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Roland Fantom G8 Owner's Manual PDF
Summary of Content for Roland Fantom G8 Owner's Manual PDF
04905090 08-02-1N
* 0 4 9 0 5 0 9 0 - 0 1 *
CAUTION RISK OF ELECTRIC SHOCK
DO NOT OPEN
ATTENTION: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK,
DO NOT REMOVE COVER (OR BACK).
NO USER-SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
The lightning flash with arrowhead symbol, within an equilateral triangle, is intended to alert the user to the presence of uninsulated dangerous voltage within the products enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons.
The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product.
INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS.
IMPORTANT SAFETY INSTRUCTIONS SAVE THESE INSTRUCTIONS
WARNING - When using electric products, basic precautions should always be followed, including the following:
1. Read these instructions. 2. Keep these instructions. 3. Heed all warnings. 4. Follow all instructions. 5. Do not use this apparatus near water. 6. Clean only with a dry cloth. 7. Do not block any of the ventilation openings.
Install in accordance with the manufacturers instructions. 8. Do not install near any heat sources such as
radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat.
9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet.
WARNING: IMPORTANT:
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug, proceed as follows:
The wire which is coloured GREEN-AND-YELLOW must be connected to the terminal in the plug which is marked by the letter E or by the safety earth symbol or coloured GREEN or GREEN-AND-YELLOW.
The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.
THIS APPARATUS MUST BE EARTHED THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE. GREEN-AND-YELLOW: EARTH, BLUE: NEUTRAL, BROWN: LIVE
For the U.K.
10. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus.
11. Only use attachments/accessories specified by the manufacturer.
12. Use only with the cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over.
13. Unplug this apparatus during lightning storms or when unused for long periods of time.
14. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.
WARNING: To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture.
As of Oct. 1, 2007 (ROLAND)
Information When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as shown below.
EGYPT Al Fanny Trading Office 9, EBN Hagar Al Askalany Street, ARD E1 Golf, Heliopolis, Cairo 11341, EGYPT TEL: (022)-418-5531
REUNION Maison FO - YAM Marcel 25 Rue Jules Hermann, Chaudron - BP79 97 491 Ste Clotilde Cedex, REUNION ISLAND TEL: (0262) 218-429
SOUTH AFRICA T.O.M.S. Sound & Music (Pty)Ltd. 2 ASTRON ROAD DENVER JOHANNESBURG ZA 2195, SOUTH AFRICA TEL: (011)417 3400
Paul Bothner(PTY)Ltd. Royal Cape Park, Unit 24 Londonderry Road, Ottery 7800 Cape Town, SOUTH AFRICA TEL: (021) 799 4900
CHINA Roland Shanghai Electronics Co.,Ltd. 5F. No.1500 Pingliang Road Shanghai 200090, CHINA TEL: (021) 5580-0800
Roland Shanghai Electronics Co.,Ltd. (BEIJING OFFICE) 10F. No.18 3 Section Anhuaxili Chaoyang District Beijing 100011 CHINA TEL: (010) 6426-5050
HONG KONG Tom Lee Music Co., Ltd. Service Division 22-32 Pun Shan Street, Tsuen Wan, New Territories, HONG KONG TEL: 2415 0911
Parsons Music Ltd. 8th Floor, Railway Plaza, 39 Chatham Road South, T.S.T, Kowloon, HONG KONG TEL: 2333 1863
INDIA Rivera Digitec (India) Pvt. Ltd. 411, Nirman Kendra Mahalaxmi Flats Compound Off. Dr. Edwin Moses Road, Mumbai-400011, INDIA TEL: (022) 2493 9051
INDONESIA PT Citra IntiRama Jl. Cideng Timur No. 15J-15O Jakarta Pusat INDONESIA TEL: (021) 6324170
KOREA Cosmos Corporation 1461-9, Seocho-Dong, Seocho Ku, Seoul, KOREA TEL: (02) 3486-8855
MALAYSIA Roland Asia Pacific Sdn. Bhd. 45-1, Block C2, Jalan PJU 1/39, Dataran Prima, 47301 Petaling Jaya, Selangor, MALAYSIA TEL: (03) 7805-3263
VIET NAM Suoi Nhac Company, Ltd 370 Cach Mang Thang Tam St. Dist.3, Ho Chi Minh City, VIET NAM TEL: 9316540
PHILIPPINES G.A. Yupangco & Co. Inc. 339 Gil J. Puyat Avenue Makati, Metro Manila 1200, PHILIPPINES TEL: (02) 899 9801
SINGAPORE SWEE LEE MUSIC COMPANY PTE. LTD. 150 Sims Drive, SINGAPORE 387381 TEL: 6846-3676
TAIWAN ROLAND TAIWAN ENTERPRISE CO., LTD. Room 5, 9fl. No. 112 Chung Shan N.Road Sec.2, Taipei, TAIWAN, R.O.C. TEL: (02) 2561 3339
THAILAND Theera Music Co. , Ltd. 100-108 Soi Verng Nakornkasem, New Road,Sumpantawongse, Bangkok 10100 THAILAND TEL: (02) 224-8821
AUSTRALIA/ NEW ZEALAND Roland Corporation Australia Pty.,Ltd. 38 Campbell Avenue Dee Why West. NSW 2099 AUSTRALIA
For Australia Tel: (02) 9982 8266 For New Zealand Tel: (09) 3098 715
ARGENTINA Instrumentos Musicales S.A. Av.Santa Fe 2055 (1123) Buenos Aires ARGENTINA TEL: (011) 4508-2700
BARBADOS A&B Music Supplies LTD 12 Webster Industrial Park Wildey, St.Michael, Barbados TEL: (246)430-1100
BRAZIL Roland Brasil Ltda. Rua San Jose, 780 Sala B Parque Industrial San Jose Cotia - Sao Paulo - SP, BRAZIL TEL: (011) 4615 5666
CHILE Comercial Fancy II S.A. Rut.: 96.919.420-1 Nataniel Cox #739, 4th Floor Santiago - Centro, CHILE TEL: (02) 688-9540
COLOMBIA Centro Musical Ltda. Cra 43 B No 25 A 41 Bododega 9 Medellin, Colombia TEL: (574)3812529
COSTA RICA JUAN Bansbach Instrumentos Musicales Ave.1. Calle 11, Apartado 10237, San Jose, COSTA RICA TEL: 258-0211
CURACAO Zeelandia Music Center Inc. Orionweg 30 Curacao, Netherland Antilles TEL:(305)5926866
DOMINICAN REPUBLIC Instrumentos Fernando Giraldez Calle Proyecto Central No.3 Ens.La Esperilla Santo Domingo, Dominican Republic TEL:(809) 683 0305
ECUADOR Mas Musika Rumichaca 822 y Zaruma Guayaquil - Ecuador TEL:(593-4)2302364
EL SALVADOR OMNI MUSIC 75 Avenida Norte y Final Alameda Juan Pablo II, Edificio No.4010 San Salvador, EL SALVADOR TEL: 262-0788
GUATEMALA Casa Instrumental Calzada Roosevelt 34-01,zona 11 Ciudad de Guatemala Guatemala TEL:(502) 599-2888
HONDURAS Almacen Pajaro Azul S.A. de C.V. BO.Paz Barahona 3 Ave.11 Calle S.O San Pedro Sula, Honduras TEL: (504) 553-2029
MARTINIQUE Musique & Son Z.I.Les Mangle 97232 Le Lamantin Martinique F.W.I. TEL: 596 596 426860
Gigamusic SARL 10 Rte De La Folie 97200 Fort De France Martinique F.W.I. TEL: 596 596 715222
MEXICO Casa Veerkamp, s.a. de c.v. Av. Toluca No. 323, Col. Olivar de los Padres 01780 Mexico D.F. MEXICO TEL: (55) 5668-6699
NICARAGUA Bansbach Instrumentos Musicales Nicaragua Altamira D'Este Calle Principal de la Farmacia 5ta.Avenida 1 Cuadra al Lago.#503 Managua, Nicaragua TEL: (505)277-2557
PANAMA SUPRO MUNDIAL, S.A. Boulevard Andrews, Albrook, Panama City, REP. DE PANAMA TEL: 315-0101
PARAGUAY Distribuidora De Instrumentos Musicales J.E. Olear y ESQ. Manduvira Asuncion PARAGUAY TEL: (595) 21 492147
PERU Audionet Distribuciones Musicales SAC Juan Fanning 530 Miraflores Lima - Peru TEL: (511) 4461388
TRINIDAD AMR Ltd Ground Floor Maritime Plaza Barataria Trinidad W.I. TEL: (868) 638 6385
NORWAY Roland Scandinavia Avd. Kontor Norge Lilleakerveien 2 Postboks 95 Lilleaker N-0216 Oslo NORWAY TEL: 2273 0074
POLAND ROLAND POLSKA SP. Z O.O. UL. Gibraltarska 4. PL-03 664 Warszawa POLAND TEL: (022) 679 4419
PORTUGAL Roland Iberia, S.L. Portugal Office Cais das Pedras, 8/9-1 Dto 4050-465, Porto, PORTUGAL TEL: 22 608 00 60
ROMANIA FBS LINES Piata Libertatii 1, 535500 Gheorgheni, ROMANIA TEL: (266) 364 609
RUSSIA MuTek Dorozhnaya ul.3,korp.6 117 545 Moscow, RUSSIA TEL: (095) 981-4967
SLOVAKIA DAN Acoustic s.r.o. Povazsk 18. SK - 940 01 Nov Zmky TEL: (035) 6424 330
SPAIN Roland Iberia, S.L. Paseo Garca Faria, 33-35 08005 Barcelona SPAIN TEL: 93 493 91 00
SWEDEN Roland Scandinavia A/S SWEDISH SALES OFFICE Danvik Center 28, 2 tr. S-131 30 Nacka SWEDEN TEL: (0)8 702 00 20
SWITZERLAND Roland (Switzerland) AG Landstrasse 5, Postfach, CH-4452 Itingen, SWITZERLAND TEL: (061) 927-8383
UKRAINE EURHYTHMICS Ltd. P.O.Box: 37-a. Nedecey Str. 30 UA - 89600 Mukachevo, UKRAINE TEL: (03131) 414-40
UNITED KINGDOM Roland (U.K.) Ltd. Atlantic Close, Swansea Enterprise Park, SWANSEA SA7 9FJ, UNITED KINGDOM TEL: (01792) 702701
BAHRAIN Moon Stores No.1231&1249 Rumaytha Building Road 3931, Manama 339 BAHRAIN TEL: 17 813 942
IRAN MOCO INC. No.41 Nike St., Dr.Shariyati Ave., Roberoye Cerahe Mirdamad Tehran, IRAN TEL: (021)-2285-4169
ISRAEL Halilit P. Greenspoon & Sons Ltd. 8 Retzif Ha'alia Hashnia St. Tel-Aviv-Yafo ISRAEL TEL: (03) 6823666
URUGUAY Todo Musica S.A. Francisco Acuna de Figueroa 1771 C.P.: 11.800 Montevideo, URUGUAY TEL: (02) 924-2335
VENEZUELA Instrumentos Musicales Allegro,C.A. Av.las industrias edf.Guitar import #7 zona Industrial de Turumo Caracas, Venezuela TEL: (212) 244-1122
AUSTRIA Roland Elektronische Musikinstrumente HmbH. Austrian Office Eduard-Bodem-Gasse 8, A-6020 Innsbruck, AUSTRIA TEL: (0512) 26 44 260
BELGIUM/FRANCE/ HOLLAND/ LUXEMBOURG Roland Central Europe N.V. Houtstraat 3, B-2260, Oevel (Westerlo) BELGIUM TEL: (014) 575811
CROATIA ART-CENTAR Degenova 3. HR - 10000 Zagreb TEL: (1) 466 8493
CZECH REP. CZECH REPUBLIC DISTRIBUTOR s.r.o Voctrova 247/16 CZ - 180 00 PRAHA 8, CZECH REP. TEL: (2) 830 20270
DENMARK Roland Scandinavia A/S Nordhavnsvej 7, Postbox 880, DK-2100 Copenhagen DENMARK TEL: 3916 6200
FINLAND Roland Scandinavia As, Filial Finland Elannontie 5 FIN-01510 Vantaa, FINLAND TEL: (0)9 68 24 020
GERMANY Roland Elektronische Musikinstrumente HmbH. Oststrasse 96, 22844 Norderstedt, GERMANY TEL: (040) 52 60090
GREECE/CYPRUS STOLLAS S.A. Music Sound Light 155, New National Road Patras 26442, GREECE TEL: 2610 435400
HUNGARY Roland East Europe Ltd. Warehouse Area DEPO Pf.83 H-2046 Torokbalint, HUNGARY TEL: (23) 511011
IRELAND Roland Ireland G2 Calmount Park, Calmount Avenue, Dublin 12 Republic of IRELAND TEL: (01) 4294444
ITALY Roland Italy S. p. A. Viale delle Industrie 8, 20020 Arese, Milano, ITALY TEL: (02) 937-78300
JORDAN MUSIC HOUSE CO. LTD. FREDDY FOR MUSIC P. O. Box 922846 Amman 11192 JORDAN TEL: (06) 5692696
KUWAIT EASA HUSAIN AL-YOUSIFI & SONS CO. Al-Yousifi Service Center P.O.Box 126 (Safat) 13002 KUWAIT TEL: 00 965 802929
LEBANON Chahine S.A.L. George Zeidan St., Chahine Bldg., Achrafieh, P.O.Box: 16-5857 Beirut, LEBANON TEL: (01) 20-1441
OMAN TALENTZ CENTRE L.L.C. Malatan House No.1 Al Noor Street, Ruwi SULTANATE OF OMAN TEL: 2478 3443
QATAR Al Emadi Co. (Badie Studio & Stores) P.O. Box 62, Doha, QATAR TEL: 4423-554
SAUDI ARABIA aDawliah Universal Electronics APL Behind Pizza Inn Prince Turkey Street aDawliah Building, PO BOX 2154, Alkhobar 31952 SAUDI ARABIA TEL: (03) 8643601
SYRIA Technical Light & Sound Center Rawda, Abdul Qader Jazairi St. Bldg. No. 21, P.O.BOX 13520, Damascus, SYRIA TEL: (011) 223-5384
TURKEY ZUHAL DIS TICARET A.S. Galip Dede Cad. No.37 Beyoglu - Istanbul / TURKEY TEL: (0212) 249 85 10
U.A.E. Zak Electronics & Musical Instruments Co. L.L.C. Zabeel Road, Al Sherooq Bldg., No. 14, Ground Floor, Dubai, U.A.E. TEL: (04) 3360715
CANADA Roland Canada Ltd. (Head Office) 5480 Parkwood Way Richmond B. C., V6V 2M4 CANADA TEL: (604) 270 6626
Roland Canada Ltd. (Toronto Office) 170 Admiral Boulevard Mississauga On L5T 2N6 CANADA TEL: (905) 362 9707
U. S. A. Roland Corporation U.S. 5100 S. Eastern Avenue Los Angeles, CA 90040-2938, U. S. A. TEL: (323) 890 3700
ASIA
AFRICA
AUSTRALIA/ NEW ZEALAND
EUROPE
CENTRAL/LATIN AMERICA
MIDDLE EAST
NORTH AMERICA
3
Fantom-G6/G7/G8 Owners Manual
201b
Before using this unit, carefully read the sections entitled: IMPORTANT SAFETY INSTRUCTIONS (p. 2), USING THE UNIT SAFELY (p. 4), and IMPORTANT NOTES (p. 7). 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, Owners manual should be read in its entirety. The manual should be saved and kept on hand as a convenient reference.
This Owners Manual applies to the Fantom-G6, the Fantom-G7 and the Fantom-G8. The manual uses the term Fantom-G to indicate all these three models.
985
The explanations in this manual include illustrations that depict what should typically be shown by the display. Note, however, that your unit may incorporate a newer, enhanced version of the system (e.g., includes newer sounds), so what you actually see in the display may not always match what appears in the manual.
962a
In the interest of product improvement, the specifications and/or appearance of this unit are subject to change without prior notice.
202
Copyright 2008 ROLAND CORPORATION All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION.
Fantom-G_r_e.book 3
Fantom-G_r_e.book 4
USING THE UNIT SAFELY
001 Before using this unit, make sure to read the
instructions below, and the Owners Manual.
.......................................................................................................... 001-50 Connect mains plug of this model to a mains
socket outlet with a protective earthing connection.
.......................................................................................................... 002b Do not open or perform any internal modifica-
tions on the unit. (The only exception would be where this manual provides specific instructions which should be followed in order to put in place user-installable options; see p. 304, p. 308.)
.......................................................................................................... 003 Do not attempt to repair the unit, or replace parts
within it (except when this manual provides specific instructions directing you to do so). Refer all servicing to your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the Information page.
.......................................................................................................... 004 Never use or store the unit in places that are:
Subject to temperature extremes (e.g., direct sunlight in an enclosed vehicle, near a heating duct, on top of heat-generating equipment); or are
Damp (e.g., baths, washrooms, on wet floors); or are
Humid; or are
Exposed to rain; or are
Dusty; or are
Subject to high levels of vibration. .......................................................................................................... 005 This unit should be used only with a stand that is
recommended by Roland.
..........................................................................................................
006 When using the unit with a stand recommended
by Roland, the stand must be carefully placed so it is level and sure to remain stable. If not using a stand, you still need to make sure that any location you choose for placing the unit provides a level surface that will properly support the unit, and keep it from wobbling.
.......................................................................................................... 008a The unit should be connected to a power supply
only of the type described in the operating instructions, or as marked on the unit.
.......................................................................................................... 008e Use only the attached power-supply cord. Also,
the supplied power cord must not be used with any other device.
.......................................................................................................... 009 Do not excessively twist or bend the power cord,
nor place heavy objects on it. Doing so can damage the cord, producing severed elements and short circuits. Damaged cords are fire and shock hazards!
.......................................................................................................... 010 This unit, either alone or in combination with an
amplifier and headphones or speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level, or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should immediately stop using the unit, and consult an audiologist.
.......................................................................................................... 011 Do not allow any objects (e.g., flammable
material, coins, pins); or liquids of any kind (water, soft drinks, etc.) to penetrate the unit.
..........................................................................................................
Used for instructions intended to alert the user to the risk of injury or material damage should the unit be used improperly.
* Material damage refers to damage or other adverse effects caused with respect to the home and all its furnishings, as well to domestic animals or pets.
Used for instructions intended to alert the user to the risk of death or severe injury should the unit be used improperly.
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 power- cord plug must be unplugged from the outlet.
The symbol alerts the user to important instructions or warnings.The specific meaning of the symbol is determined by the design contained within the triangle. In the case of the symbol at left, it is used for general cautions, warnings, or alerts to danger.
The symbol alerts the user to items that must never be carried out (are forbidden). The specific thing that must not be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the unit must never be disassembled.
4
Fantom-G_r_e.book 5
012a Immediately turn the power off, remove the
power cord from the outlet, and request servicing by your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the Information page when:
The power-supply cord or the plug has been damaged; or
If smoke or unusual odor occurs
Objects have fallen into, or liquid has been spilled onto the unit; or
The unit has been exposed to rain (or otherwise has become wet); or
The unit does not appear to operate normally or exhibits a marked change in performance.
