada-
His writing credits include commercial music for BBC radio and televi-
Jazz Records, and he tours frequently with
sion, as well as scoring jazz and classical works.
his own band. He also appears worldwide as
Having been a product specialist for Roland U.K., John is now actively
an artist for Roland. You can find him on-
involved in music software composing/programming for both Roland
line at www.scottwilkie.com.
Japan and various music publishers. Quite recently his “Musical Picture
Book,” a volume of original piano music encompassing all standards of
musical ability, which included the piano and orchestral accompaniment
data in SMF format, was published and printed.
55
Easy Operation List
1
2
3
4
5
6
7
8
9
10
11
2
3
1
12
13
14
15
4
5
6
No.
You want to
Buttons
Page
Hold down the [Song] button and press the [●] button.
Volume balance between the Lower and Upper
1
Tone
[Song] + [Split]
p. 18
2
Octave Shift
[Song] + [Piano]
p. 39
3
Pedal works
[Song] + [E.Piano]
p. 38
4
How the pedal effects are applied
[Song] + [Organ]
p. 39
5
MIDI send channel settings
[Song] + [Guitar/Bass]
p. 43
6
MIDI OutMode
[Song] + [Strings/Pad]
p. 44
7
Master Tuning
[Song] + [Voice/Winds]
p. 40
8
Local Control
[Song] + [Tempo/Rhythm]
p. 43
[Song] + [Drums]
p. 32
9
Volume balance between the keyboard and
Rhythm
10
Playing only the bass sound of the Chord Part
[Song] + [Chord]
p. 27
11
Metronome beat pattern
[Song] + [Metronome]
p. 41
12
All Song Play
[Song] + [Play]
p. 12
13
Erasing the recorded performance
[Song] + [Rec]
p. 37
Selecting a temperament
[Song] + [Chorus]
Specifying the keynote
+ key
Key Touch
[Song] + [Reverb]
14
15
p. 40
p. 19
Hold down the [ ] button and press the [-] or [+] button.
1
Beat of metronome
[Tempo/Rhythm] + [-] [+]
p. 24
2
Metronome volume
[Metronome] + [-] [+]
p. 24
Selecting a chord progression pattern
[Chord] + [-] [+]
Specifying the root of the beginning chord
+ key
4
Depth of the Chorus effect
[Chorus] + [-] [+]
p. 20
5
Depth of the Reverb effect
[Reverb] + [-] [+]
p. 21
6
Damper pedal’s resonance level
[Reverb] + [Chorus] + [-] [+]
p. 38
3
p. 30
Hold down the [Split] or [Song] button and press the key.
56
Split Point
[Split] + key
p. 17
Key Transpose
[Song] + key
p. 22
MIDI
Implementati
on
DIGITAL PIANO
Date : Oct. 1, 2000
MIDI Implementation Chart
Model FP-3
Transmitted
Function...
Recognized
Basic
Channel
Default
Changed
1
1–16
1–16
1–16
Mode
Default
Messages
Altered
Mode 3
x
Mode 3
Mode 3, 4(M=1)
Note
Number :
True Voice
**************
0–127
0–127
Velocity
Note ON
Note OFF
O
x 8n v=64
O
x
After
Touch
Key’s
Ch’s
x
x
O
O
x
O
Prog
Change
Remarks
*2
**************
Pitch Bend
0, 32
7
10
11
64
66
67
91
93
Control
Change
Version : 1.00
: True Number
System Exclusive
15–113
O
x
x
O
O
O
O
O
O
*3
O 0–37, 63
*3
*3
*3
O
O
O
O
O
O
O
O (Reverb)
O (Chorus)
**************
O
0–37, 63
O
O
System
Common
: Song Pos
: Song Sel
: Tune
x
x
x
x
x
x
System
Real Time
: Clock
: Commands
O
x
x
x
Aux
Message
: All sound off
: Reset all controllers
: Local Control
: All Notes OFF
: Active Sense
: Reset
x
x
x
x
O
x
O (120, 126, 127)
O
O
O (123–125)
O
x
Notes
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
Bank select
Volume
Panpot
Expression
Hold 1
Sostenuto
Soft
Effect1 depth
Effect3 depth
Program number 1–38, 64
* 1 O x is selectable by SysEx.
* 2 Recognized as M=1 even if M=1.
* 3 Not transmitted when MIDI Out Mode (p. 44) is set to “2.”