.......................................................................................................... 013 In households with small children, an adult
should provide supervision until the child is capable of following all the rules essential for the safe operation of the unit.
.......................................................................................................... 014 Protect the unit from strong impact.
(Do not drop it!)
.......................................................................................................... 015 Do not force the units power-supply cord to
share an outlet with an unreasonable number of other devices. Be especially careful when using extension cordsthe total power used by all devices you have connected to the extension cords outlet must never exceed the power rating (watts/amperes) for the extension cord. Excessive loads can cause the insulation on the cord to heat up and eventually melt through.
.......................................................................................................... 016 Before using the unit in a foreign country, consult
with your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the Information page.
.......................................................................................................... 022a Always turn the unit off and unplug the power
cord before attempting installation of the circuit board (ARX series; p. 304, DIMM; p. 308).
.......................................................................................................... 023 DO NOT play a CD-ROM disc on a conventional
audio CD player. The resulting sound may be of a level that could cause permanent hearing loss. Damage to speakers or other system components may result.
.......................................................................................................... 026 Do not put anything that contains water (e.g.,
flower vases) on this unit. Also, avoid the use of insecticides, perfumes, alcohol, nail polish, spray cans, etc., near the unit. Swiftly wipe away any liquid that spills on the unit using a dry, soft cloth.
..........................................................................................................
101a The unit should be located so that its location or
position does not interfere with its proper venti- lation.
.......................................................................................................... 101c This unit for use only with Roland stand KS-18Z
(Fantom-G6/G7/G8), KS-G8 (Fantom-G8). Use with other stands (or carts) is capable of resulting in instability causing possible injury.
.......................................................................................................... 102b Always grasp only the plug on the power-supply
cord when plugging into, or unplugging from, an outlet or this unit.
.......................................................................................................... 103a At regular intervals, you should unplug the
power plug and clean it by using a dry cloth to wipe all dust and other accumulations away from its prongs. Also, disconnect the power plug from the power outlet whenever the unit is to remain unused for an extended period of time. Any accumulation of dust between the power plug and the power outlet can result in poor insulation and lead to fire.
.......................................................................................................... 104 Try to prevent cords and cables from becoming
entangled. Also, all cords and cables should be placed so they are out of the reach of children.
.......................................................................................................... 106 Never climb on top of, nor place heavy objects on
the unit.
.......................................................................................................... 107b Never handle the power cord or its plugs with
wet hands when plugging into, or unplugging from, an outlet or this unit.
.......................................................................................................... 108d If you need to move the Fantom-G8, take note of
the precautions listed below. At least two persons are required to safely lift and move the unit. It should be handled carefully, all the while keeping it level. Make sure to have a firm grip, to protect yourself from injury and the instrument from damage.
Disconnect the power cord.
Disconnect all cords coming from external devices. .......................................................................................................... 109a Before cleaning the unit, turn off the power and
unplug the power cord from the outlet (p. 25).
.......................................................................................................... 110a Whenever you suspect the possibility of lightning
in your area, pull the plug on the power cord out of the outlet.
.......................................................................................................... 115a Install only the specified circuit board(s) (ARX
Series, DIMM). Remove only the specified screws (p. 304, p. 308).
..........................................................................................................
5
Fantom-G_r_e.book 6
118a Should you remove screws from the bottom cover
of the unit (p. 304, p. 308), keep them in a safe place out of childrens reach, so there is no chance of them being swallowed accidentally.
.......................................................................................................... 120 Always turn the phantom power off when
connecting any device other than condenser microphones that require phantom power. You risk causing damage if you mistakenly supply phantom power to dynamic microphones, audio playback devices, or other devices that dont require such power. Be sure to check the specifica- tions of any microphone you intend to use by referring to the manual that came with it.
(This instruments phantom power: 48V DC, 10 mA Max) ..........................................................................................................
6
Fantom-G_r_e.book 7
IMPORTANT NOTES
Power Supply 301 Do not connect this unit to same electrical outlet that is
being used by an electrical appliance that is controlled by an inverter (such as a refrigerator, washing machine, microwave oven, or air conditioner), or that contains a motor. Depending on the way in which the electrical appliance is used, power supply noise may cause this unit to malfunction or may produce audible noise. If it is not practical to use a separate electrical outlet, connect a power supply noise filter between this unit and the electrical outlet.
307 Before connecting this unit to other devices, turn off the
power to all units. This will help prevent malfunctions and/or damage to speakers or other devices.
308 Although the LCD and LEDs are switched off when the
POWER switch is switched off, this does not mean that the unit has been completely disconnected from the source of power. If you need to turn off the power completely, first turn off the POWER switch, then unplug the power cord from the power outlet. For this reason, the outlet into which you choose to connect the power cords plug should be one that is within easy reach and readily acces- sible.
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 inter- ference.
352a This device may interfere with radio and television
reception. Do not use this device in the vicinity of such receivers.
352b Noise may be produced if wireless communications
devices, such as cell phones, are operated in the vicinity of this unit. Such noise could occur when receiving or initi- ating a call, or while conversing. Should you experience such problems, you should relocate such wireless devices so they are at a greater distance from this unit, or switch them off.
354a Do not expose the unit to direct sunlight, place it near
devices that radiate heat, leave it inside an enclosed vehicle, or otherwise subject it to temperature extremes. Excessive heat can deform or discolor the unit.
355b When moved from one location to another where the
temperature and/or humidity is very different, water droplets (condensation) may form inside the unit. Damage or malfunction may result if you attempt to use the unit in this condition. Therefore, before using the unit, you must allow it to stand for several hours, until the condensation has completely evaporated.
358 Do not allow objects to remain on top of the keyboard.
This can be the cause of malfunction, such as keys ceasing to produce sound.
360 Depending on the material and temperature of the surface
on which you place the unit, its rubber feet may discolor or mar the surface. You can place a piece of felt or cloth under the rubber feet to prevent this from happening. If you do so, please make sure that the unit will not slip or move accidentally.
Maintenance 401a For everyday cleaning wipe the unit with a soft, dry cloth
or one that has been slightly dampened with water. To remove stubborn dirt, use a cloth impregnated with a mild, non-abrasive detergent. Afterwards, be sure to wipe the unit thoroughly with a soft, dry cloth.
402 Never use benzine, thinners, alcohol or solvents of any
kind, to avoid the possibility of discoloration and/or deformation.
Repairs and Data 452 Please be aware that all data contained in the units
memory may be lost when the unit is sent for repairs. Important data should always be backed up on a USB memory, or written down on paper (when possible). During repairs, due care is taken to avoid the loss of data. However, in certain cases (such as when circuitry related to memory itself is out of order), we regret that it may not be possible to restore the data, and Roland assumes no liability concerning such loss of data.
Additional Precautions 551 Please be aware that the contents of memory can be
irretrievably lost as a result of a malfunction, or the improper operation of the unit. To protect yourself against the risk of loosing important data, we recommend that you periodically save a backup copy of important data you have stored in the units memory on a USB memory.
552 Unfortunately, it may be impossible to restore the contents
of data that was stored on a USB memory or units memory once it has been lost. Roland Corporation assumes no liability concerning such loss of data.
553 Use a reasonable amount of care when using the units
buttons, sliders, or other controls; and when using its jacks and connectors. Rough handling can lead to malfunctions.
554 Never strike or apply strong pressure to the display. 555 A small amount of noise may be heard from the display
during normal operation. 556 When connecting / disconnecting all cables, grasp the
connector itselfnever pull on the cable. This way you will avoid causing shorts, or damage to the cables internal elements.
557 A small amount of heat will radiate from the unit during
normal operation.
7
IMPORTANT NOTES
Fantom-G_r_e.book 8
558a To avoid disturbing your neighbors, try to keep the units
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 Some connection cables contain resistors. Do not use
cables that incorporate resistors for connecting to this unit. The use of such cables can cause the sound level to be extremely low, or impossible to hear. For information on cable specifications, contact the manufacturer of the cable.
566b The sensitivity of the D Beam controller will change
depending on the amount of light in the vicinity of the unit. If it does not function as you expect, adjust the sensi- tivity as appropriate for the brightness of your location (p. 287).
If you switch off the power to an external device that is connected to the DIGITAL AUDIO IN jack or disconnect the cable, noise may subsequently be heard in the input from DIGITAL AUDIO IN. If this occurs, correctly reconnect the external device, or turn off the Fantom-Gs [MIX IN] switch.
Before Using Cards Using USB memory 704 Carefully insert the USB memory all the way inuntil it is
firmly in place. 705 Never touch the terminals of the USB memory. Also,
avoid getting the terminals dirty. 708 USB memorys are constructed using precision compo-
nents; handle the cards carefully, paying particular note to the following.
To prevent damage to the cards from static electricity, be sure to discharge any static electricity from your own body before handling the cards.
Do not touch or allow metal to come into contact with the contact portion of the cards.
Do not bend, drop, or subject cards to strong shock or vibration.
Do not keep cards in direct sunlight, in closed vehicles, or other such locations (storage temperature: -25 to 85 C).
Do not allow cards to become wet.
Do not disassemble or modify the cards.
Handling CD-ROMs 801 Avoid touching or scratching the shiny underside
(encoded surface) of the disc. Damaged or dirty CD-ROM discs may not be read properly. Keep your discs clean using a commercially available CD cleaner.
Copyright 851 Recording, duplication, distribution, sale, lease, perfor-
mance, or broadcast of copyrighted material (musical works, visual works, broadcasts, live performances, etc.) belonging to a third party in part or in whole without the permission of the copyright owner is forbidden by law.
852a This product can be used to record or duplicate audio or
visual material without being limited by certain techno- logical copy-protection measures. This is due to the fact that this product is intended to be used for the purpose of producing original music or video material, and is therefore designed so that material that does not infringe copyrights belonging to others (for example, your own original works) can be recorded or duplicated freely.
853 Do not use this unit for purposes that could infringe on a
copyright held by a third party. We assume no responsi- bility whatsoever with regard to any infringements of third-party copyrights arising through your use of this unit.
add
* MatrixQuest 2008 TEPCO UQUEST, LTD. All rights reserved. The Fantom-Gs USB functionality uses MatrixQuest middleware technology from TEPCO UQUEST, LTD.
add * Harpsichord samples courtesy of the Hamamatsu
Museum of Musical Instruments. 204 * Microsoft and Windows are registered trademarks of
Microsoft Corporation. 206j * Windows is known officially as: Microsoft Windows
operating system. 207 * Apple and Macintosh are registered trademarks of Apple
Inc. 209 * Mac OS is a trademark of Apple Inc.
8
Fantom-G_r_e.book 9
Contents
USING THE UNIT SAFELY.........................................................................................4 IMPORTANT NOTES ..................................................................................................7 Contents......................................................................................................................9
01: Introduction (Overview and Basic Operation) ...19 Main Features...........................................................................................................20 Panel Descriptions...................................................................................................22
Front Panel............................................................................................................................................................................. 22 Rear Panel .............................................................................................................................................................................. 24
Making Connections................................................................................................25 Connecting an Amp and Speaker System......................................................................................................................... 25 Connecting a USB Mouse (sold separately)...................................................................................................................... 26 Placing the Fantom-G on a Stand....................................................................................................................................... 27
Turning On the Power..............................................................................................28 Turning Off the Power......................................................................................................................................................... 28
Listening to the Demo Songs .................................................................................29 Song Automatically Loaded at Power-on (When Loading a Project)............................................................. 29
Various Performance Features...............................................................................30 Velocity/Aftertouch............................................................................................................................................... 30 Pitch Bend/Modulation Lever ............................................................................................................................. 30 Octave Shift (OCT) ................................................................................................................................................. 30 Transpose................................................................................................................................................................. 30 Hold Pedal ............................................................................................................................................................... 31 Control Pedal........................................................................................................................................................... 31
Overview of the Fantom-G ......................................................................................32 How the Fantom-G is Organized ....................................................................................................................................... 32
Basic Structure......................................................................................................................................................... 32 Different Units of Sound ....................................................................................................................................... 32 Single / Live / Studio Modes............................................................................................................................... 33 About Polyphony ................................................................................................................................................... 34
About Memory...................................................................................................................................................................... 35 About the Internal Effects.................................................................................................................................................... 36
Types of Effects ....................................................................................................................................................... 36 About the Sequencer ............................................................................................................................................................ 36
Audio and MIDI ..................................................................................................................................................... 36 What is a Song?....................................................................................................................................................... 36 What is a Track?...................................................................................................................................................... 37 Songs and the State of the Sound Generator ...................................................................................................... 37 SMF (Standard MIDI File .MID)........................................................................................................................... 37
About the Sampling Section................................................................................................................................................ 38
Basic Operation of the Fantom-G...........................................................................39 Switching the Sound Generator Mode .............................................................................................................................. 39 How the Function Buttons Work ....................................................................................................................................... 40 Moving the Cursor ............................................................................................................................................................... 40 Editing a Value...................................................................................................................................................................... 41 Assigning a Name ................................................................................................................................................................ 42 Basic Pad Operations............................................................................................................................................................ 43
Switching the Pad Mode........................................................................................................................................ 43 Viewing the Pad Settings....................................................................................................................................... 43 Using the Pads as Numeric Keys ......................................................................................................................... 43
Shortcut Menu....................................................................................................................................................................... 44
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Contents
Fantom-G_r_e.book 10
02: Sound Generator, Section 1 (Playing Sounds) ...45 Playing in Single Mode............................................................................................46
About the Single Play Screen .............................................................................................................................................. 46 Displaying Single Play Screen .............................................................................................................................. 46
Selecting a Patch ................................................................................................................................................................... 47 Selecting Patches by Category (Patch Finder) .................................................................................................... 48 Selecting Patches from the List ............................................................................................................................. 49 Auditioning Patches (Phrase Preview)................................................................................................................ 49
Selecting the Tones That Will Sound (Tone On/Off) ...................................................................................................... 50 Playing Single Notes (Monophonic) .................................................................................................................................. 50 Part Settings (Part View)...................................................................................................................................................... 51 Selecting the Parameter Controlled by the Realtime Controllers or D Beam Controller (Control Setting) ............ 51 Playing Percussion Instruments (Rhythm Set)................................................................................................................. 52
Selecting a Rhythm Set .......................................................................................................................................... 52 Playing a Sample Set ............................................................................................................................................................ 53
Selecting a Sample Set............................................................................................................................................ 53
Creating a List of Frequently Used Sounds (Favorite) .........................................54 Registering a Sound (Regist)................................................................................................................................. 54 Recalling a Sound ................................................................................................................................................... 55 Specifying the Volume for Each Step (Favorite Level) ..................................................................................... 55 Changing the Step in Which You Registered a Sound...................................................................................... 55 Removing a Sound You Registered (Remove) ................................................................................................... 55 Removing All Sound Registrations from a Bank (Remove Bank)................................................................... 55 Registering a Song (Set Song) ............................................................................................................................... 56 Importing a Text File (Import Text) ..................................................................................................................... 56 Removing a Text File (Remove Text)................................................................................................................... 57 Switching the Display Font (Font) ....................................................................................................................... 57
Playing in Live Mode................................................................................................58 Displaying Live Play (Layer/Split) Screen ....................................................................................................................... 58 Functions in the Live Play (Layer/Split) Screen .............................................................................................................. 59 Selecting a Live Set ............................................................................................................................................................... 60
Selecting Live Sets from the List........................................................................................................................... 60 Using the Live Play (Layer/Split) Screen.......................................................................................................................... 61
Selecting a Part........................................................................................................................................................ 61 Selecting the Part that You want to Sound (Keyboard Switch) ....................................................................... 61 Selecting the Part Played by the Pads.................................................................................................................. 61 Selecting the Sound for a Part............................................................................................................................... 61 Combining and Playing Sounds Together (Layer) ............................................................................................ 62 Playing Different Sounds in Different Areas of the Keyboard (Split) ............................................................ 62
Using the Live Set Part Mixer Screen................................................................................................................................. 63 Editing the Part Settings ........................................................................................................................................ 63
Using the Layer Edit Screen ................................................................................................................................................ 64 Selecting the Sound for a Part............................................................................................................................... 64 Editing the Part Settings ........................................................................................................................................ 64
Performing with the Arpeggio ........................................................................................................................................... 65 Performing with the Realtime Controllers and D Beam Controller.............................................................................. 65 Setting Effects ........................................................................................................................................................................ 65 Adjusting the Master Level ................................................................................................................................................. 65 Making Detailed Settings for a Live Set ............................................................................................................................ 65
Playing in Studio Mode............................................................................................66 Displaying Studio Play Screen............................................................................................................................................ 66 Functions in the Studio Play Screen................................................................................................................................... 67
Switching the Displayed Part Group................................................................................................................... 67 Selecting a Studio Set ........................................................................................................................................................... 67
Selecting Studio Sets from the List....................................................................................................................... 68 Using the Studio Play Screen .............................................................................................................................................. 68
Selecting a Part........................................................................................................................................................ 68 Selecting the Sound for a Part............................................................................................................................... 68 Selecting the Part that You Want to Sound (Keyboard Switch) ...................................................................... 69 Editing the Part Settings ........................................................................................................................................ 69
Performing with the Arpeggio ........................................................................................................................................... 70 Performing with the Realtime Controllers and D Beam Controller.............................................................................. 70 Setting Effects ........................................................................................................................................................................ 70 Adjusting the Master Level ................................................................................................................................................. 70 Making Detailed Settings for a Studio Set ........................................................................................................................ 70
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Contents
Fantom-G_r_e.book 11
03: Sound Generator, Section 2 (Controlling Sounds)... 71 Modifying the Sound in Real Time .........................................................................72
Waving Your Hand Over the D Beam to Modify the Sound (D Beam Controller) .................................................... 72 Making Settings for the D Beam Controller ....................................................................................................... 73
Using Knobs, Sliders or S1/S2 Buttons to Modify the Sound (Realtime Controller) ................................................. 75 Changing Realtime Controller Settings............................................................................................................... 76
Using a Pedal to Modify the Sound (Control Pedal) ....................................................................................................... 77 Making Control Pedal Settings............................................................................................................................. 77
Playing Arpeggios....................................................................................................78 About Arpeggio .................................................................................................................................................................... 78 Playing Arpeggios ................................................................................................................................................................ 78
Turning Arpeggio On and Off.............................................................................................................................. 78 Determining the Tempo for Arpeggio Performances ....................................................................................... 78 Holding an Arpeggio ............................................................................................................................................. 78
Arpeggio Settings ................................................................................................................................................................. 78 Saving the Arpeggio You Have Created (Write) ............................................................................................................. 79
Using the Chord Memory Function (Chord Memory) ...........................................80 About the Chord Memory Function .................................................................................................................................. 80 Performing with the Chord Memory Function ................................................................................................................ 80
Turning Chord Memory Function On and Off .................................................................................................. 80 Selecting Chord Forms........................................................................................................................................... 80 Sounding a Chord in the Order of Its Notes (Rolled Chord) ........................................................................... 81
Creating Your Own Chord Forms...................................................................................................................................... 81 Saving the Chord Forms You Have Created .................................................................................................................... 82
04: Sound Generator, Section 3 (Creating Sounds)..83 Creating a Patch.......................................................................................................84
How to Make Patch Settings ............................................................................................................................................... 84 Editing a Patch Quickly (Patch Zoom Edit)........................................................................................................ 84 Editing All Parameters of a Patch (Patch Pro Edit) ........................................................................................... 86 Initializing Patch/Tone Settings (Patch Initialize/Tone Initialize)................................................................. 87 Copying Patch (Tone) Settings (Patch Tone Copy) ........................................................................................... 87 Cautions When Selecting a Waveform................................................................................................................ 88
Saving Patches Youve Created (Write)............................................................................................................................. 88 Auditioning the Save-Destination Patch (Compare)......................................................................................... 89
Functions of Patch Parameters............................................................................................................................................ 89 Settings Common to the Entire Patch (General) ................................................................................................ 89 Modifying Waveforms (Wave)............................................................................................................................. 91 Changing How a Tone Is Sounded (TMT).......................................................................................................... 92 Modifying Pitch (Pitch/Pitch Env) ...................................................................................................................... 96 Modifying the Brightness of a Sound with a Filter (TVF/TVF Env) .............................................................. 98 Adjusting the Volume (TVA/TVA Env)........................................................................................................... 100 Output .................................................................................................................................................................... 102 Modulating Sounds (LFO1/2/Step LFO) ......................................................................................................... 102 Apply Portamento or Legato to the Sound (Solo/Porta) ............................................................................... 105 Miscellaneous Settings (Misc)............................................................................................................................. 107 Matrix Control Settings (Control 14) ............................................................................................................... 109 Setting Effects for a Patch (PFX) ......................................................................................................................... 111
Creating a Rhythm Set...........................................................................................112 How to Make Rhythm Set Settings .................................................................................................................................. 112
Editing a Rhythm Set Quickly (Patch Zoom Edit)........................................................................................... 112 Editing All Parameters (Patch Pro Edit)............................................................................................................ 114 Initializing Rhythm Set/Key Settings (Rhythm Set Initialize/Rhythm Key Initialize) ............................. 115 Copying Rhythm Tone Settings (Rhythm Tone Copy)................................................................................... 115 Cautions When Selecting a Waveform.............................................................................................................. 116
Saving Rhythm Sets Youve Created (Write).................................................................................................................. 116 Auditioning the Save-Destination Rhythm Set (Compare)............................................................................ 117
Functions of Rhythm Set Parameters............................................................................................................................... 117 Making Settings Common to the Entire Rhythm Set (General)..................................................................... 117 Modifying Waveforms (Wave)........................................................................................................................... 119 Changing How a Rhythm Tone Is Sounded (WMT)....................................................................................... 120 Modifying Pitch (Pitch/Pitch Env) .................................................................................................................... 121 Modifying the Brightness of a Sound with a Filter (TVF/TVF Env) ............................................................ 122
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Contents
Fantom-G_r_e.book 12
Adjusting the Volume (TVA/TVA Env)........................................................................................................... 124 Output Settings (Output) .................................................................................................................................... 125 Setting Effects for a Rhythm Set (PFX) .............................................................................................................. 125
Creating a Sample Set ...........................................................................................126 How to make Sample Set settings .................................................................................................................................... 126
Editing a Sample Set Quickly (Patch Zoom Edit) ............................................................................................ 126 Editing All Parameters (Patch Pro Edit)............................................................................................................ 127 Initializing Sample Set Settings (Sample Set Initialize)................................................................................... 127
Saving Sample Sets Youve Created (Write)................................................................................................................... 128 Functions of Sample Set Parameters ................................................................................................................................ 129
Making Settings Common to the Entire Sample Set (General) ...................................................................... 129 Modifying Waveforms (Wave)........................................................................................................................... 130 Modifying Pitch (Pitch)........................................................................................................................................ 130 Adjusting the Volume (Amp) ............................................................................................................................. 131 Output Settings (Output) .................................................................................................................................... 131 Setting Effects for a Sample Set (PFX) ............................................................................................................... 131
Creating a Live/Studio Set.....................................................................................132 Common Settings (Utility) ................................................................................................................................................ 132
NAME .................................................................................................................................................................... 132 Part Info.................................................................................................................................................................. 132
Part Settings (Part View).................................................................................................................................................... 133 Level/Pan (When the Part Group is Internal/EXP1/EXP2).......................................................................... 134 Level/Pan (When the Part Group is External)................................................................................................. 135 Key Range.............................................................................................................................................................. 135 Output/EFX .......................................................................................................................................................... 136 Pitch ........................................................................................................................................................................ 137 Scale Tune .............................................................................................................................................................. 138 Vibrato.................................................................................................................................................................... 139 Offset ...................................................................................................................................................................... 139 Mono/Poly/Legato.............................................................................................................................................. 140 Voice Reserve ........................................................................................................................................................ 141 MIDI Rx Filter ....................................................................................................................................................... 141