Mode 1 : OMNI ON, POLY
Mode 2 : OMNI ON, MONO
O : Yes
Mode 3 : OMNI OFF, POLY
Mode 4 : OMNI OFF, MONO
X : No
57
Main Specifications
<Keyboard>
<Others>
88 keys (Progressive Hammer Action Keyboard)
Display
Touch Sensitivity
7-segment, 3-digit LED
Light/Normal/Heavy/Fixed
Connectors
Keyboard Mode
Line Out jacks (L/Mono, R)
Whole
Line In jacks (L/Mono, R)
Dual
Phones jack x 2 (Stereo Mini)
Split (adjustable split point)
MIDI connectors (In/Out)
<Sound Source>
Max.Polyphony
64 voices
Tones
6 groups 40 variations (including 2 drum sets)
Effects
Reverb (10 levels)
Chorus (10 levels)
Pedal jacks (Damper, Soft/Sostenuto/Expression)
Power Supply
DC 9 V
Power Consumption
1,000 mA
Dimensions
1,291 (W) x 302 (D) x 124(H) mm
50-7/8(W) x 11-15/16 (D) x 4-15/16(H) inch
Sympathetic Resonance (10 levels, for some Pianos only)
Weights
Rotary (for some Organs only)
18.5 kg / 40 lbs 13 oz
Transpose
Accessories
-6 to +5 (semitone steps)
Owner’s manual
Temperament
7 types, selectable tonic
AC adaptor
AC cord
Music Stand/2 Screws for the music stand
Master Tuning
Audio cables
415.3 Hz to 466.2 Hz (0.1 Hz Step)
Pedal
<Rhythm>
Cover
Rhythms
60 Rhythms
Chord Progression
Automatic or input with keyboard
<Recorder>
Metronome
Beat: 2/2,0/4,2/4,3/4,4/4,5/4, 6/4,7/4,3/8,6/8,9/8,12/8
Volume: 10 levels
Pattern: 11 patterns
Tracks
3 tracks
Song
1 song
Note Storage
Approx. 30,000 notes
Tempo
Quarter note = 20 to 250
Resolution
120 ticks per quarter note
58
* In the interest of product improvement, the specifications and/
or appearance of this unit are subject to change without prior
notice.
Index
A
L
AC adaptor ....................................................................... 9
All Song Play .................................................................. 12
Line Out ............................................................................ 9
Local Control .................................................................. 43
Lower Tone .............................................................. 15, 16
B
Beat .................................................................................. 24
Brilliance ......................................................................... 11
C
Chord .............................................................................. 52
Chord Fingering List ..................................................... 52
Chord Part ................................................................ 25, 26
Bass ............................................................................ 27
Chord progression
Automatic ................................................................. 26
Selecting pattern ...................................................... 30
Specifying the chords .............................................. 31
Chord Progression Pattern List ................................... 50
Chorus Effect ................................................................. 20
Changing the depth ................................................. 20
Connection ....................................................................... 8
D
Damper ........................................................................... 10
Damper Pedal .......................................................8, 10, 38
Display ............................................................................ 47
Drum Part ................................................................. 25, 26
Dual Play ........................................................................ 15
M
Master Tuning ................................................................ 40
Messages ......................................................................... 47
Metronome ..................................................................... 23
Beat Pattern ............................................................... 41
Volume ...................................................................... 24
MIDI ................................................................................ 42
MIDI Device ................................................................... 42
MIDI In/Out .................................................................. 42
MIDI Out Mode ............................................................. 44
MIDI Send Channel ....................................................... 43
MIDI Sound Module ..................................................... 42
Music Stand ...................................................................... 9
Muting ............................................................................. 13
O
Octave Shift .................................................................... 39
Operation List ................................................................ 56
P
Easy Operation List ....................................................... 56
Erasing ............................................................................ 37
Expression pedal ....................................................... 8, 38
Pedal .................................................................... 10, 38, 39
Phones ............................................................................. 11
Pitch ................................................................................. 40
Playback
All Songs ................................................................... 12
Each part separately ................................................ 13