Selecting the Parameter Controlled by the Realtime Controllers or D Beam Controller (Control Setting) .......... 142 D Beam ................................................................................................................................................................... 143 Knob ....................................................................................................................................................................... 145 Slider....................................................................................................................................................................... 145 Switch S1/S2 ......................................................................................................................................................... 146 Arpeggio ................................................................................................................................................................ 146 Chord Memory ..................................................................................................................................................... 146 Dynamic Pad ......................................................................................................................................................... 146 Ctrl Switch ............................................................................................................................................................. 147
Changing the Settings of the Patch Assigned to a Part ................................................................................................. 147 Initializing Live/Studio Set Settings (Init) ...................................................................................................................... 148 Saving a Live/Studio Set Youve Created (Write)......................................................................................................... 148
Adding Effects........................................................................................................150 Where Effect Settings are Saved ....................................................................................................................................... 150 Turning Effects On and Off............................................................................................................................................... 150 Making Effect Settings ....................................................................................................................................................... 151 Applying Effects in Single Mode...................................................................................................................................... 151 Applying Effects in Live Mode......................................................................................................................................... 151
Specifying How the Sound will be Output (Routing)..................................................................................... 151 Signal Flow Diagram and Parameters............................................................................................................... 152
Applying Effects in Studio Mode..................................................................................................................................... 154 Specifying How the Sound Will Be Output (Routing).................................................................................... 154 Signal Flow Diagram and Parameters............................................................................................................... 154
Making Patch Multi-Effects Settings (PFX)..................................................................................................................... 157 Making Multi-Effects Settings (MFX12) ........................................................................................................................ 158 Making Chorus Settings (Chorus).................................................................................................................................... 159 Making Reverb Settings (Reverb)..................................................................................................................................... 159 Mastering Effect .................................................................................................................................................................. 160
Effects List..............................................................................................................161 MFX/PFX Parameter.......................................................................................................................................................... 161 Chorus Parameters ............................................................................................................................................................. 184 Reverb Parameters.............................................................................................................................................................. 185 Input Effect Parameters ..................................................................................................................................................... 186
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Contents
Fantom-G_r_e.book 13
05: Pads (Using the Pads).....................................187 Using the Pads .......................................................................................................188
Common Operations for Pads .......................................................................................................................................... 188 Switching the Pad Mode (PAD MODE)............................................................................................................ 188 Using the Pads as Numeric Keys (NUMERIC) ................................................................................................ 188 Using the Hold Function to Sustain the Sounds (HOLD) .............................................................................. 188 Using the Roll Function (ROLL)......................................................................................................................... 189 Switching Banks (BANK) .................................................................................................................................... 189 Editing the Pad Settings (PAD SETTING) ........................................................................................................ 190 Exchanging Pads (Pad Exchange) ...................................................................................................................... 190
1 SAMPLE PAD (Using the Pads to Play Samples) ....................................................................................................... 191 About Samples ...................................................................................................................................................... 191 Editing the Pad Settings....................................................................................................................................... 191
2 RHYTHM (Using the Pads to Play a Rhythm Set)...................................................................................................... 192 Editing the Pad Settings....................................................................................................................................... 192
3 CHORD MEMORY (Using the Pads to Switch Chord Forms) ................................................................................. 193 Editing the Pad Settings....................................................................................................................................... 193
4 ARPEGGIO (Using the Pads to Switch Arpeggio Styles) .......................................................................................... 193 Editing the Pad Settings....................................................................................................................................... 193
5 RPS (Using the Pads to Play Phrases)........................................................................................................................... 194 Specifying the Tempo for Phrase Playback ...................................................................................................... 194 Editing the Pad Settings....................................................................................................................................... 194
6 RHYTHM PTN (Using the Pads to Play Rhythm Patterns) ...................................................................................... 196 Specifying the Tempo for Rhythm Pattern Playback ...................................................................................... 196 Editing the Pad Settings....................................................................................................................................... 196
7 TONE SEL/SW (Using the Pads to Select Tones or Switch Them On/Off) ........................................................... 197 Checking the Pad Status ...................................................................................................................................... 197
8 TRACK MUTE (Using the Pads to Mute Tracks)........................................................................................................ 197 Checking the Pad Status ...................................................................................................................................... 197
9 BOOKMARK (Using the Pads to Recall Frequently Used Screens)......................................................................... 198 Registering a Screen ............................................................................................................................................. 198 Recalling a Screen ................................................................................................................................................. 198
10 MIDI TX SW (Using the Pads to Turn External MIDI Transmit Channels (116) On/Off) ............................... 198 Checking the Pad Status ...................................................................................................................................... 198
11 EFFECT SW (Using the Pads to Switch the Effects) ................................................................................................. 199 Checking the Pad Status ...................................................................................................................................... 199
12 PATCH MFX SW (Using the Pads to Switch Patch Multi-effects) ......................................................................... 199 Checking the Pad Status ...................................................................................................................................... 199
13 PART SELECT (Using the Pads to Select Parts) ........................................................................................................ 200 Checking the Pad Status ...................................................................................................................................... 200
14 PART MUTE (Using the Pads to Mute Parts)............................................................................................................ 200 Checking the Pad Status ...................................................................................................................................... 200
15 USER GROUP (Using the Pads to Register/Recall User Groups).......................................................................... 201 Recalling a User Group Sound ........................................................................................................................... 201 Registering a Sound in a User Group................................................................................................................ 201
16 FAVORITE (Using the Pads to Register/Recall Favorite Settings) ........................................................................ 202 Recalling a Favorite Sound (Setting).................................................................................................................. 202 Registering a Favorite Sound (Setting).............................................................................................................. 202
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Contents
Fantom-G_r_e.book 14
06: Sequencer (Creating a Song) ..........................203 Playing Back a Song..............................................................................................204
Three Ways to Play Back ..................................................................................................................................... 204 Playing a Song (Song Play)................................................................................................................................................ 204
Loading a Song (Song List) ................................................................................................................................. 204 Playing a Song (Song Play) ................................................................................................................................. 205 Operations in the Song Play Screen ................................................................................................................... 205 Fast-forwarding or Rewinding during Playback............................................................................................. 206 Muting the Playback of a Track (MUTE) .......................................................................................................... 206 Accessing the Mixer Screen................................................................................................................................. 207 Changing the Playback Tempo of the Song...................................................................................................... 207 Playing a Song Repeatedly (Loop)..................................................................................................................... 208 Placing Markers in a Song (Marker) .................................................................................................................. 208 Changing the Track Display Zoom and Display Order (Zoom/Track Order) ........................................... 209 Naming a Track (Track Name) ........................................................................................................................... 209 Specifying a Tracks Output Destination (Output Assign) ............................................................................ 210 Deleting a Song File (Song Delete)..................................................................................................................... 210 Song Automatically Loaded at Power-on (When Loading a Project)........................................................... 210 Erasing the Currently-open Song (Song Clear)................................................................................................ 211
Playing a Standard MIDI File (SMF)................................................................................................................................ 212 Copying a Standard MIDI File (SMF) from Your Computer to the Fantom-G ........................................... 212 Playing a Standard MIDI File (SMF) (SMF List) .............................................................................................. 212 Importing an SMF into a Phrase (Import Phrase)............................................................................................ 213 Importing an SMF into a Song (Import Song).................................................................................................. 213
Playing Phrases (MIDI Phrase)......................................................................................................................................... 214 Auditioning a Phrase (MIDI Phrase List).......................................................................................................... 214 Loading a Phrase (Load)...................................................................................................................................... 214 Deleting a Phrase from the Project (Delete Phrase)......................................................................................... 215 Duplicating a Phrase (Duplicate) ....................................................................................................................... 215 Saving a Phrase (Save) ......................................................................................................................................... 216 Saving all Phrases (Save All)............................................................................................................................... 216
Recording MIDI.......................................................................................................217 Phrases and Songs ................................................................................................................................................ 217 Two Methods of Recording................................................................................................................................. 217
Recording into a Song ........................................................................................................................................................ 218 Selecting a Sound for Recording ........................................................................................................................ 218 Erasing the Song/Phrases from the Temporary Area (Song Clear).............................................................. 218 Specifying the Time Signature (Beat Track) ..................................................................................................... 219 Specifying the Tempo .......................................................................................................................................... 219 Selecting a MIDI Track and the Recording-start Measure ............................................................................. 219
Recording into a Phrase ..................................................................................................................................................... 220 Selecting a Sound for Recording ........................................................................................................................ 220 Specifying the Tempo .......................................................................................................................................... 220 Selecting the Phrase to Record............................................................................................................................ 221
Recording Your Performance Just as You Play It (Realtime Recording).................................................................... 222 Basic Procedure for Realtime Recording........................................................................................................... 222 Realtime Rec Standby Parameters ..................................................................................................................... 222 Selecting the Sequencer Data that will Be Recorded (Recording Select) ...................................................... 224 Erasing Unwanted Data While You Record (Realtime Erase) ....................................................................... 224 Auditioning Sounds or Phrases While Recording (Rehearsal Function) ..................................................... 225
Inputting Data One Step at a Time (Step Recording).................................................................................................... 226 Entering Notes and Rests .................................................................................................................................... 226
Recording Audio ....................................................................................................228 Samples and Songs............................................................................................................................................... 228
Recording into a Song ........................................................................................................................................................ 228 Selecting an Audio Track and the Recording-start Measure ......................................................................... 229
Audio Recording................................................................................................................................................................. 230 Basic Procedure for Audio Recording ............................................................................................................... 230 Audio Rec Standby Parameters.......................................................................................................................... 230
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Contents
Fantom-G_r_e.book 15
Editing Songs.........................................................................................................232 Three Ways to Edit ............................................................................................................................................... 232
Editing a Song (Song Edit) ................................................................................................................................................ 232 Opening the Song Edit Screen ............................................................................................................................ 232 Moving a Sample/Phrase (Move)...................................................................................................................... 233 Inserting a Sample/Phrase at a Specified Location (Insert) ........................................................................... 233 Deleting a Sample/Phrase from a Track (Delete)............................................................................................ 234 Copying a Sample/Phrase (Copy)..................................................................................................................... 234 Editing a Sample/Phrase (Edit) ......................................................................................................................... 234
Song Utility (Song Util)...................................................................................................................................................... 235 Changing the Track Display Zoom and Display Order (Zoom/Track Order) ........................................... 235 Erasing the Currently-open Song (Song Clear)................................................................................................ 235 Clearing a Track (Track Clear)............................................................................................................................ 235 Naming a Track (Track Name) ........................................................................................................................... 235 Changing the Tempo during the Song (Tempo Track)................................................................................... 236 Changing the Time Signature during the Song (Beat Track) ......................................................................... 237
Editing a Phrase (Phrase Edit) .......................................................................................................................................... 238 Opening the Phrase Edit Screen ......................................................................................................................... 238 Playing a Phrase (Play) ........................................................................................................................................ 239 Erasing the Currently-edited Phrase (Clear) .................................................................................................... 239 Saving a Phrase (Save) ......................................................................................................................................... 239
Phrase Modify Menu.......................................................................................................................................................... 239 Aligning a Phrases Timing (Quantize)............................................................................................................. 240 Erasing Unwanted Performance Data (Erase).................................................................................................. 242 Deleting Unwanted Measures (Delete) ............................................................................................................. 243 Copying Phrases (Copy)...................................................................................................................................... 243 Inserting a Blank Measure (Insert) ..................................................................................................................... 244 Transpose the Key (Transpose) .......................................................................................................................... 245 Changing the Velocity (Change Velocity)......................................................................................................... 245 Changing the MIDI Channel (Change Channel) ............................................................................................. 246 Modifying the Length of Notes (Change Duration)........................................................................................ 246 Shifting Performance Data Forward and Back (Shift Clock).......................................................................... 247 Thinning Out the Sequencer Data (Data Thin) ................................................................................................ 248 Deleting Blank Measures (Truncate) ................................................................................................................. 249
Editing Individual Items of Sequencer Data (Microscope) .......................................................................................... 250 Editing Sequencer Data (Basic Procedure in the Microscope) ....................................................................... 250 Sequencer Data Handled by Phrases................................................................................................................. 251 Viewing Sequencer Data (View) ........................................................................................................................ 252 Inserting Sequencer Data (Create) ..................................................................................................................... 252 Erasing Sequencer Data (Erase).......................................................................................................................... 252 Moving Sequencer Data (Move)......................................................................................................................... 253 Copying Sequencer Data (Copy)........................................................................................................................ 253
Saving a Song (Song Save)...................................................................................254 What the Saved Song Data Contains ................................................................................................................. 254 What is Saved at the Same Time as the Song ................................................................................................... 254
Saving a Song (Save) .......................................................................................................................................................... 254 Resampling the Contents of All Tracks to a Single Sample ......................................................................................... 255
Copying a Resampled Sample to Your Computer to Create a CD or MP3 ................................................. 255
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Contents
Fantom-G_r_e.book 16
07: Sampler .........................................................257 Sampling.................................................................................................................258
Switching External Input On/Off .................................................................................................................................... 258 Making Input Source Settings (Input Setting)................................................................................................................ 258 Functions of Input Setting Parameters ............................................................................................................................ 258 Input Effect Setup Settings ................................................................................................................................................ 259 Sampling Procedure ........................................................................................................................................................... 260
Dividing a Sample During Sampling ................................................................................................................ 262 Sampling Earlier in Time (Skip Back Sampling) ............................................................................................................ 262
Editing a Sample ....................................................................................................263 Selecting a Sample (Sample List)...................................................................................................................................... 263
Selecting a Sample ................................................................................................................................................ 263 Loading a Sample (Load) .................................................................................................................................... 264 Loading All Samples (Load All)......................................................................................................................... 264 Unloading a Sample (Unload) ............................................................................................................................ 264 Deleting a Sample (Delete).................................................................................................................................. 265 Importing an Audio File (WAV/AIFF) from Your Computer ...................................................................... 265
Displaying Sample Edit Screen (Sample Edit)................................................................................................................ 266 Magnifying/Shrinking the Waveform Display (Zoom) ................................................................................. 266
Setting the Start/End Points of the Sample .................................................................................................................... 267 Using the Knobs to Edit the Points .................................................................................................................... 267
Making Settings for Sample (Sample Parameters)......................................................................................................... 268 Removing Unwanted Portions of a Sample (Truncate) ................................................................................................ 269 Boosting or Limiting the High-frequency Range of the Sample (Emphasis)............................................................. 269 Maximizing the Volume of a Sample (Normalize) ........................................................................................................ 270 Amp ...................................................................................................................................................................................... 270 Stretching or Shrinking a Sample (Time Stretch)........................................................................................................... 271 Dividing a Sample into Notes (Chop) ............................................................................................................................. 272 Saving a Sample (Save) ...................................................................................................................................................... 274 Saving all samples (Save All) ............................................................................................................................................ 274
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Fantom-G_r_e.book 17
08: Various Settings (Menu and System)...............275 Menu Reference .....................................................................................................276
Menus ................................................................................................................................................................................... 276 Project-related Settings (Project)....................................................................................................................................... 276
Load Project........................................................................................................................................................... 276 Save Project............................................................................................................................................................ 277 Save As Project...................................................................................................................................................... 277 Create Project ........................................................................................................................................................ 278 Backup Project....................................................................................................................................................... 278 Restore Project....................................................................................................................................................... 279
System Settings (System) ................................................................................................................................................... 279 Reset to Default Factory Settings (Factory Reset) .......................................................................................................... 280 Format USB Memory.......................................................................................................................................................... 280 Exchanging Files with Your Computer (USB Storage) ................................................................................................. 281
Connections ........................................................................................................................................................... 281 Specify the Connection-Destination .................................................................................................................. 281 Cautions Regarding Folders and Files .............................................................................................................. 282 Exiting Storage Mode........................................................................................................................................... 282 Examples of Using Storage Mode ...................................................................................................................... 283
Import Audio....................................................................................................................................................................... 285
System Settings (Settings Common to All Modes).............................................286 How to Make System Function Settings ......................................................................................................................... 286 Saving the System Settings (System Write) .................................................................................................................... 286 Functions of System Parameters....................................................................................................................................... 287
Pedal/D Beam....................................................................................................................................................... 287 Keyboard................................................................................................................................................................ 288 Dynamic Pad ......................................................................................................................................................... 288 Knob/Slider........................................................................................................................................................... 289 Magic Control........................................................................................................................................................ 290 Switch S1/S2 ......................................................................................................................................................... 290 Sync/Temp............................................................................................................................................................ 291 Metronome ............................................................................................................................................................ 293 Sound...................................................................................................................................................................... 293 MIDI ....................................................................................................................................................................... 295 USB ......................................................................................................................................................................... 296 Scale Tune .............................................................................................................................................................. 296 Preview .................................................................................................................................................................. 296 System Ctrl ............................................................................................................................................................ 297 Screen Saver........................................................................................................................................................... 297 Input/Sampling.................................................................................................................................................... 297 Startup.................................................................................................................................................................... 298
System Information (Info) ................................................................................................................................................. 298 Changing the Wallpaper (Wallpaper) ............................................................................................................................. 299
Importing an Image as Wallpaper (Import) ..................................................................................................... 299 Display-related Settings (Appearance)............................................................................................................................ 300
About V-LINK..........................................................................................................301 What is V-LINK?................................................................................................................................................................. 301 Connection Examples......................................................................................................................................................... 301 Turning the V-LINK ON/OFF ......................................................................................................................................... 301 V-LINK Settings .................................................................................................................................................................. 301
V-LINK Parameters.............................................................................................................................................. 302 Resetting the Image.............................................................................................................................................. 302
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Fantom-G_r_e.book 18
09: Appendix.......................................................303 Installing the Expansion Board ............................................................................304
Cautions When Installing an Expansion Board ............................................................................................................. 304 How to Install an Expansion Board ................................................................................................................................. 304 Removing an Expansion Board ........................................................................................................................................ 305 Configuring the Newly-installed Expansion Board ...................................................................................................... 305
Installation de la carte dexpansion Wave...........................................................306 Prcautions prendre lors de linstallation dune carte dexpansion Wave.............................................................. 306 Installation dune carte dexpansion Wave..................................................................................................................... 306 Retrait dune carte dexpansion........................................................................................................................................ 307 Configuration de la carte dexpansion installe............................................................................................................. 307
Expanding the DIMM Memory...............................................................................308 Precautions for Expanding Memory................................................................................................................................ 308 How to Expand the Memory ............................................................................................................................................ 308
Removing the Memory ........................................................................................................................................ 309 Checking that Memory is Installed Correctly ................................................................................................................ 309
Ajouter de la mmoire ...........................................................................................310 Prcautions prendre lors de lajout de mmoire ......................................................................................................... 310 Installation du module de mmoire................................................................................................................................. 310
Retrait du module de mmoire .......................................................................................................................... 311
Troubleshooting.....................................................................................................312 Problems Concerning the Entire Fantom-G ..................................................................................................... 312 Issues Related to Sound....................................................................................................................................... 312 Issues Related to Effects....................................................................................................................................... 314 Issues Related to Saving Data............................................................................................................................. 314 Issues Related to Sequencer ................................................................................................................................ 315 Issues Related to MIDI and External Devices .................................................................................................. 316 Issues Related to Sampling ................................................................................................................................. 316 Issues Related to a USB memory........................................................................................................................ 317 Issues Related to a USB connection ................................................................................................................... 317
Error Messages ......................................................................................................318 About MIDI ..............................................................................................................319
About MIDI Connectors ...................................................................................................................................... 319 MIDI Channels and Multi-timbral Sound Generators .................................................................................... 319
Specifications.........................................................................................................322 Index........................................................................................................................324
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Fantom-G_r_e.book 19
01: Introduction (Overview and Basic Operation)
This chapter explains the Fantom-Gs panels, provides an overview of the instrument, and explains basic operation.