Internal song ............................................................. 12
Power .............................................................................. 10
F
R
Fill In ............................................................................... 28
Recording ....................................................................... 33
Along with internal songs ...................................... 36
Performance using Rhythms .................................. 34
Performance using Rhythms in Split Play ........... 35
Selected Tracks ......................................................... 36
Resonance ....................................................................... 38
Reverb Effect .................................................................. 21
Changing the depth ................................................. 21
Rhythm ............................................................... 25, 26, 28
Rhythm List .................................................................... 49
Rotary Effect ................................................................... 20
E
H
Headphones ................................................................... 11
I
Including pedal .............................................................. 10
Internal Song .................................................................. 12
Recording....................................................................36
Internal Song List .......................................................... 54
K
Key Transpose ............................................................... 22
Keyboard’s Touch (Key Touch) .................................. 19
59
Index
S
Sequencer ....................................................................... 42
Session Partner .............................................................. 25
Soft ................................................................................... 10
Soft Pedal .............................................................. 8, 10, 38
Sostenuto pedal ............................................................. 38
Split Play ......................................................................... 16
Rhythm ...................................................................... 31
Split Point ....................................................................... 17
Standard pitch ............................................................... 40
Sympathetic Resonance .......................................... 10, 38
T
Temperament ................................................................. 40
Tempo ....................................................................... 23, 29
Tone ................................................................................. 14
Tone group ..................................................................... 14
Tone List ......................................................................... 48
Track Button
Recording ............................................................ 36, 37
Track button ................................................................... 13
Transpose ....................................................................... 22
Troubleshooting ............................................................ 45
Tuning ............................................................................. 40
U
Upper Tone .............................................................. 15, 16
V
Volume ............................................................................
Metronome ...............................................................
Volume Balance
Keyboard and Rhythm ...........................................
Lower Tone and Upper Tone .................................
60
11
24
32
18
MEMO
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
PANAMA
ITALY
ISRAEL
SUPRO MUNDIAL, S.A.
Roland Italy S. p. A.
150 Sims Drive,
SINGAPORE 387381
TEL: 846-3676
Boulevard Andrews, Albrook,
Panama City, REP. DE PANAMA
TEL: 315-0101
Viale delle Industrie 8,
20020 Arese, Milano, ITALY
TEL: (02) 937-78300
Halilit P. Greenspoon &
Sons Ltd.
CRISTOFORI MUSIC PTE
LTD
PARAGUAY
NORWAY
SINGAPORE
Swee Lee Company
Blk 3014, Bedok Industrial Park E,
#02-2148, SINGAPORE 489980
TEL: 243 9555
TAIWAN
Distribuidora De
Instrumentos Musicales
J.E. Olear y ESQ. Manduvira
Asuncion PARAGUAY
TEL: (021) 492-124
Roland Scandinavia Avd.
Kontor Norge
245 Prince Mohammad St.,
Amman 1118, JORDAN
TEL: (06) 464-1200
Easa Husain Al-Yousifi
PERU
POLAND
Portinari 199 (ESQ. HALS),
San Borja, Lima 41,
REP. OF PERU
TEL: (01) 4758226
P. P. H. Brzostowicz
SOUTH AFRICA
Room 5, 9fl. No. 112 Chung Shan
N.Road Sec.2, Taipei, TAIWAN,
R.O.C.
TEL: (02) 2561 3339
VIDEO Broadcast S.A.
UL. Gibraltarska 4.
PL-03664 Warszawa POLAND
TEL: (022) 679 44 19
That Other Music Shop
(PTY) Ltd.
THAILAND
URUGUAY
PORTUGAL
P.O.Box 32918, Braamfontein 2017
Johannesbourg, SOUTH AFRICA
TEL: (011) 403 4105
Paul Bothner (PTY) Ltd.
17 Werdmuller Centre,
Main Road, Claremont 7708
SOUTH AFRICA
P.O.BOX 23032, Claremont 7735,
SOUTH AFRICA
TEL: (021) 674 4030
ASIA
CHINA
Beijing Xinghai Musical
Instruments Co., Ltd.
6 Huangmuchang Chao Yang
District, Beijing, CHINA
TEL: (010) 6774 7491
Shanghai Xingtong Acoustics
Equipment CO.,Ltd.
5F. No.1500 Pingliang Road
New East Club Plaza, Shanghai,
CHINA
TEL: (021) 5580-0800
HONG KONG
Tom Lee Music Co., Ltd.
Service Division
22-32 Pun Shan Street, Tsuen
Wan, New Territories,
HONG KONG
TEL: 2415 0911
INDIA
Rivera Digitec (India) Pvt. Ltd.