Main Features ............................................................p. 20 Panel Descriptions.......................................................p. 22 Making Connections ...................................................p. 25 Overview of the Fantom-G ...........................................p. 32 Basic Operation of the Fantom-G ..................................p. 39
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Fantom-G_r_e.book 20
Main Features
Sound quality thats a class above The Fantom-G features a new sound engine that provides a patch multi-effect (PFX) for each sound (patch) at all times, allowing you to create lavish sounds in a way not possible until now.
In addition, there are two multi-effects (MFX) processors that can be used flexibly. Up to twenty-two types of effects, such as chorus and reverb, can be used simultaneously.
Of course the integration of audio and MIDI featured on the Fantom-X is also provided, letting you use sampled sounds as internal sounds.
Mode settings optimized for your situation
The Fantom-G provides modes optimized for your situation; use Live mode for live performances, and Studio mode for music production.
Live mode lets you freely create eight-part multitimbral layers and splits. With functions such as Patch Remain, which ensures that the notes you were playing before switching sounds are not cut off, this mode is designed to ensure the expression and speed you need for a live performances.
Studio mode lets the Fantom-G operate as a 16-part multitimbral instrument, and allows you to use all of its effects in your music productions.
Single mode is what youll want to choose when playing a single sound, such as when using the Fantom-G as a dedicated piano or organ. Choose this mode when youre editing a sound.
The latest and greatest internal sounds Starting with the 88-note multisampled piano that was acclaimed on the Fantom-X, all sounds have been renewed. The Fantom-G boasts the worlds best lineup of sounds, with an emphasis on quality. Youll have immediately usable sounds for performance and creativity in every situation. It features 256 MB of internal waveform capacity (double that of the Fantom-X series), with broad coverage of everything from acoustic sounds to synth sounds.
Support for the new ARX series expansion boards featuring the SuperNATURAL sound generator
The Fantom-G features two slots that support the ARX series, which not only allows you to expand the existing sounds, but provides an optimal sound engine for each different sound (Rolands new SuperNATURAL technology, which boasts amazing expressive power).
This new technology delivers the expressive power and quality of the real thing, surpassing even the high-quality internal sounds.
SuperNATURAL is proprietary Roland technology that realistically expresses the tonal changes and performance techniques that are distinctive to acoustic instruments and electric instruments, bringing you natural and rich expressive power.
New 152-track sequencer is a highly evolved fusion of audio and MIDI
The fusion of audio and MIDI has evolved to a new dimension. The new sequencer provides a graphical workflow with up to 128 tracks of MIDI and 24 tracks of audio available simultaneously. The easy to understand phrase-based interface lets you use a USB mouse for an even speedier music production environment.
Full-fledged sampler The sampling functionality rivals dedicated samplers, offering not only detailed wave editing but also the ability to immediately play recorded samples from the pads or keyboard, or use them as material in audio tracks. Of course theres also an Auto Sync function, which lets you match the current tempo without changing the pitch, or change the pitch without affecting the tempo.
* 32 MB of sampling memory is provided as standard, and you can add DIMM memory (p. 308, p. 310) to expand this to a maximum of 544 MB.
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Main Features
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Skip Back Sampling function The Skip Back Sampling function, which was so popular on the Fantom-X series, is also provided on the Fantom-G.
By constantly recording your performance on the Fantom-G, this function ensures that you can retroactively record an inspired improvisation at any time. Never again will you lose a great idea just because the recorder wasnt running.
Favorites function This function gives you one-touch call-up of settings for the songs in your live performance.
Using this, you can simply press a single button to change sounds and settings during performances that require quick changes. Each such setting includes master volume, so youll be able to prepare volume adjustments during your rehearsal to match the actual live performance environment.
Wide VGA color liquid crystal display The large wide VGA color liquid crystal screen is a revolutionary leap that ensures superb visibility and operability in any situation.
A full range of interfaces USB functionality has been enhanced. The USB MEMORY connector lets you use USB memory to back up your data. The USB MOUSE connector lets you connect a two-button wheel mouse for an even more ideal user interface. The USB COMPUTER connector handles data transfer between the Fantom-G and your computer, and also supports USB MIDI and audio. This lets the Fantom-G connect to various computer- based software tools, and also lets you use the dedicated editor software to perform editing tasks.
In addition, the external audio inputs include dedicated LINE (STEREO) input jacks and a dedicated MIC/GUITAR jack.
V-LINK V-LINK functionality opens up a new realm of expression for your performances because of the way it allows you to synchronize music and visual images. You can use controllers such as the D Beam and the Fantom-Gs knobs, sliders, and dynamic pads to control visual images as part of the process of performing your music.
Plug-in editor/librarian The included dedicated editor and librarian software let you use your computer to edit and manage the Fantom-Gs sounds. The dedicated editor also supports operation as a VSTi/AU plug-in.
Support for GM/GM2 The Fantom-G supports GM/GM2. Any music data compatible with GM/GM2 (GM Scores) can be played by the Fantom-G.
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Fantom-G_r_e.book 22
Panel Descriptions
D BEAM Here you can switch the D Beam function on/off. This lets you apply various effects to the sound by moving your hand above the sensor. (p. 72)
[PAD TRIGGER] This lets you use the D Beam controller to play the pads, as an alternative to striking them by hand. (p. 73)
[SOLO SYNTH] This lets you use the D Beam controller as a monophonic synthesizer. (p. 73)
* By holding down [SHIFT] and pressing the appropriate button, you can access the D Beam setting screen.
[ASSIGNABLE] This lets you assign various parameters or functions to the D Beam controller, and use it to modify the sound in real time. (p. 75)
[V-LINK] This switches V-LINK on/off. The V-LINK setting screen will appear when you turn this button on. (p. 301)
INPUT PEAK Indicator This will light when the external input volume is too high.
[MIX IN] This turns the external input on/off. (p. 258)
* By holding down [SHIFT] and pressing this button you can access the input setting screen. (p. 258)
VOLUME VOLUME Knob This adjusts the overall volume that is output from the rear panel OUTPUT A (MIX) jacks and PHONES jack. (p. 28)
MODE [STUDIO] This puts the Fantom-G in Studio mode. Choose this setting for song production. (p. 66)
[LIVE] This puts the Fantom-G in Live mode. Choose this setting when you want to play multiple sounds layered together or split across the keyboard. (p. 58)
[SINGLE] This puts the Fantom-G in Single mode. Choose this setting when you want to play a single sound at a time. (p. 46)
[FAVORITE] This lets you register favorite sounds for immediate call-up a convenient capability for live performances. (p. 54)
KEYBOARD [ARPEGGIO] This turns the arpeggiator on/off. (p. 78)
[HOLD] This switches the arpeggiators Hold function on/off. (p. 78)
[CHORD MEMORY] This switches Chord Memory on/off. (p. 80)
* By holding down [SHIFT] and pressing these buttons, you can access the setting screens for chord memory and the arpeggiator.
[-OCT], [+OCT] These raise or lower the key range in one-octave steps. (-3 +3)
* By pressing the [-OCT] and [+OCT] buttons simultaneously you can reset the setting to its original value.
[TRANSPOSE] If this is on, you can use [-OCT] [+OCT] to raise or lower the key range in semitone steps. (-5 +6)
* By pressing the [-OCT] and [+OCT] buttons simultaneously you can reset the setting to its original value.
SEQUENCER Here you can perform sequencer operations such as playback and recording.
[ ] This moves the song position to the beginning of the song. If you press this during playback, you will return to the beginning of the song and stop. (p. 206)
[ ] [ ] These move the song position to the first beat of the previous or next measure. (p. 206)
* By holding down [SHIFT] and pressing these buttons, you can move the song position to the previous or next marker.
[LOOP] This turns Loop Playback on/off. (p. 208)
* By holding down [SHIFT] and pressing this button, you can access the Loop setting screen.
[JUMP] This jumps to the JUMP marker. If no marker has been set, it jumps to the beginning of the song. (p. 208)
* By holding down [SHIFT] and pressing this button, you can access the Marker setting screen.
Front Panel
1 8 9 12 15
10 11
13 14
2 3
4
16
17
5 6
7
1
2
3
4
5
6
7
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[PLAY] This plays back the song. (p. 204) It will blink in time with the tempo and time signature. (p. 293)
[STOP] This stops playback.
[REC] This accesses the Recording Standby screen. (p. 222) Pressing this during recording will activate the Rehearsal function. (p. 225)
CONTROL Control Knobs 14 Control Sliders 18 These provide realtime control of the parameters or functions assigned to them. (p. 75)
* By holding down [SHIFT] and moving one of the above knobs (sliders), you can access the setting screen for that control. (p. 76)
MAGIC CTRL (Magic Control) Magic Control is a function that automatically changes the role of knob 4 and slider 8 according to the screen. For example, in the Patch List screen (p. 49), knob 4 selects the category and slider 8 scrolls the list.
TEMPO/VALUE This indicates the tempo. When you move a control knob or slider, this will indicate its value.
[TEMPO] You can adjust the tempo by pressing this button and turning the VALUE dial. (p. 78, p. 207)
LIST/EDIT [PATCH] Press this to edit a patch. Press it once to access the Patch Zoom Edit screen (p. 84), or twice in succession to access the Patch Pro Edit screen (p. 86).
[SONG] Press this to edit a song. Press it once to access the Song Play screen (p. 205), or twice in succession to access the Song Edit screen (p. 232).
[SAMPLE] Press this to edit a sample. Press it once to access the Sample Edit screen (p. 266), or twice in succession to access the Sample List (p. 263).
[EFFECTS (ROUTING)] Press this to make effect-related settings. (p. 150)
DISPLAY A variety of information is shown here according to the operations you perform.
[MENU] Opens the MENU. (p. 276)
Function buttons ([F1][F8]) When youre editing, these buttons execute various functions that will differ depending on the screen.
[DISPLAY] Displays the shortcut menu. (p. 44)
VALUE [WRITE] Writes the modified content into memory. (p. 79, p. 82, p. 88, p. 116, p. 148, p. 254, p. 274, p. 286)
VALUE Dial Modifies a value. By holding down [SHIFT] and turning the VALUE dial, you can modify the value in larger steps.
[CURSOR] Buttons These move the cursor up/down/left/right.
[EXIT] This returns you to the previous screen or closes an opened window. In some screens, it cancels the currently executing function.
[ENTER] Use this to finalize a value or to execute an operation.
[DEC], [INC] These modify a value. The value will change more rapidly if you hold down one button and press the other. If you hold down [SHIFT] while pressing these buttons, the value will change more rapidly.
[SHIFT] This button is used in conjunction with other buttons to execute various functions.
EXPANSION [EXP 1], [EXP 2] These access the screens for expansion boards installed in the Fantom-G.
* For details on operation, refer to the owners manual of the expansion board youve installed.
SAMPLING [SKIPBACK] This retroactively samples your performance for a specified period of time prior to when you pressed the button. (p. 262)
[SAMPLING] This accesses the Sampling menu screen. (p. 260)
DYNAMIC PAD [PAD SETTING] This accesses the setting and information screen for the currently selected Pad mode. (p. 190)
[NUMERIC] Lets you use the pads as numeric keys. (p. 41)
[PAD MODE] Switches the pad mode. (p. 188)
[ROLL] Turns the Roll function on/off. (p. 189)
* Depending on the Pad mode, this will switch banks.
[HOLD] Turns the Hold function (which causes the pad to continue sounding even after its released) on/off. (p. 188)
[PAD 116] You can use these to play sounds just like the keyboard. They will also perform various functions depending on the Pad mode. (p. 188)
[S1] [S2] (Assignable Switches) You can assign various parameters or functions to these buttons. They will turn on/off the assigned parameter or function in real time to modify the sound. (p. 77)
* By holding down [SHIFT] and pressing one of the above buttons, you can access the corresponding setting screen. (p. 77)
Pitch Bend/Modulation Lever You can use this to modify the pitch or apply vibrato.
8
9
10
11
12
13
14
15
16
17
23
Panel Descriptions
Fantom-G_r_e.book 24
POWER ON Switch Press to turn the power on/off. (p. 28)
AC Inlet Connect the included power cord to this inlet.
USB USB MEMORY Slot A USB memory (sold separately) can be inserted here.
* Never insert or remove a USB memory while this units power is on. Doing so may corrupt the units data or the data on the USB memory.
* Carefully insert the USB memory all the way inuntil it is firmly in place.
USB MOUSE Connector Connect the USB mouse (sold separately). (p. 26)
USB COMPUTER Connector This connector lets you use a USB cable to connect your computer to the Fantom-G. (p. 281)
DIGITAL AUDIO IN/OUT Connectors (S/P DIF COAXIAL) These are coaxial-type S/P DIF format digital in/out connectors. These connectors input and output a digital audio signal (stereo). The output signal is identical to the signal that is output from the OUTPUT A (MIX) jacks.
* S/P DIF is a digital interface format used for consumer digital audio devices.
* If you switch off the power to an external device that is connected to the DIGITAL AUDIO IN jack or disconnect the cable, noise may subsequently be heard in the input from DIGITAL AUDIO IN. If this occurs, correctly reconnect the external device, or turn off the Fantom-Gs [MIX IN] switch.
MIDI Connectors (IN, OUT, THRU) These connectors can be connected to other MIDI devices to receive and transmit MIDI messages.
FOOT PEDAL CTRL (CONTROL) 1, 2 Jacks You can connect optional expression pedals (EV-5, etc.) or optional pedal switches (DP series etc.) to these jacks. By assigning a desired function to a pedal, you can use it to select or modify sound or perform various other control. (p. 31)
925* Use only the specified expression pedal (EV-5; sold separately). By connecting any other expression pedals, you risk causing malfunction and/or damage to the unit.