409, Nirman Kendra Mahalaxmi
Flats Compound Off. Dr. Edwin
Moses Road, Mumbai-400011,
INDIA
TEL: (022) 498 3079
INDONESIA
Theera Music Co. , Ltd.
330 Verng NakornKasem, Soi 2,
Bangkok 10100, THAILAND
TEL: (02) 2248821
VIETNAM
Musicland Digital C.A.
Av. Francisco de Miranda,
Centro Parque de Cristal, Nivel
C2 Local 20 Caracas
VENEZUELA
TEL: (212) 285-8586
Piata Libertatii 1,
RO-4200 Gheorghehi
TEL: (095) 169-5043
AUSTRALIA
AUSTRIA
Roland Corporation
Australia Pty., Ltd.
38 Campbell Avenue
Dee Why West. NSW 2099
AUSTRALIA
TEL: (02) 9982 8266
NEW ZEALAND
Roland Corporation Ltd.
32 Shaddock Street, Mount Eden,
Auckland, NEW ZEALAND
TEL: (09) 3098 715
CENTRAL/LATIN
AMERICA
ARGENTINA
Instrumentos Musicales S.A.
Av.Santa Fe 2055
(1123) Buenos Aires
ARGENTINA
TEL: (011) 4508-2700
Rua San Jose, 780 Sala B
Parque Industrial San Jose
Cotia - Sao Paulo - SP, BRAZIL
TEL: (011) 4615 5666
COSTA RICA
JUAN Bansbach
Instrumentos Musicales
Ave.1. Calle 11, Apartado 10237,
San Jose, COSTA RICA
TEL: 258-0211
1461-9, Seocho-Dong,
Seocho Ku, Seoul, KOREA
TEL: (02) 3486-8855
Comercial Fancy
BENTLEY MUSIC SDN BHD
140 & 142, Jalan Bukit Bintang
55100 Kuala Lumpur,MALAYSIA
TEL: (03) 2144-3333
PHILIPPINES
G.A. Yupangco & Co. Inc.
339 Gil J. Puyat Avenue
Makati, Metro Manila 1200,
PHILIPPINES
TEL: (02) 899 9801
BELGIUM/HOLLAND/
LUXEMBOURG
Roland Benelux N. V.
Houtstraat 3, B-2260, Oevel
(Westerlo) BELGIUM
TEL: (014) 575811
DENMARK
Roland Scandinavia A/S
Nordhavnsvej 7, Postbox 880,
DK-2100 Copenhagen
DENMARK
TEL: (039)16 6200
FRANCE
4, Rue Paul Henri SPAAK,
Parc de l'Esplanade, F 77 462 St.
Thibault, Lagny Cedex FRANCE
TEL: 01 600 73 500
Roland Brasil Ltda
CHILE
Siemensstrasse 4, P.O. Box 74,
A-6063 RUM, AUSTRIA
TEL: (0512) 26 44 260
Roland France SA
BRAZIL
Cosmos Corporation
Roland Austria GES.M.B.H.
S.A.
Rut.: 96.919.420-1
Nataniel Cox #739, 4th Floor
Santiago - Centro, CHILE
TEL: (02) 688-9540
EL SALVADOR
OMNI MUSIC
75 Avenida Norte y Final
Alameda Juan Pablo ,
Edificio No.4010 San Salvador,
EL SALVADOR
TEL: 262-0788
MEXICO
Casa Veerkamp, s.a. de c.v.
Av. Toluca No. 323, Col. Olivar
de los Padres 01780 Mexico D.F.
MEXICO
TEL: 668-0480
FINLAND
Roland Scandinavia As,
Filial Finland
Lauttasaarentie 54 B
Fin-00201 Helsinki, FINLAND
TEL: (9) 682 4020
GERMANY
Roland Elektronische
Musikinstrumente HmbH.
FBS LINES
RUSSIA
MuTek
3-Bogatyrskaya Str. 1.k.l
107 564 Moscow, RUSSIA
TEL: (095) 169 5043
SPAIN
Roland Electronics
de España, S. A.
Calle Bolivia 239, 08020
Barcelona, SPAIN
TEL: (93) 308 1000
SWEDEN
Roland Scandinavia A/S
SWEDISH SALES OFFICE
Danvik Center 28, 2 tr.