HOLD Jack An optional pedal switch (DP series, FS-5U etc.) can be connected to this jack for use as a hold pedal. (p. 31) This can also be set so it supports the use of half-pedaling techniques. So, after connecting an optional pedal switch (DP series etc.), you can employ pedal work to achieve even finer control in performances in which piano tones are used.
AUDIO INPUT MIC/GUITAR Jack You can connect either a mic or guitar. Set the Switch as appropriate for the device youve connected to the MIC/GUITAR jack.
* This instrument is equipped with balanced (XLR/TRS) type jacks. Wiring diagrams for these jacks are shown below. Make connections after first checking the wiring diagrams of other equipment you intend to connect.
fig.XLR/TRSJack.eps
MIC/GUITAR LEVEL knob Controls the volume of the mic/guitar input.
LINE Jacks (L, R) Connect a line-level device such as an audio device (e.g., portable music player) or keyboard. If you want to use mono input, connect to the L jack (p. 258).
LINE LEVEL knob Controls the volume of the line input.
OUTPUT OUTPUT A (MIX) Jacks (L (MONO), R) These jacks output the audio signal to the connected mixer/ amplifier system in stereo. For mono output, use the L jack. (p. 26)
OUTPUT B Jacks (L, R) These jacks output the audio signal to the connected mixer/ amplifier system in stereo.
INDIVIDUAL 14 Jacks These jacks output audio signals in mono to an amp or mixer.
* The setting determining whether these jacks are used as stereo OUTPUT jacks or monaural INDIVIDUAL jacks is made with the Output Assign setting. (p. 152)
PHONES Jack This is the jack for connecting headphones (sold separately). (p. 26)
Rear Panel
1 2 3 4 5 6 7 8 9
1
2
3
4
5
6
GUITAR (Hi-Z) Guitar (High impedance supported) PHANTOM OFF Dynamic Mic: 1/4phone plug (balanced or
unbalanced), XLR connector PHANTOM ON Condenser Mic: XLR connector (48 V phan-
tom power supported) * If you dont need phantom power supply,
select the PHANTOM OFF position.
7
MinMax
MinMax
8
9
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Making Connections
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Since the Fantom-G contains no amplifier or speakers, youll need to connect it to audio equipment such as a keyboard amplifier, monitor speaker system or home stereo, or use headphones to hear its sound.
1. Before hooking anything up, make sure that the power on all of your gear is turned OFF.
2. Connect one end of the supplied power cable to the Fantom-G, and the other end to a power outlet.
3. Connect the Fantom-G to your amp/speaker system as shown in the diagram.
fig.02-002.e
Connecting an Amp and Speaker System 921
To prevent malfunction and/ or damage to speakers or other devices, always turn down the volume, and turn off the power on all devices before making any connections.
to Power outlet
Stereo headphones
Monitor speakers (powered)
Power amp
Mixer etc.
In order to fully experience the Fantom-Gs sound, we recommend using a stereo amp/speaker system. If youre using a mono system, however, make your connections to the Fantom-Gs OUTPUT A (MIX) jack L (MONO).
Audio cables are not included with the Fantom-G. Youll need to provide them.
For details on how to install a Expansion Board (sold separately), refer to Installing
the Expansion Board (p. 304, p. 306).
The OUTPUT A [MIX] jacks support balanced output. Use a correctly wired cable so that the HOT, COLD, and GND as printed on the rear panel of the Fantom-G are correct for the mixer or other input device youre using.
25
Making Connections
Fantom-G_r_e.book 26
If you connect a commercially available USB mouse to the Fantom-Gs rear panel USB MOUSE connector, a mouse cursor will be shown in the display, and youll be able to use the mouse.
Connecting a USB Mouse (sold separately)
Action Operation Left-click Select (move the cursor) Right-click [ENTER] button / list display Wheel VALUE dial / scroll Drag (move while hold- ing down left button)
Drag the mouse on the area or knob for which you want to input a value. Dragging upward or to the right will increase the value, and dragging downward or to the left will decrease it.
Click the button Opens the menu (p. 276)
Click the button [EXIT] button
Click the button Opens the shortcut menu (p. 44)
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* Be careful not to pinch your fingers when setting up the stand.
For Fantom-G6/G7 user If you want to place the Fantom-G6/G7 on a stand, use the Roland KS-18Z. Place the instrument on the stand as follows.
fig.02-001.e
WARNING: Use of stand not according to the instructions above will result in instability causing possible injury.
For Fantom-G8 user If you want to place the Fantom-G8 on a stand, use the Roland KS-18Z or KS-G8. Place the instrument on the stand as follows.
fig.02-001.e
WARNING: Use of stand not according to the instructions above will result in instability causing possible injury.
Placing the Fantom-G on a Stand
Adjust the width of the stand so that the rubber feet of the Fantom-G6/G7 straddle the stand
Top view
Align the front of the Fantom-G6/G7 with the front of the stand
KS-18Z
Adjust so that the height does not exceed 1 meter (Adjust the stand to a level no higher than the fourth level from the bottom)
Adjust the width of the stand so that the rubber feet of the Fantom-G8 are on the inside of the stand
Place the Fantom-G8 so that its rubber feet are in the inner side of the stand
Align the back of the Fantom-G8 with the back of the stand
KS-G8
KS-18Z
Top view
Top view
Align the screws of the Fantom-G8 with the front of the stand
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Fantom-G_r_e.book 28
Turning On the Power
the order specified. By turning on devices in the wrong order, you risk causing malfunction and/or damage to speakers and other devices.
fig.bender.e
1. Before turning on the Fantoms power, consider these two questions:
Are all peripheral devices connected correctly?
Have the volume controls of the Fantom-G and all connected audio devices been turned to their lowest settings?
2. Turn on the POWER ON switch located on the rear panel of the Fantom-G. fig.02-003
942* This unit is equipped with a protection circuit. A brief interval (a few seconds) after power up is required before the unit will operate normally.
3. Turn on the power for any connected amplifiers or speakers.
4. Play the Fantom-Gs keyboard, gradually increasing the setting of its volume control, and then carefully raise the volume of your connected amplifiers or speakers to the desired listening level.
fig.02-004
1. Before you turn off the power, consider these two questions:
Have the volume controls for the Fantom-G and all connected audio devices been turned to their lowest settings?
Have you saved your Fantom-G sounds or other data youve created?
2. Turn off the power for all connected audio devices.
3. Turn off the POWER ON switch of the Fantom-G.
Turning Off the Power
To ensure proper operation of the pitch bend lever, make sure not to touch the lever when turning the Fantom-Gs power on.
Do not touch!
Be careful not to set your listening volume too high to avoid damage to your amp/ speaker system or your hearing.
If you need to turn off the power completely, first turn off the POWER switch, then unplug the power cord from the power outlet. Refer to Power Supply (p. 7).
Fantom-G_r_e.book 29
Listening to the Demo Songs
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The Fantom-G has a demo song that will be loaded at start-up. Heres how to play the demo.
1. Press [PLAY].
The demo song will play.
2. Press [STOP] to stop demo song playback. .
981a
All rights reserved. Unauthorized use of this material for purposes other than private, personal enjoyment is a violation of applicable laws.
When the Fantom-G is powered-on (when loading a project), song 001 (the top song in the Song List) will be loaded automatically.
If you dont want a song to be loaded automatically at power-on (when loading a project), delete song 001 as described in Deleting a Song File (Song Delete) (p. 210).
When you execute a Factory Reset (p. 280), the demo song will be written to song 001.
Song Automatically Loaded at Power-on (When Loading a Project)
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Fantom-G_r_e.book 30
Various Performance Features
Velocity/Aftertouch The force with which you play the keyboard, or the velocity with which you play, can affect the volume or timbre of a sound. Aftertouchdownward pressure you apply to a key after playing a notecan also affect the sound.
fig.02-008
Pitch Bend/Modulation Lever While playing the keyboard, move the lever to the left to lower the pitch of the currently selected patch, or to the right to raise its pitch. This is known as pitch bend. You can also apply vibrato by gently pushing the lever away from you. This is known as modulation. If you push the lever away from you and at the same time move it to the right or left, you can apply both effects at once.
fig.02-009.e
Octave Shift (OCT) You can shift the pitch of the keyboard in one-octave units over a range of +/-3 octaves. Use KEYBOARD [-OCT] or [+OCT] at the left of the screen to make the desired setting. To return to the original setting, press both buttons simultaneously.
Transpose You can transpose the pitch of the keyboard in semitone units (-5 +6). At the left of the display, turn on the KEYBOARD [TRANSPOSE] button, and then use the [-OCT] or [+OCT] button to specify the desired transposition. To return to the original setting, press both buttons simultaneously.
There are two types of aftertouch: Polyphonic Aftertouch, which applies aftertouch to individual notes, and Channel Aftertouch, which applies aftertouch to an entire MIDI channel (p. 251). The Fantom-G can output the MIDI data for Polyphonic Aftertouch using the pads, and Channel Aftertouch using the keyboard.
For details on the setting, refer to p. 288.
ModulationPitch Bend
You can set the amount of pitch change for each patch (p. 96).
Various Performance Features
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Hold Pedal If an optional pedal switch (DP series) is connected to the rear panel PEDAL HOLD jack, you can press the pedal switch to cause notes to sustain or hold even after their keys have been released.
fig.02-010
Control Pedal If an optional expression pedal or pedal switch (EV-5, DP series.) is connected to the rear panel PEDAL CONTROL jack (1, 2), you can use the pedal to control the volume or various functions.
fig.02-011
For details on the setting, refer to p. 287.
Roland
Use only the specified expression pedal or pedal switch (EV-5, DP series, BOSS FS-5U; sold separately). By connecting any other expression pedals, you risk causing malfunction and/or damage to the unit.
The way in which the sound changes will depend on the settings. For details on settings for parameters controlled by the pedal, refer to Making
Control Pedal Settings (p. 77).
31
32
Fantom-G_r_e.book 32
Overview of the Fantom-G
Broadly speaking, the Fantom-G consists of a controller section, sound generator section, sequencer section, and sampler
section. fig.04-001.j
Controller section This section includes the keyboard, pads, pitch bend / modulation lever, the panel knobs, sliders, and D Beam controller, and pedals connected to the rear panel.
Sound generator section This section generates sound in response to performance data from the controller section or sequencer section.
Sequencer section This is a sequencer with 128 MIDI tracks and 24 audio tracks. The MIDI tracks record performance data (MIDI) from the keyboard, pads, and other controllers. The audio tracks record sound (audio) from a mic or guitar connected to the Fantom-Gs audio input jacks.
Sampler section A sampler is a device that captures (samples) sound from a CD player or mic connected to the audio input or digital input, and saves this sample as a wave file.
A captured sample can be used in the same way as the waveforms of the sound generator section. You can also sample the sound of the internal sound generator section itself (p. 258).
The Fantom-G can load WAV/AIFF format wave files from your computer via USB as samples.
When using the Fantom-G, youll encounter various units of sound. Here well provide a simple explanation of these units.
Tone A Tone is the smallest unit of sound in the Fantom-G. However, you cant play a tone by itself. The smallest unit of sound that you can play is the Patch, so you can think of tones as the sonic material that makes up each patch. fig.04-002.j
A tone consists of the following five elements.
WG (Wave Generator) This selects the PCM waveform (wave) that is the basis of the sound, and specifies how its pitch will change.
All of the patches built into the Fantom-G consist of combinations of tones that are based on PCM waveforms (waves).
A rhythm tone (percussion instrument sound) contains four wave generators.
TVF (Time Variant Filter) This specifies how the frequency components of the sound will change over time.
TVA (Time Variant Amplifier) This specifies volume change and panning.
Envelope An envelope specifies a change over time. Dedicated envelopes are provided for Pitch, TVF (filter), and TVA (volume). For example, if you want to modify the time over which the sound starts or decays, you would use the TVA Envelope settings to specify the desired time-variant volume change.
LFO (Low Frequency Oscillator) An LFO creates cyclic change (modulation). There are two LFOs, and each can be applied to one aspect of the sound; WG (pitch), TVF (filter), or TVA (volume). Applying an LFO to the WG pitch will produce vibrato, applying it to the TVF cutoff frequency will produce wah, and applying it to the TVA volume will produce tremolo.
A rhythm tone (percussion instrument sound) does not have an LFO.
How the Fantom-G is Organized
Basic Structure
Controller section (controllers such as the keyboard, pads, and pitch bend lever)
Sound generator section
Recording
Playback Sequencer section
128 MIDI tracks 24 audio tracks
Performance
Sampler section
SamplingRecording
Audio input
Different Units of Sound
WG
Pitch Envelope
TVF
TVF Envelope
TVA Envelope
TVA
LFO 1 LFO 2
Control signal
Tone
Audio signal
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Patch Patches are the basic unit of sound on the Fantom-G; they correspond to an individual instrument such as piano, organ, or guitar. A patch can consist of up to four tones. The Structure 1&2 and 3&4 parameters (p. 92) determine how the four tones are combined. You can apply a PFX (Patch MFX) effect to each patch. fig.04-003.j
Rhythm set A rhythm set is a group of percussion instrument sounds. Since percussion instrument sounds are not usually used to play melodies, theres no need for them to produce different pitches when played from the keyboard. Rather, its important that you have simultaneous access to as many percussion instrument sounds as possible. This is why in a rhythm set, each note (note number) of the keyboard will play a different percussion instrument sound. You can apply a PFX (Patch MFX) effect to each rhythm set. fig.04-004.j
Sample set On the Fantom-G, a piece of wave data obtained by audio recording or sampling is called a Sample. A sample set is a collection of sixteen samples handled as a set. You can specify how each sample will play when you press a pad or key.
The Fantom-G can operate in the following three modes.
Single mode Single mode is when you play a single patch (or rhythm set or sample set), using the Fantom-G as a single piano, organ, etc. Choose this mode when you want to edit a patch to create your own original sound.
Live mode Live mode is designed for live performance. It lets you play up to eight patches (or either rhythm sets or sample sets) simultaneously. For example, you can create layers (p. 62) in which a piano sound and strings sound are heard simultaneously, or splits (p. 62) in which your right hand plays a piano sound while your left hand plays a bass sound.
Live set Settings for Live mode can be saved as a live set.
Studio mode Studio mode is designed to let you record a song. It provides sixteen parts, and you can assign a patch (or rhythm set or sample set) to each part, letting you use sixteen different sounds at the same time.
You can use the mixer screen to adjust the level and pan for each of the sixteen parts.
Studio set Settings for Studio mode can be saved as a studio set.
Patch
Tone 4
Tone 3
Tone 2
Tone 1
WG
Pitch Envelope
TVF
TVF Envelope
TVA Envelope
PFX (PATCH MFX)
TVA
LFO 1 LFO 2
Note number 98 (D7)
Note number 97 (C#7)
Note number 36 (C2)
Note number 35 (B1)
Rhythm tone (percussion instrument sound)
Rhythm set
WG (1-4)
Pitch Envelope
TVF
TVF Envelope
TVA Envelope
TVA
PFX (PATCH MFX)
Single / Live / Studio Modes
Live set Part 1 Patch / Rhythm set / Sample set
Part 2 Patch / Rhythm set / Sample set
Part 3 Patch / Rhythm set / Sample set
Part 4 Patch / Rhythm set / Sample set
Part 5 Patch / Rhythm set / Sample set
Part 6 Patch / Rhythm set / Sample set
Part 7 Patch / Rhythm set / Sample set
Part 8 Patch / Rhythm set / Sample set
33
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Fantom-G_r_e.book 34
fig.04-005.j
Part On the Fantom-G, a Part is a kind of location or slot to which you can assign a patch, rhythm set, or sample set.
Live mode gives you eight parts, and you can assign a patch, rhythm set, or sample set to each part. This means that you can play up to eight sounds together.
Studio mode gives you sixteen parts, and you can assign a patch, rhythm set, or sample set to each part.
Part group In addition to the internal parts (the internal sound generator), the Fantom-G provides part groups for expansion boards 1 and 2, and for the external MIDI output.
The Fantom-G has a maximum polyphony of 128 simultaneous notes. Here well explain how the polyphony is counted, and what happens when the limit of 128 notes is exceeded.
How polyphony is counted The Fantom-G can produce up to 128 notes simultaneously. This number of notes will vary depending not only on the number of notes youre actually playing, but also on the number of tones used by each patch, and the number of waves used by each tone. When playing a patch, the polyphony is calculated as follows.
(number of patches that are sounding) x (number of tones used in the currently sounding patches) x (number of waves used by those tones)
For example, if a patch consists of four tones, and each of these tones uses two waves, it will use a total of eight notes of polyphony. If youre playing in Live mode (multi) or in Studio mode, count the polyphony for each part to obtain the total polyphony of all parts.
* If youre using realtime time stretch, twice as much polyphony will be
used.
Patch polyphony If you attempt to play more than 128 notes simultaneously on the Fantom-G, existing notes will be turned off, starting with the note having the lowest priority of the currently sounding notes. This priority is specified by the Patch Priority setting (p. 90).
You can choose either LAST or LOUDEST as the patch priority. If you choose LAST, notes will be turned off starting with the first- played of the currently sounding notes when you exceed the 128 note limit. If you choose LOUDEST, notes will be turned off starting with the note whose volume is least. Normally, you will probably want to select LAST.
If youre using multiple patches to play an ensemble, its important to specify which part gets priority for its notes over the others. This is specified by the Voice Reserve setting (p. 141). The patch priority setting (p. 90) will determine how the notes of a patch are turned off.
Voice reserve The Fantom-G provides a Voice Reserve setting, which lets you reserve a minimum number of notes for each part. For example, if you specify a voice reserve setting of 10 for part 16, ten notes of polyphony will be guaranteed to be available for the sound being played by part 16 even when the overall Fantom-G reaches its 128 note limit. When making voice reserve settings, youll need to consider the number of notes you actually want to play and the number of tones in the patches youre using (p. 141).
You can make voice reserve settings for up to a total of 64 notes for all parts.
When the audio tracks of a song are playing back, the audio tracks take priority over the voice reserve settings.
Part group Explanation Number of parts Internal Internal
(internal sound generator) Live mode: 8 Studio mode: 16
EXP 1 Expansion board 1 Up to 16 * Depends on the expansion
board
EXP 2 Expansion board 2 Up to 16 * Depends on the expansion
board
External External MIDI output 16
Studio set
Part 16
Part 1
Patch / Rhythm set / Sample set
About Polyphony
34
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Project The largest unit of memory handled by the Fantom-G is the project. As shown in the illustration, a project contains sequencer data, samples, sounds, and various system settings. On the Fantom- G you can use one project at a time.
Preset data This is read-only data for patches, live sets, studio sets, rhythm sets, and waves.
Internal memory The Fantom-G has internal memory in which you can save a project. A project can be overwritten at will. You can also restore the memory to the factory-set condition (Factory Reset) (p. 280).
The internal memory is approximately 50 MB in size. If you need to save a project that is larger than 50 MB, youll need to save it on USB memory.
Temporary area When you switch on the Fantom-Gs power or load a project, the project data is placed in an area of memory called the temporary area.
When you edit a patch or song, you are modifying the data in this temporary area.
These edits will be lost if you simply turn off the power; if you want to keep the changes you made, you must save them (SAVE/WRITE).
DIMM memory (sold separately) You can install up to 512 MB of DIMM memory. Installing DIMM memory will allow you to record or sample for a longer period of time. For details on installing DIMM, refer to Expanding the DIMM
Memory (p. 308, p. 310).
USB memory (sold separately) Internal memory can hold only one project, but commercially available USB memory can hold multiple projects. Connect your USB memory to the rear panel USB MEMORY connector (p. 24). For details on how to format USB memory, refer to p. 280.
* If the USB memory is formatted using something other than FAT, it
will not be recognized by the Fantom-G. Use your computer to format
the USB memory with the FAT or FAT32 file system. (If youre
using Mac OS X, format the USB memory using the MS-DOS file
system (FAT32).)
USB storage You can use a USB cable to connect the Fantom-G to your hard disk, and save (back up) projects from internal memory or USB memory to the hard disk of your computer (p. 281).
Samples created using the Fantom-G can also be used by software on your computer; or conversely, you can use your computer software to create wave data and use it as samples in the Fantom-G.
Factory data The factory data is memory that holds the factory-set state of the internal memory. If you have deleted the factory-set patches or other data from internal memory, and would like to use this data again, you can execute the Factory Reset operation (p. 280).
* If youve created important data and saved it in the Fantom-Gs
internal memory, be aware that your data will be lost if you execute a
Factory Reset. (The data youre in the process of editing will
also be lost.)
Expansion boards (ARX series; sold separately) Up to two expansion boards (ARX series; sold separately) can be installed in the Fantom-G. An expansion board includes a sound generator engine, and will expand both the number of available sounds and the polyphony. For details on installing expansion boards, refer to Installing the Expansion Board (p. 304, p. 306).
About Memory
EXP 2
Fantom-G
Factory data
Internal memory (50 MB)
Factory reset
USB storage
Temporary area
Project
Project
USB memory (sold separately)
Expansion boards (sold separately)
Project
Computer
SoundsSamples
System
Sequencer
Patches USER: 512
EXP 1
Live sets USER: 512
Studio sets USER: 128
Rhythm sets USER: 64
Sample sets 128
2000 samples
2000 phrases
50 songs
32 RPS sets
32 rhythm
pattern sets
Preset data cannot be overwritten
Patches PRESET: 1664
GM: 256
Live sets PRESET: 512
Studio sets PRESET: 8
Rhythm sets PRESET: 64
GM: 9
Waves 2230
(overwritable)
Load Save
LoadSave
Select
Expandable to 512 MB with DIMM memory (sold separately)
( )
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Overview of the Fantom-G
Fantom-G_r_e.book 36
The Fantom-G contains the following effects units. You can make settings independently for each one.
PFX (Patch MFX) (Patch multi-effect) This is a dedicated multi-effect unit for the patch. You can use it as part of the sound of the patch itself.
You can choose from 76 types including distortion and rotary.
MFX (Multi-effect) This is a general-purpose multi-effect that can apply various modifications to the sound.
You can choose from 78 types including distortion and rotary.
Chorus Chorus is an effect that adds depth and spaciousness to the sound. You can choose whether to use this as chorus or as delay.
Reverb Reverb is an effect that simulates the reverberation that characterizes sounds heard in a hall or other acoustic environment. You can choose from 10 types of reverb.
Mastering effect This is a stereo compressor (limiter) applied to the final output of the Fantom-G. It operates independently for high, mid, and low frequency bands, compressing sounds that exceed the specified volume level, and making the overall sound more consistent.
Input effect This is a dedicated effect for the external input.
You can choose from six types, including equalizer and compressor.
The Fantom-Gs sequencer can record audio and MIDI.
Audio (samples) Audio is a recording of the sound from a mic or portable audio player connected to the Fantom-Gs input jacks. The recorded audio data is called a sample. You can create a song simply by placing samples in an audio track.
MIDI (phrases) MIDI records performance data from the keyboard or pads. The recorded MIDI data is called a phrase. You can create a song simply by placing phrases in a MIDI track.
In the sense that both types of recording can be used to capture a performance, MIDI is similar to audio, but while audio recording captures the sound of a performance, MIDI recording captures the notes and other control data of a performance, and allows you to freely make detailed edits even to the individual note data.
Performance data for one composition is called a song. This consists of audio tracks 124, MIDI tracks 1128, a tempo track, and a beat track. fig.04-009.j
About the Internal Effects
Types of Effects
About the Sequencer
Audio and MIDI
What is a Song?
MIDI track 128
MIDI track 2
MIDI track 1
Audio track 24
Audio track 2
Audio track 1
Tempo track
Beat track
Phrase 1
Phrase 2000
Song
Phrases
Sample 1
Sample 2000
Samples
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A track is an area in which performance data can be recorded.
Audio tracks 124 There are twenty-four tracks for recording audio.
Samples A piece of recorded audio data is called a sample. You can create up to 2,000 samples in one project. The Fantom-G can capture samples by sampling (p. 258), or by importing WAV/AIFF format wave files via USB from your computer (p. 283). You can also create a song by placing samples in an audio track.
Samples also support the Sample Pad function (p. 191) which lets you play samples simply by pressing a pad.
MIDI tracks 1128 There are 128 MIDI tracks that can record MIDI performances. A MIDI track can be assigned to the Fantom-Gs 16 parts (Studio mode), to the two sets of up to 16 parts for the expansion boards (the number of parts will depend on the expansion board), or to the 16 parts of the external MIDI connector. You can also assign multiple tracks to a single part (for example, tracks 1 and 2 could be assigned to the Fantom-Gs part 1.)
Phrases The MIDI data recorded in a MIDI track is called a phrase. Up to 2,000 phrases can be created in a single project. Just like a track, each phrase can record a performance of 16 MIDI channels. You can also create a song simply by placing phrases in a MIDI track.
Phrases also support the RPS function that lets you instantly play a phrase simply by pressing a pad (p. 194), and the Rhythm Pattern function that lets you play rhythm patterns by pressing a pad (p. 196). This means that you can use phrases to record performance data for use in a live performance.
You can also use phrases to record your musical ideas.
Tempo track The tempo track records tempo changes for the song. Use it when you want the tempo to change during the song. If the tempo is going to stay the same from the beginning to the end of the song, you can ignore the tempo track.
When you record a song on the Fantom-G, the tempo you specify at the time of recording is stored at the beginning of the tempo track. This means that this tempo will always be used every time you play back the song.
In this way, songs are played back according to the data in their tempo track, but if you change the tempo during playback, the overall tempo of the entire song will change accordingly.
Beat track The beat track records time signature information for each measure of the song. Youll make beat track settings when recording a new song, or when you want the time signature to change during the song.
The Fantom-Gs sequencer is available at all times, regardless of the sound generator mode (Single, Live, or Studio).
In Studio mode, you can record separate performances for each part using up to sixteen sounds. This makes Studio mode the ideal choice when you want to record or play back a song using an ensemble of multiple instruments such as drums, bass, and piano.
SMF (Standard MIDI File) is a file format that allows performance data to be exchanged between music applications. Songs created on the Fantom-G can be saved as standard MIDI files. The Fantom-G can also play back commercially available music data that is compatible with the GM/GM2 system (GM Scores).
What is a Track?
Songs and the State of the Sound Generator
SMF (Standard MIDI File .MID)
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Overview of the Fantom-G
Fantom-G_r_e.book 38
The sampling section samples (records) audio input from an external source such as an audio device or mic. You can play these sampled sounds as a patch or rhythm set. You can also import WAV/AIFF format files and use them in the same way.
Samples A sample refers to a waveform (wave) produced by sampling on the Fantom-G. A sample consists of waveform data together with parameters such as a start point, loop start, and loop end. The Fantom-G can hold up to 2,000 samples for a single project. fig.04-011.j
About the Sampling Section
Sample
Sampling Drum sound
Sample list
0001 0002
2000
User Sample
Wave (sample)
Automatically added
38
Fantom-G_r_e.book 39
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The Fantom-G provides three sound generator modes: Single, Live, and Studio. You can switch to the sound generator mode thats most appropriate for the way youre using the Fantom-G.
Single mode This mode is for playing one sound (patch, rhythm set, sample set) at a time.
< To select Single mode >
1. Press [SINGLE].
fig.04-014_50
Playing in Single Mode (p. 46)
Live mode This mode is for combining multiple sounds (patches, rhythm sets, sample sets) so that you can play them in a live performance.
You can layer patches so that they sound simultaneously, or split them across the keyboard so that they can be played by separate hands.
< To select Live mode >
1. Press [LIVE].
fig.04-015_50
Playing in Live Mode (p. 58)
Studio mode This mode is for recording a song using multiple sounds (patches, rhythm sets, sample sets).
This mode is ideal when you need to adjust mixing parameters such as level and pan for the sixteen parts.
< To select Studio mode >
1. Press [STUDIO].
fig.04-016_50
Playing in Studio Mode (p. 66)
Switching the Sound Generator Mode
39
Basic Operation of the Fantom-G
Fantom-G_r_e.book 40
The eight buttons [F1][F8] located below the display (the function buttons) are used to execute various functions. Their function will depend on the screen thats currently shown. The current functions of these buttons are indicated in the bottom of the screen. fig.04-017
A single screen or window can contain multiple items (parameters) to set or select. If you want to modify the setting of a parameter, move the cursor to the value of that parameter. To select an item, move the cursor to the desired item. The value or item selected by the cursor will be highlighted. fig.04-019.j
Use / / / (cursor buttons) to move the cursor. fig.04-020
: Moves the cursor upward.
: Moves the cursor downward.
: Moves the cursor to the left.
: Moves the cursor to the right.
If you hold down a cursor button and then press the opposite cursor button, the cursor will move more rapidly in the direction of the button you pressed first.
In some cases, pressing [ENTER] while the cursor is displayed will show a list of the parameters you can select. This is a convenient way to see the choices you have. When a list is displayed, you can also use the pads to input your choice (p. 41).
Using the mouse for selection If youre using a USB mouse, you can move the cursor by clicking the mouse on a parameter value.
How the Function Buttons Work
Windows A small screen displayed within the normal screen is called a window. Various types of windows will appear as you operate the Fantom-G. Some windows display lists, others allow you to make settings or confirm operations. fig.04-018.j
To close a window, press [EXIT]. Some windows will close automatically when you perform an operation.
Moving the Cursor
Cursor
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To edit a value, you can use either the VALUE dial or [INC] [DEC].
In each of the Fantom-Gs screens, move the highlighted cursor to the value you want to edit, and then edit the value.
VALUE dial Turn the VALUE dial toward the right to increase the value, or toward the left to decrease it. The value will change in larger steps if you hold down [SHIFT] while turning the VALUE dial.
[INC], [DEC] Press [INC] to increase a value, or [DEC] to decrease it. To make the value continue increasing (or decreasing), hold down the button. To make the value increase rapidly, hold down [INC] and then press [DEC]. Conversely, to make the value decrease rapidly, hold down [DEC] and then press [INC].
The value will change in larger steps if you hold down [SHIFT] while you press [INC] or [DEC].
Using the mouse for input Drag up/down or left/right on the value or knob. Dragging up or to the right will increase the value, and dragging down or to the left will decrease the value.
Using the pad for numeric input If you press the [NUMERIC] pad button, the pads will operate as numeric keys.
Each pad will enter the following values
When youve entered the value, press [ENTER] to finalize your input. If you decide to cancel, press [EXIT].
Using the knobs for input
If the display shows small numerals ( , , , ), you
can use knobs 14 to edit the corresponding parameters.
Editing a Value
When the cursor is located at a parameter value, pressing [ENTER] (or right-clicking the USB mouse) will open a window where you can specify the value. You can easily select a value by pressing or to select the desired value and then pressing [ENTER].
Pad Value entered 19 19 10 0 11 + 12 - 15 , (comma) 16 BS (backspace) ROLL Cancel HOLD Enter
Numerals
41
Basic Operation of the Fantom-G
Fantom-G_r_e.book 42
On the Fantom-G you can assign a name to each patch, rhythm set, live set, studio set, song, phrase, or sample when you save it. Regardless of the type of object youre naming, the procedure is the same.
1. Use [CURSOR] to move the cursor to the position at which you want to enter a character.
fig.04-022a
2. Turn the VALUE dial or use [INC] [DEC] to specify the character that you want to enter.
[F5 (Delete)]: Deletes the character at the cursor, and moves the subsequent characters one place forward.
[F6 (Insert)]: Inserts a space at the cursor location.
[F7 (Cancel)]: Cancels the name entry procedure.
[F8 (OK)]: Confirms the name.
[ ] [ ]: Move the cursor.
[ ] [ ]: Switch between uppercase and lowercase letters.
You can use the following characters,
space, AZ, az, 09, ! # $ % & ( ) * + , - . / : ; < = > ? @ [ \ ] ^ ` { | }
When assigning a name to a song file, you cant use spaces, lowercase letters, or certain symbols ( * + , . / : ; < = > ? [ \ ] |).
Using a mouse to input characters If youre using a USB mouse, you can enter characters using a virtual keyboard.
1. Click the mouse on the keyboard icon shown in
the name entry screen.
The virtual keyboard will appear.
2. Click the mouse on the keyboard to enter characters.
3. Press [F8 (OK)] or click it with the mouse to finalize the input.
If you use the virtual keyboard for entry, it will be shown again the next time you enter a name.
Assigning a Name
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For details on using the pads, refer to Using the Pads (p. 188).
The pads have sixteen modes. Press [PAD MODE] to switch the pad mode.
1. Press [PAD MODE].
[PAD MODE] will blink, and the currently selected pad mode (pad [1][16]) will blink.
If you decide not to switch the pad mode, press [PAD MODE] once again. [PAD MODE] will go out and you will return to the previous state.
2. Press a pad [1][16].
The pad mode will be switched. The following table shows what the pads do in each mode, and a page reference where you can learn more.
Press [PAD SETTING], and the setting/information screen for the currently selected pad mode will appear.
To go back to where you were, press [PAD SETTING] once again so its light goes out.
If you press PAD [NUMERIC], the pads will operate as numeric keys. Using the pad for
numeric input (p. 41)
Basic Pad Operations
Switching the Pad Mode
Pad number Pad mode Explanation Page
reference
1 SAMPLE PAD Play a sample set p. 191 2 RHYTHM Play a rhythm set p. 192 3 CHORD MEMORY Switch the chord form of the
Chord Memory function (p. 80) p. 193
4 ARPEGGIO Switch the style of the Arpeggio function (p. 78)
p. 193
5 RPS Play phrases p. 194 6 RHYTHM PTN Play rhythm patterns p. 196 7 TONE SEL/SW Act as tone select and on/off
switches p. 197
8 TRACK MUTE Switch the mute status of the se- quencer tracks
p. 197
9 BOOKMARK Call up frequently used screens youve registered for each pad
p. 198
10 MIDI TX SW Act as on/off switches for exter- nal MIDI transmit channels (1 16)
p. 198
11 EFFECT SW Act as effect switches (except for patch multi-effect)
p. 199
12 PATCH MFX SW Act as multi-effect switches for each part
p. 199
13 PART SELECT Select parts (116) and banks (INT/EXP1/EXP2/EXT)
p. 200
14 PART MUTE Switch the mute status of parts (116) and banks (INT/EXP1/ EXP2/EXT)
p. 200
15 USER GROUP Store/load user group patches, live sets, or studio sets
p. 201
16 FAVORITE Store/load favorite settings p. 202
Viewing the Pad Settings
Using the Pads as Numeric Keys
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Fantom-G_r_e.book 44
By pressing the [DISPLAY] button, you can jump directly to the most important screens.
1. Press [DISPLAY].
The Shortcut menu will appear.
You can also open the Shortcut menu by clicking your USB mouse on the shortcut icon.
2. Press or to select the screen to which you want to jump, then press [F8 (Select)].
If you decide to cancel, press [F7 (Cancel)].
List of shortcut menu
Shortcut Menu
Menu Page Studio Play/Live Play/Single Play p. 66, p. 58. p. 46 Patch Zoom Edit p. 84 Patch Pro Edit p. 86 Song Play/Song Edit p. 205, p. 232 Sample Edit p. 266 Effects Routing p. 151 Sampling p. 260 Input Setting p. 258 Digital/USB Input Level p. 297 Master Level p. 293 Pad Setting p. 190
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02: Sound Generator, Section 1 (Playing Sounds)
This chapter explains the three modes in which the Fantom-Gs sound generator can operate.
Single Mode ..............................................................p. 46 Live Mode..................................................................p. 58 Studio Mode ..............................................................p. 66
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Fantom-G_r_e.book 46
Playing in Single Mode
To access the Single Play screen, use the following procedure.
1. Press [SINGLE].
You will enter Single mode, and the Single Play screen appears.
F-key operations in the Single Play screen
Functions in the Single Play screen fig.05-005.e
About the Single Play Screen
Displaying Single Play Screen
F-key Explanation Page
F1 Patch List
Select a sound (patch). p. 49
F3 Part View
Make detailed settings for each part (key- board, sample pad, rhythm part).
p. 51
F4 Control
Select the parameters that will be controlled by the realtime controllers and D Beam con- troller.
p. 51
F5 PFX
Access the PFX (Patch Multi-effect) editing screen.
p. 157
F6 User Group
Access the user group list screen, where you can register frequently-used patches.
p. 201
F7 Patch Edit
Edit a patch. p. 84
F8 Tone Sw/Sel
Select the tones that will be heard. p. 50
Number Explanation Page
Indicates the current sound generator mode. p. 39
Indicates the on/off status of each effect. PFX Patch multi-effect MFX1 Multi-effect 1 MFX2 Multi-effect 2 IFX Input effect CHO Chorus REV Reverb MAS Mastering effect
p. 150
Indicates the current location of the song, and the status of the sequencer.
p. 205
The Menu/Exit/Shortcut buttons for the USB mouse.
p. 26
Indicates/selects the part group, part number, patch type, bank, number, and name of the selected patch, rhythm set, or sample set.
p. 47
Indicates/selects the patch category, and specifies whether the category will be locked.
p. 48
Indicates the pad mode. p. 188
Indicates/selects the part group, part, pad type, bank, number, and name of the rhythm set or sample set selected for the pads.
p. 52
Indicates the functions assigned to the realtime con- troller sliders (18), knobs (14) and the S1/S2 switches.
p. 51
Indicates the Bend Mode (p. 97) of the pitch bend lever.
p. 97
Indicates the function assigned to the D Beam con- troller and the state of D Beam controller response.
p. 72
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The Fantom-G has four patch banks, including the User, Preset, User Sample and GM.
USER This is the bank inside the Fantom-G which can be rewritten. Patches you create can be stored in this bank. You can store 512 patches.
PRST (Preset) This is the bank inside the Fantom-G which cannot be rewritten. However you may modify the settings of the currently selected patch, and then store the modified patch in user bank.