S-131 30 Nacka SWEDEN
TEL: (08) 702 0020
SWITZERLAND
Roland (Switzerland) AG
Musitronic AG
Gerberstrasse 5, Postfach,
CH-4410 Liestal, SWITZERLAND
TEL: (061) 927-8383
UKRAINE
TIC-TAC
Mira Str. 19/108
P.O. Box 180
295400 Munkachevo, UKRAINE
TEL: (03131) 414-40
UNITED KINGDOM
Roland (U.K.) Ltd.
Atlantic Close, Swansea
Enterprise Park, SWANSEA
SA7 9FJ,
UNITED KINGDOM
TEL: (01792) 700139
Oststrasse 96, 22844 Norderstedt,
GERMANY
TEL: (040) 52 60090
MIDDLE EAST
GREECE
BAHRAIN
STOLLAS S.A.
Music Sound Light
155, New National Road
Patras 26442, GREECE
TEL: (061) 43-5400
HUNGARY
Intermusica Ltd.
Warehouse Area ‘DEPO’ Pf.83
H-2046 Torokbalint, HUNGARY
TEL: (23) 511011
IRELAND
Roland Ireland
Audio House, Belmont Court,
Donnybrook, Dublin 4.
Republic of IRELAND
TEL: (01) 2603501
LEBANON
A. Chahine & Fils
Gerge Zeidan St., Chahine Bldg.,
Achrafieh, P.O.Box: 16-5857
Beirut, LEBANON
TEL: (01) 20-1441
Al Emadi Co. (Badie Studio
& Stores)
138 Tran Quang Khai St.,
District 1
Ho Chi Minh City
VIETNAM
TEL: (08) 844-4068
EUROPE
Abdullah Salem Street,
Safat, KUWAIT
TEL: 243-6399
QATAR
ROMANIA
AUSTRALIA/
NEW ZEALAND
KUWAIT
Cais Das Pedras, 8/9-1 Dto
4050-465 PORTO
PORTUGAL
TEL: (022) 608 00 60
VENEZUELA
J1. Cideng Timur No. 15J-150
Jakarta Pusat
INDONESIA
TEL: (021) 6324170
MALAYSIA
Francisco Acuna de Figueroa 1771
C.P.: 11.800
Montevideo, URUGUAY
TEL: (02) 924-2335
Tecnologias Musica e Audio,
Roland Portugal, S.A.
Saigon Music
PT Citra IntiRama
KOREA
Todo Musica S.A.
JORDAN
AMMAN Trading Agency
Lilleakerveien 2 Postboks 95
Lilleaker N-0216 Oslo
NORWAY
TEL: 273 0074
ROLAND TAIWAN
ENTERPRISE CO., LTD.
11 Melle St., Braamfontein,
Johannesbourg, SOUTH AFRICA
8 Retzif Ha'aliya Hashnya St.
Tel-Aviv-Yafo ISRAEL
TEL: (03) 6823666
Moon Stores
No.16, Bab Al Bahrain Avenue,
P.O.Box 247, Manama 304,
State of BAHRAIN
TEL: 211 005
CYPRUS
Radex Sound Equipment Ltd.
17, Diagorou Street, Nicosia,
CYPRUS
TEL: (02) 66-9426
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
Bldg. No. 47,
Khaled Ebn Al Walid St.
Damascus, SYRIA
TEL: (011) 221-1230
TURKEY
Barkat muzik aletleri ithalat
ve ihracat Ltd Sti
Siraselviler Caddesi Siraselviler
Pasaji No:74/20
Taksim - Istanbul, TURKEY
TEL: (0212) 2499324
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
NORTH AMERICA
CANADA
Roland Canada Music Ltd.
(Head Office)
5480 Parkwood Way Richmond
B. C., V6V 2M4 CANADA
TEL: (0604) 270 6626
Roland Canada Music Ltd.
(Toronto Office)
Unit 2, 109 Woodbine Downs
Blvd, Etobicoke, ON
M9W 6Y1 CANADA
TEL: (0416) 213 9707
U. S. A.
Roland Corporation U.S.
5100 S. Eastern Avenue
Los Angeles, CA 90040-2938,
U. S. A.
TEL: (323) 890 3700
IRAN
MOCO, INC.
No.41 Nike St., Dr.Shariyati Ave.,
Roberoye Cerahe Mirdamad
Tehran, IRAN
TEL: (021) 285-4169
As of January 1, 2002 (Roland)
For EU Countries
This product complies with the requirements of European Directive 89/336/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.
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.
This owner’s manual is printed on recycled paper.
02349012
’02-7-AE2-61N
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