GM (GM2) This is an internal bank of patches compatible with General MIDI 2, a system of MIDI function specifications designed to transcend differences between makers and types of devices; these patches cannot be overwritten. However you may modify the settings of the currently selected patch, and then store the modified patch in user bank. The Fantom-G includes 256 preset patches.
USAM (User Sample) This bank lets you play the Fantom-Gs internal samples.
1. Press [SINGLE] to access the Single Play screen. fig.05-001.e
2. Press [CURSOR] to move the cursor to the patch bank. Turn the VALUE dial or use [INC] [DEC] to choose the patch bank.
USER: User
PRST: Preset
GM: GM (GM2)
USAM: User Sample
* Make sure that the patch type is set to Patch.
If this is set to Rhythm or Sample, use [CURSOR] to move the
cursor to the patch type, and turn the VALUE dial or press [DEC] to
select Patch.
3. Press [CURSOR] to move the cursor to the patch number.
4. Turn the VALUE dial, or press [INC] [DEC] to select a patch number.
You can also use the pads as numeric keys to enter numbers (patch numbers). Using the pad for numeric input (p. 41)
5. Play the keyboard to hear the sound.
You can also use the following methods to select a patch. Selecting Patches by Category (Patch Finder) (p. 48) Selecting Patches from the List (p. 49)
Selecting a Patch
Patch number / Patch name
Patch type Patch bank Patch category
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Playing in Single Mode
Fantom-G_r_e.book 48
The Fantom-G provides a Patch Search function (Patch Finder) which allows you to specify a type (category) of patch so that you can quickly find the desired patch. There are a total of 38 categories.
1. Press [SINGLE] to access the Single Play screen.
fig.05-001.e
* Make sure that the patch type is set to Patch.
If this is set to Rhythm or Sample, use [CURSOR] to move the
cursor to the patch type, and turn the VALUE dial or press [DEC] to
select Patch.
2. Use [CURSOR] to move the cursor to the Patch Category, and turn the VALUE dial, or press [INC] [DEC] to select the desired category.
3. Press to move the cursor to Categ Lock, and turn the VALUE dial or press [INC] to turn ON.
4. Use [CURSOR] to move the cursor to the patch bank or patch number, and turn the VALUE dial or use [INC] [DEC] to select the patch.
When the cursor is located at the Patch bank, you can select the bank. When the cursor is located at the Patch number, you can specify the number.
You are free to change the category of a patch by editing the Patch Pro Edit screen (p. 86) parameter Patch Category (p. 89).
The following categories can be selected.
Selecting Patches by Category (Patch Finder)
Patch number / Patch name
Patch type Patch bank Patch category
Category Contents - - - No Assign No assign PNO AC.Piano Acoustic Piano EP EL.Piano Electric Piano KEY Keyboards Other Keyboards (Clav,
Harpsichord etc.) BEL Bell Bell, Bell Pad MLT Mallet Mallet ORG Organ Electric and Church Organ ACD Accordion Accordion HRM Harmonica Harmonica, Blues Harp AGT AC.Guitar Acoustic Guitar EGT EL.Guitar Electric Guitar DGT DIST.Guitar Distortion Guitar BS Bass Acoustic & Electric Bass SBS Synth Bass Synth Bass STR Strings Strings ORC Orchestra Orchestra Ensemble HIT Hit&Stab Orchestra Hit, Hit WND Wind Winds (Oboe, Clarinet etc.) FLT Flute Flute, Piccolo BRS AC.Brass Acoustic Brass SBR Synth Brass Synth Brass SAX Sax Sax HLD Hard Lead Hard Synth Lead SLD Soft Lead Soft Synth Lead TEK Techno Synth Techno Synth PLS Pulsating Pulsating Synth FX Synth FX Synth FX (Noise etc.) SYN Other Synth Poly Synth BPD Bright Pad Bright Pad Synth SPD Soft Pad Soft Pad Synth VOX Vox Vox, Choir PLK Plucked Plucked (Harp etc.) ETH Ethnic Other Ethnic FRT Fretted Fretted Inst (Mandolin etc.) PRC Percussion Percussion SFX Sound FX Sound FX BTS Beat&Groove Beat and Groove DRM Drums Drum Set CMB Combination Other patches which use
Split and Layer
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You can display a list of patches and select a patch from that list.
1. Press [SINGLE] to access the Single Play screen.
2. Press [F1 (Patch List)].
The Patch List screen will appear. fig.05-008_50
You can use [F3 (Patch)], [F4 (Rhythm Set)], and [F5 (Sample Set)] to switch between patch types (patches, rhythm sets, samples sets).
3. Use [F1] [F2] or / to select a category.
You can also use the front panel [Knob 4] to select a category, and use [Slider 8] to scroll the list. Magic Control (p. 290)
4. Turn the VALUE dial or use [DEC] [INC] or / to select a patch.
You can press [F7 (Preview)] to audition the patch using an appropriate phrase that is preset for each category (Phrase Preview).
By pressing [F6 (User Group)] you can register a frequently used sound in the user group. For details, refer to Registering
a sound in the User Group screen (p. 201).
If youre using a USB mouse, you can click the keyboard symbol
in the screen, and search using the virtual keyboard
that appears in the screen.
5. Press [F8 (Select)] to confirm your patch selection.
The Fantom-G allows you to preview patches by hearing a phrase appropriate for each type of patch.
1. Press [SINGLE] to access the Single Play screen.
2. Press [F1 (Patch List)] to access the Patch List screen. fig.05-009_50
3. Press and hold [F7 (Preview)].
The patch selected in the Patch List screen will be sounded.
4. Release your finger from [F7 (Preview)], and the phrase will stop playing.
If you wish to change how the phrase is played by Phrase Preview, you can edit the Preview Mode parameter (p. 296).
Selecting Patches from the List Auditioning Patches (Phrase Preview)
49
Playing in Single Mode
Fantom-G_r_e.book 50
Since a patch is a combination of up to four tones, you can switch unwanted (tones out of the four) off and get just the sound of a specific tone.
1. Press [SINGLE] to access the Single Play screen.
2. Press [F8 (Tone Sw/Sel)].
The Tone Switch/Select window appears. fig.05-014_50
3. Press [F1 (Tone Sw)][F4 (Tone Sw)] to turn each tone on/ off. The setting will switch on/off each time you press the button.
4. Press [EXIT] to close the window.
If you want just one or two tones to sound in a patch, turn the others off and store that setting on a patch. This cuts nonessential use of the Fantom-Gs simultaneous voices.
You can also use the pads to select tones and switch them on/ off (p. 197).
When using a patch for a naturally monophonic instrument such as sax or flute, it is effective to play in mono.
1. Press [SINGLE] to access the Single Play screen.
2. Press [PATCH] twice to access the Patch Pro Edit screen.
3. Press [F1 (Up)] or [F2 (Down)] to select the Solo/Porta tab.
A screen like the one shown below appears. fig.05-015_50
4. Press or to move the cursor to Mono/Poly.
5. Turn the VALUE dial or press [DEC] to select MONO.
Now you can play in mono mode.
If you assign MONO/POLY as a function to be controlled by the assignable switch ([S1] [S2]), you can easily switch between mono/poly by pressing a button (p. 77).
Selecting the Tones That Will Sound (Tone On/Off)
Playing Single Notes (Monophonic)
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Single mode has the following three parts.
In the Part View screen you can view and edit the volume and pan settings of these three parts.
1. Press [SINGLE] to access the Single Play screen.
2. Press [F3 (Part View)].
The Part View screen will appear. fig.08-017_50
3. Press [F1 (Up)] or [F2 (Down)] to select the parameter group.
4. Use [CURSOR] to move the cursor to the parameter.
5. Either turn the VALUE dial or use [INC] [DEC] to set the value.
6. If you want to keep the settings, press [F7 (Sys Write)].
When Single mode is selected, part settings cannot be saved for each individual patch. Part settings are saved as system settings.
7. When you have finished making settings, press [EXIT] to return to the Single Play screen.
See Level/Pan (When the Part Group is Internal/EXP1/
EXP2) (p. 134)MIDI Rx Filter (p. 141) for each parameters functions.
The Fantom-G lets you assign the parameters that will be affected when you operate the 14 knobs, 18 sliders, S1/S2 switches, D Beam, pitch bend, or modulation lever. This lets you modify the sound in a variety of ways by operating the controllers.
1. Press [SINGLE] to access the Single Play screen.
2. Press [F4 (Control)].
The Control Setting screen will appear. fig.05-017_50
3. Press [F1 (Up)] or [F2 (Down)] to select the parameter group.
4. Use [CURSOR] to move the cursor to the parameter.
5. Either turn the VALUE dial or use [INC] [DEC] to set the value.
6. If you want to keep the settings, press [F7 (Sys Write)].
When Single mode is selected, controller settings cannot be saved for each individual patch. Controller settings are saved as system settings.
7. When you have finished making settings, press [EXIT] to return to the Single Play screen.
See D Beam (p. 143)Ctrl Switch (p. 147) for each parameters functions.
Part Settings (Part View)
Part Explanation 1 Keyboard The part that is heard when you play the
keyboard 7 Sample
Pad The part that is heard when you set the pads to 1 SAMPLE PAD (Using the Pads to Play Samples) (p. 191) mode
8 Rhythm Pad
The part that is heard when you set the pads to 2 RHYTHM (Using the Pads to Play a Rhythm Set) (p. 192) mode
Selecting the Parameter Controlled by the Realtime Controllers or D Beam Controller (Control Setting)
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Fantom-G_r_e.book 52
In Single mode, you can play percussion instruments from the keyboard by selecting a rhythm set.
You can also use the pads to play a rhythm set. p. 192
The Fantom-G has three rhythm set banks, including the User bank, Preset bank and GM bank, with 64 rhythm sets in the User bank, 64 rhythm sets in Preset bank, and 9 rhythm sets in GM bank.
USER This is the bank inside the Fantom-G which can be rewritten. The rhythm sets you create can be stored in this bank. You can store 64 rhythm sets.
PRST (Preset) This is the bank inside the Fantom-G which cannot be rewritten. However, you can modify the settings of the currently selected rhythm set, and then save the modified settings in User bank. The Fantom-G contains 64 preset rhythm sets.
GM (GM2) This is an internal bank of rhythm sets compatible with General MIDI 2, a system of MIDI function specifications designed to transcend differences between makers and types of devices; these rhythm sets cannot be overwritten. However, you can modify the settings of the currently selected rhythm set, and then save the modified settings in User bank. The Fantom-G includes nine preset rhythm sets.
1. Press [SINGLE] to access the Single Play screen.
fig.05-023.efig.05-023.e
* Make sure that the Patch Type is set to Rhythm. If this is set to
Patch or Sample, use [CURSOR] to move the cursor to the patch
type, and turn the VALUE dial or press [INC] [DEC] to select
Rhythm.
2. Press [CURSOR] to move the cursor to the rhythm set bank.
3. Turn the VALUE dial or press [INC] [DEC] to select the rhythm set bank.
USER: User
PRST: Preset
GM: GM (GM2)
4. Press [CURSOR] to move the cursor to the rhythm set number.
5. Turn the VALUE dial or press [INC] [DEC] to select the rhythm set number.
6. Play the keyboard to hear the sound.
Playing Percussion Instruments (Rhythm Set)
Selecting a Rhythm Set
Rhythm set numberRhythm set bank
Pad Mode (Rhythm)
Rhythm set number
Patch Type Rhythm set bank
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In Single mode you can select a sample set and play the samples from the keyboard.
You can also use the pads to play a sample set. p. 191
1. Press [SINGLE] to access the Single Play screen.
fig.05-023.e
* Make sure that the Patch Type is set to Sample. If this is set to
Patch or Rhythm, use [CURSOR] to move the cursor to the patch
type, and turn the VALUE dial or press [INC] [DEC] to select
Sample.
2. Press [CURSOR] to move the cursor to the sample set number.
3. Turn the VALUE dial or press [INC] [DEC] to select the sample set number.
4. Play the keyboard to hear the sound.
* For a sample set, the sixteen sample tones are mapped to keys B3D5.
Playing a Sample Set
Selecting a Sample Set
Sample set number
Pad Mode (Sample Pad)
Sample set number
Patch Type
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Creating a List of Frequently Used Sounds (Favorite)
You can make a list of sounds that you frequently use in live performance, and recall these sounds instantly. You are free to register any type of sound patches, rhythm sets, sample sets, live sets, studio sets, or songs so youll be able to instantly recall any sound you need for your performance.
You can register sixteen sounds (steps) in a bank, and you can create sixteen of these banks.
For example, up to sixteen sounds (steps) that you use in the first song of your live performance could be registered in bank 1, in the order in which they appear in the song.
1. Access the screen for the patch (or rhythm set, sample set, live set, or studio set) that you want to register.
2. Press [FAVORITE].
The Favorite screen will appear. fig.05-001c_50
F-key operations in the Favorite screen
3. Press [F1 Bank ] or [F2 Bank ] to select the bank in which you want to register the sound.
4. Use the cursor buttons or to select the number (step) in which you want to register the sound.
You can register the sound in any of the sixteen steps. Youll want to register each sound in the order thats appropriate for the progression of your song or live performance.
5. Press [F8 (Regist)] to register the sound.
For example if you registered the sound to number 02 of bank 1, the display will indicate Regist to 1-02.
Registering a Sound (Regist)
F-key Explanation Page
F1 Bank
Selects the bank.
F2 Bank
Selects the bank.
F3 Step
Selects the step and recalls the sound. p. 55
F4 Step
Selects the step and recalls the sound. p. 55
F5 Dynamic Pad
Sets the pads in Favorite mode. p. 55
F6 Util Menu
Font Switches the display font
p. 57
Set Song Registers a song p. 56 Import Text Imports text p. 56 Remove Text Deletes text p. 57 Remove Bank Deletes a bank p. 55
F7 Remove
Deletes the registration of a sound. p. 55
F8 Regist
Registers a sound. p. 54
Step Currently selected sound
Text display areaBank
Volume of each step
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Using the pads to recall sounds 1. In the Favorite screen, press [F5 (Dynamic Pad)].
The pads will be set to Favorite mode.
Now you can press pads [1][16] to select the sound (step) thats registered for each pad.
You can press [ROLL](BANK) to switch banks (16). p. 189
If you want to use the pads to successively switch between live sets (or studio sets), set the system parameter Pad Assign
Source (p. 288) to SYS. If this is set to TEMP, the pad mode will change to the setting of that particular live set (or studio set) when you switch to a live set (or studio set).
Using the Favorite screen to recall sounds 1. Press [FAVORITE].
The Favorite screen will appear.
2. Press [F1 Bank ] or [F2 Bank ] to select the bank from which you want to recall sounds.
3. Press [F3 Step ] or [F4 Step ] to select the step number (116) that you want to recall.
The selected sound will be recalled immediately.
As an alternative to step 3, you can also press or to select the he step number. In this case, the sound will not be switched until you press [ENTER].
Heres how to specify the volume (Favorite Level) for each step. Use this to adjust the volume of each sound in your live performance.
1. In the Favorite screen, press or to move the cursor to the step whose volume you want to adjust.
2. Use knob 4, [INC] [DEC], or the VALUE dial to specify the volume (Favorite Level).
Range: 0127
Heres how to move a registered sound to a different step.
1. In the Favorite screen, press or to move the cursor to the step at which the sound you want to move is registered.
2. While holding down [SHIFT], press or to move the sound.
Heres how to remove a registered sound from the favorites list.
1. In the Favorite screen, press or to move the cursor to the step whose registration you want to remove.
2. Press [F7 (Remove)].
For example if you remove the registration from step number 02 of bank 1, the display will indicate Remove 1-02, and that step will be empty.
Heres how to remove all sound registrations from a bank.
1. In the Favorite screen, press [F1 Bank ] or [F2 Bank ] to select the bank whose sound registrations you want to remove.
2. Press [F6 (Util Menu)].
The Favorite Utility Menu window will appear.
3. Press or to select Remove Bank, and then press [F8 (Select)].
If you removed all registrations from bank 1, the display will indicate Remove Bank 1, and that bank will be empty.
Recalling a Sound Specifying the Volume for Each Step (Favorite Level)
Changing the Step in Which You Registered a Sound
Removing a Sound You Registered (Remove)
Removing All Sound Registrations from a Bank (Remove Bank)
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Fantom-G_r_e.book 56
Heres how to register a song instead of a sound.
1. In the Favorite screen, press [F1 Bank ] or [F2 Bank ] to select the bank in which you want to register a song.
2. Press or to select the number (step) in which you want to register a song.
3. Press [F6 (Util Menu)].
The Favorite Utility Menu window will appear.
4. Press or to select Set Song, and press [F8 (Select)].
The Song Select screen will appear.
5. Press or to select a song.
6. Press [F8 (Select)] to register the song.
For example if you register the song in number 02 of bank 1, the display will indicate Regist to 1-02.
Songs can be recalled in the same way as recalling sounds.
You can create a text file on your computer, and import it into the Fantom-G so that it can be displayed in the Favorite screen.
1. Use the USB Storage function to place the text file in the IMPORT folder of the Fantom-Gs internal memory or the USB memory.
Exchanging Files with Your Computer (USB Storage) (p. 281)
2. Access the Favorite screen, and press [F1 Bank ] or [F2 Bank ] to select the bank in which you want to display the text.
3. Press [F6 (Util Menu)].
The Favorite Utility Menu window will appear.
4. Press or to select Import Text, and then press [F8 (Select)].
5. Press [F1 (Internal)] or [F2 (USB Memory)] to select the import-source area (either internal memory or USB memory).
6. Press or to select the file that you want to import.
7. Press [F8 (Import Text)].
The file to be imported will appear.
* If you decide to cancel, press [F7 (Cancel)].
8. Press [F8 (Execute)].
The file will be imported.
* If you decide to cancel, press [F7 (Cancel)].
You can scroll the screen by pressing or .
Registering a Song (Set Song) Importing a Text File (Import Text)
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Heres how to remove a text file that you imported.
1. Access the Favorite screen, and press [F1 Bank ] or [F2 Bank ] to select the bank whose text you want to remove.
2. Press [F6 (Util Menu)].
The Favorite Utility Menu window will appear.
3. Press or to select Remove Text, and then press [F8 (Select)].
A message will appear, and the text will be removed from the selected bank.
Heres how to switch the display font of the imported text. The display font will switch each time you perform the following steps.
1. Press [F6 (Util Menu)].
The Favorite Utility Menu window will appear.
2. Press or to select Font, and press [F8 (Select)].
The display font will be switched.
Removing a Text File (Remove Text)
Switching the Display Font (Font)
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Fantom-G_r_e.book 58
Playing in Live Mode
In addition, Live mode lets you play the parts of any installed expansion boards (the number of parts will depend on the type of expansion board) and any external MIDI output parts at the same time as the eight parts of the internal sound generator.
A live set contains a patch (or rhythm set or sample set) assignment as well as volume and pan for each part.
When you play the keyboard, parts whose keyboard switch is on will be sounded. If none are on, the current part will sound.
In addition to the settings of each part, the following settings can also be stored for each live set.
Controller settings such as the D Beam, 14 knobs, 18 sliders, [S1] [S2] buttons, and pads
If the keyboard switch is turned on for even one part, the current part will not sound. If you want to sound the current part, turn off the keyboard switch for all parts.
To access the Live Play (Layer/Split) Screen, use the following procedure.
1. Press [LIVE].
You will enter Live Mode, and the Live Play (Layer/Split) Screen appears.
fig.04-015_50
F-key operations in the Live Play (Layer/Split) screen
Part group Number of parts Internal 8 Expansion board 1 Maximum 16
* Depends on the expansion board
Expansion board 2 Maximum 16 * Depends on the expansion board
External MIDI output 16
Displaying Live Play (Layer/ Split) Screen
F-key Explanation Page
F1 Patch List
Selects the patch sound thats assigned to each part.
p. 61
F2 Utility
Makes settings common to the entire live set. p. 132
F3 Part View
Makes detailed settings for each part of the live set.
p. 133
F4 Control
Selects the parameters that will be controlled by the realtime controllers or the D Beam con- troller.
p. 142
F5 LiveSet List
Selects a live set. p. 60
F6 Switches between the normal screen and a screen that shows only the parts whose key- board switch is on.
p. 61
F7 Mixer
Displays the mixer screen. p. 63
F8 Layer Edit
Displays the Layer Edit screen. p. 64
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fig.08-002.j
Functions in the Live Play (Layer/Split) Screen
Number Explanation Page
Indicates the current sound generator mode. p. 39
Indicates the on/off status of each effect. PFX Patch multi-effect MFX1 Multi-effect 1 MFX2 Multi-effect 2 IFX Input effect CHO Chorus REV Reverb MAS Mastering effect
p. 150
Indicates the current location of the song, and the status of the sequencer.
p. 205
The Menu/Exit/Shortcut buttons for the USB mouse.
p. 26
Indicates/selects the bank, name, and number of the currently selected live set.
p. 60
Indicates the pad mode. p. 188
Indicates/selects the type, bank, number, and name of the patch, rhythm set, or sample set for each part.
p. 61
Indicates/changes the keyboard switch setting. p. 61
Indicates/changes the key range. p. 62
Indicates the key range that the Fantom-G6/G7/G8 can play.
Indicates the functions assigned to the realtime con- trol sliders (18), knobs (14) and the S1/S2 switch- es. In Live mode, the sliders (18) indicate the levels of the 8 internal parts. (p. 62)
p. 142
Indicates the function assigned to the D Beam con- troller and the response state of the D Beam control- ler.
p. 142
Indicates the Bend Mode (p. 97) of the pitch bend lever.
p. 97
Specifies the arpeggio part and pad part. p. 61
6
7 8 9
10 11
12 13
14
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2
3
4
5
6
7
8
9
10
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12
13
14
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Fantom-G_r_e.book 60
The Fantom-G has two live set banks, including the User bank and Preset banks.
USER This is the bank inside the Fantom-G which can be rewritten. Live Sets you create can be stored in this bank. You can store 512 live sets.
PRST (Preset) This is the bank inside the Fantom-G which cannot be rewritten. However you may modify the settings of the currently selected live set, and then store the modified live set in User memory. The Fantom-G contains 512 preset live sets.
1. Press [LIVE].
2. Press [CURSOR] to move the cursor to the live set bank. fig.08-003.e
3. Turn the VALUE dial, or press [INC] [DEC] to select a live set bank.
USER: User
PRST: Preset
4. Press [CURSOR] to move the cursor to the live set number.
5. Turn the VALUE dial or press [INC] [DEC] to select the live set number.
You can display a list of live sets and select a live set from that list.
1. Press [LIVE].
2. Press [F5 (LiveSet List)].
The Live Set List screen appears. fig.08-004_50
3. Turn the VALUE dial or press or to select the live set.
4. Press [F8 (Select)] to close the Live Set List screen.
Pressing [F6 (User Group)] will access the user group list screen, where you can register frequently-used studio sets. Registering a sound in the User Group screen (p. 201)
If youre using a USB mouse, you can click the keyboard symbol in the screen to access a virtual keyboard, which allows you to perform a keyword search.
Selecting a Live Set
Live set number
Live set bank
Selecting Live Sets from the List
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When you modify the settings of a Live Set, the Live Play screen will indicate . The settings you modify are temporary, and will be lost when you turn off the power, switch the sound generator mode, or select a different sound. If you want to keep the modified sound, you must save it in the User bank (Saving
a Live/Studio Set Youve Created (Write) (p. 148)).
The currently selected part is called the current part.
1. Press [LIVE] to access the Live Play (Layer/Split) Screen.
2. Use or to select the part.
The part number is shown in red for the selected part. fig.08-007_50
As you continue pressing , the screen will scroll downward, allowing you to select expansion board parts (if an expansion board is installed) or external MIDI output parts.
Heres how to select the parts whose patch, rhythm set or sample set will sound. For each part, use the switch to specify whether that part will be played from the keyboard; this is called the keyboard switch.
1. In the Live Play (Layer/Split) screen, use [CURSOR] to move the cursor to the KBD area, and press [INC] to turn on the keyboard switch for the part(s) you want to play.
When you play the keyboard, youll hear the part(s) whose keyboard switch you turned on. If all of the keyboard switches are off, youll hear the current part.
fig.08-008_50
You can turn on the keyboard switch for more than one part.
By pressing [F6 ] you can switch to a screen that shows only the parts whose keyboard switch is on.
The current part will not sound if even one keyboard switch is on. If you want to hear the current part, turn off the keyboard switch for all parts.
Use the pad switch to select the part whose rhythm set or sample set will be played by the pads.
1. As described in the procedure for Switching the Pad Mode (PAD MODE) (p. 188), set the pad mode to either 1 SAMPLE PAD or 2 RHYTHM.
2. In the Live Play (Layer/Split) screen, use [CURSOR] to move the cursor to the SAM or RHY field, and press [INC] to turn on the pad switch for the part that you want to play from the pads.
When you press the pads, youll hear the part whose pad switch is on.
Make sure that the Patch Type is set to SAMPLE or RHYTHM. If this is set to PATCH, use [CURSOR] to move the cursor to the patch type, and turn the VALUE dial or press [INC] [DEC] to select SAMPLE or RHYTHM.
In the same way, you can use the ARP switch to specify the Arpeggio Part Number (p. 146).
If you dont like the patch that is assigned to a part, its easy to switch the patch.
1. Select the part whose sound you want to switch.
2. Press [F1 (Patch List)].
The Patch List screen will appear. fig.05-008_50
For details on using the Patch List screen, refer to Selecting
Patches from the List (p. 49).
Using the Live Play (Layer/ Split) Screen
Selecting a Part
Selecting the Part that You want to Sound (Keyboard Switch)
Selecting the Part Played by the Pads
Selecting the Sound for a Part
Patch Type
61
Playing in Live Mode
Fantom-G_r_e.book 62
In live mode you can play the sounds of all parts whose Keyboard Switch is on. Combining the parts will produce, thicker, fatter sounds.
You can create layers in the Live Play (Layer/Split) screen. fig.08-009.e
1. Press [LIVE] to access the Live Play (Layer/Split) Screen.
2. Use [CURSOR] to move the cursor to KBD, and press [INC] to turn on the keyboard switch for the parts that you want to hear.
If you press [DEC], the keyboard switch will turn off. The displayed keyboard shows the key range that will sound.
When you play the keyboard, youll hear the parts whose keyboard switch is on.
3. Repeat steps 2. to turn the Keyboard Switch on for all parts you want to play.
The eight sliders in the Live Play (Layer/Split) screen correspond to the levels of the eight internal parts. You can control these by using the eight sliders on the Fantom-Gs panel.
In Live mode you can play (split) as many as 56 different patches across the keyboard.
For instance, you can play strings in the lower range, piano in the upper range, and both sounds in the middle range. fig.08-010.e
A split performance is one application of a layer. Changing the key range of each part in the layer results in a split.
1. Press [LIVE] to access the Live Play (Layer/Split) Screen.
2. Use [CURSOR] to move the cursor to KBD, and press [INC] to turn on the keyboard switch for the parts you want to hear.
3. Move the cursor to Lower and set the lower limit of the keys that will play the part. Move the cursor to Upper and set the upper limit of the keys that will play the part.
To specify the key range, you can turn the VALUE dial or use [INC] [DEC]. The displayed keyboard indicates the range of keys for which each part will sound.
fig.08-011_50
Value: Key Range Lower: C-1UPPER
Key Range Upper: LOWERG9
By specifying sections for different parts so that they overlap each other, you can combine two or more parts only in a specific section.
Combining and Playing Sounds Together (Layer)
8(Tx ch.10)
7 (Tx ch.7)
2 (Tx ch.2)
1 (Tx ch.1)
Part 1 (Rx ch.1)
Part 2 (Rx ch.2)
Part 8 (Rx ch.10)
Part 7 (Rx ch.7)
Rx ch.: Receive Channel Tx ch.: Transmit Channel
KBD Switch: On
Playing Different Sounds in Different Areas of the Keyboard (Split)
Part group Number of parts
Internal 8 Expansion board 1 Maximum 16
* Depends on the expansion board
Expansion board 2 Maximum 16 * Depends on the expansion board
External MIDI output 16
Part 1: Strings Part 1 + Part 2:
(Strings + Piano) Part 2: Piano
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The Live Set Part Mixer screen lets you adjust the level and effect settings of each part just as if you were using a mixer.
Heres how to access the Live Set Part Mixer screen.
1. Press [LIVE].
You will enter Live Mode, and the Live Play (Layer/Split) Screen appears.
2. Press [F7 (Mixer)].
The Live Set Part Mixer screen will appear.
F-key operations in the Live Set Part Mixer screen
In this screen, the name of the parameter selected by the cursor
is shown in the area at the lower left of the screen. Here you can also check the value of the current setting.
By pressing the [F7 ] or [F8 ] key several times, you can move the screen to the left or right, switching the displayed part group.
In the Live Set Part Mixer screen you can set the following parameters for each part.
Use [F6 ] to switch between Mixer 1/2.
1. Use [CURSOR] to move the cursor to the parameter you want to edit.
2. Turn the VALUE dial or use [INC] [DEC] to set the desired value.
*1 Parts whose Recording Switch is off will not be recorded to audio tracks of the sequencer. (Nor will they be sampled.) You can turn this off for a part that you want to hear, but not record as audio. Normally you will leave this turned on. Effects will not be applied to a part whose Recording Switch is off.
Using the Live Set Part Mixer Screen
F-key Explanation Page
F1 Patch List
Selects the patch sound assigned to each part.
p. 61
F4 Exit
Returns to the previous screen.
F5 LiveSet List
Selects a live set. p. 60
F6 Switches between the Mixer 1/2 screens.
F7 Selects the eight parts that will be con- trolled by the sliders. A frame is shown around the currently selected parts. By moving this frame outside the screen, you can switch the part group that is dis- played.
F8
Part Group Explanation
Audio Track Audio tracks of the song Internal Internal (internal sound generator) EXP 1 Expansion board 1 EXP 2 Expansion board 2 External External MIDI output
Editing the Part Settings
Mixer1/2 Parameter Page
Internal
Mixer1 Mute Switch p. 134 Part Chorus Send Level p. 136 Part Reverb Send Level p. 137 Part Pan p. 134 Part Level p. 134
Mixer2 Part Output Level p. 136 Part Output Assign p. 136 Recording Switch *1 Keyboard Switch p. 135 Arpeggio Part p. 146 Sample Pad Part p. 146 Rhythm Pad Part p. 146
EXP 1, EXP 2
Mixer1 Mute Switch p. 134 Part EFX1 Send Level p. 137 Part EFX2 Send Level p. 137 Part Pan p. 134 Part Level p. 134 Exp.1/2 Master Chorus Send Level Exp.1/2 Master Reverb Send Level Exp.1/2 Master Pan Exp.1/2 Master Level
Mixer2 Part Output Level p. 136 Part Output Assign p. 136 Keyboard Switch p. 135 Arpeggio Part p. 146 Rhythm Pad Part p. 146 Exp.1/2 Master Output Level Exp.1/2 Master Output Assign Exp.1/2 Master Recording Switch
External
Mixer1 External Pan p. 135 External Level p. 135
Mixer2 Keyboard Switch p. 135 Arpeggio Part p. 146 Rhythm Pad Part p. 146
Audio Track
Mixer1 Mute Switch Part Chorus Send Level Part Reverb Send Level Part Pan Part Level
Mixer2 Part Output Assign Recording Switch *1
63
Playing in Live Mode
Fantom-G_r_e.book 64
In general, the Layer Edit screen operates in the same way as the Live Play (Layer/Split) screen, but you can use the F3F6 keys to instantly switch between the displayed part groups.
Heres how to access the Layer Edit screen.
1. Press [LIVE].
You will enter Live Mode, and the Live Play (Layer/Split) Screen appears.
fig.04-015_50
2. Press [F8 (Layer Edit)].
The Layer Edit screen will appear.
If you dont like the patch that is assigned to a part, its easy to switch the patch.
1. Select the part whose sound you want to switch.
2. Press [F1 (Patch List)].
The Patch List screen will appear. fig.05-008_50
For details on using the Patch List screen, refer to Selecting
Patches from the List (p. 49).
In the Layer Edit screen you can set the following parameters for each part.
1. Press [LIVE], and then press [F8 (Layer Edit)] to access the Layer Edit screen.
2. Use [CURSOR] to move the cursor to the parameter you want to edit.
3. Turn the VALUE dial or use [INC] [DEC] to set the desired value.
Using the Layer Edit Screen
F-key Explanation F3 Internal Internal (internal sound generator) F4 EXP 1 Expansion board 1 F5 EXP 2 Expansion board 2 F6 External External MIDI output
Selecting the Sound for a Part
Editing the Part Settings
Parameter Shown in the screen as
Keyboard Switch (p. 135) KBD Patch Type (p. 134) Type Patch Bank (p. 134) Bank Patch Number (p. 134) Patch Name Keyboard Range Lower (p. 135) Lower Keyboard Range Upper (p. 135) Upper Arpeggio Part (p. 146) ARP Sample Pad Part / Rhythm Pad Part (p. 146) SAM/RHY
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For details on using the Arpeggio, refer to Playing
Arpeggios (p. 78).
For details on the setting, refer to Selecting the Parameter
Controlled by the Realtime Controllers or D Beam
Controller (Control Setting) (p. 142).
For details regarding effect settings, refer to the pages shown below.
Making Effect Settings (p. 151)
Applying Effects in Live Mode (p. 151)
For details, refer to How Do I Adjust the Volume? (p. 294)
Refer to Creating a Live/Studio Set (p. 132).
Performing with the Arpeggio
Performing with the Realtime Controllers and D Beam Controller
Setting Effects
Adjusting the Master Level
Making Detailed Settings for a Live Set
65
66
Fantom-G_r_e.book 66
Playing in Studio Mode
You can use the mixer screen to adjust the level and pan for each of the sixteen parts.
In addition to sixteen parts of the internal sound generator, Studio mode allows you to simultaneously use parts of an expansion board (the number of parts depends on the expansion board) and external MIDI output parts.
A Studio set contains a patch (rhythm set, sample set) assignment for each part, as well as settings such as volume and pan for each part.
When you play the keyboard, youll hear the current part.
Every part whose keyboard switch (p. 69) is on will sound. We recommend that you leave the keyboard switch turned off. If it is on, parts other than the current part will also sound, and this is probably not what you want when youre creating a song.
Recording a song
For details on recording a song, refer to Recording MIDI (p. 217).
The Studio Play screen allows you to adjust the level and effect settings of each part just as if you were using a mixer.
To access the Studio Play Screen, use the following procedure.
1. Press [STUDIO].
You will enter Studio Mode, and the Studio Play Screen appears.
fig.04-015_50
F-key operations in the Studio Play screen
Number of parts Internal 16 Expansion board 1 Maximum 16
* Depends on the expansion board
Expansion board 2 Maximum 16 * Depends on the expansion board
External MIDI output 16
Displaying Studio Play Screen
F-key Explanation Page F1 Patch List
Selects the patch assigned to each part. p. 68
F2 Utility
Makes settings common to the entire studio set.
p. 132
F3 Part View
Makes detailed settings for each part of the studio set.
p. 133
F4 Control
Selects the parameters that will be controlled by the realtime controllers and the D Beam controller.
p. 70
F5 Studio List
Selects a studio set. p. 68
F6 Switches between the Mixer1/2 screens.
F7 Selects the eight parts that will be controlled by the slider. A frame is shown around the currently selected parts. By moving this frame outside the screen, you can switch the part group that is displayed.
F8
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fig.08-002.j
In addition to the internal (internal sound generator) parts, the Studio Play screen allows you to switch the view to see audio tracks, expansion board parts, or external MIDI output parts.
1. Press [STUDIO] to access the Studio Play screen.
2. Press the [F7 ] or [F8 ] key several times to move the screen to left or right, selecting the part group that is displayed.
The Fantom-G has two studio set banks, including the User bank and Preset banks.
USER This is the bank inside the Fantom-G which can be rewritten. Studio Sets you create can be stored in this bank. You can store 128 studio sets.
PRST (Preset) This is the bank inside the Fantom-G which cannot be rewritten. However you may modify the settings of the currently selected studio set, and then store the modified studio set in User memory. The Fantom-G contains 8 preset studio sets.
1. Press [STUDIO].
2. Press [CURSOR] to move the cursor to the studio set bank. fig.08-003.e
3. Turn the VALUE dial, or press [INC] [DEC] to select a studio set bank.
USER: User
PRST: Preset
4. Press [CURSOR] to move the cursor to the studio set number.
5. Turn the VALUE dial or press [INC] [DEC] to select the studio set number.
Functions in the Studio Play Screen
Number Explanation Page Indicates the current sound generator mode. p. 39
Indicates the on/off status of each effect. PFX Patch multi-effect MFX1 Multi-effect 1 MFX2 Multi-effect 2 IFX Input effect CHO Chorus REV Reverb MAS Mastering effect
p. 150
Indicates the current location of the song, and the status of the sequencer.
p. 205
The Menu/Exit/Shortcut buttons for the USB mouse.
p. 26
Indicates/selects the bank, number, and name of the currently selected studio set.
p. 67
Indicates/selects the part group, part number, bank, number, and name of the patch, rhythm set, or sam- ple set for the current part.
p. 68
Accesses the mixer screen. p. 69
Indicates the pad mode. p. 188
Switching the Displayed Part Group
Part group Explanation Audio Track Audio tracks in the song Internal Internal (internal sound generator) EXP 1 Expansion board 1 EXP 2 Expansion board 2 External External MIDI output
1 2 3 4
5 6
7
8
1
2
3
4
5
6
7
8
Selecting a Studio Set
Studio set number
Studio set bank
67
Playing in Studio Mode
Fantom-G_r_e.book 68
You can display a list of studio sets and select a studio set from that list.
1. Press [STUDIO].
2. Press [F5 (Studio List)].
The Studio Set List screen appears. fig.08-004_50
3. Turn the VALUE dial or press or to select the studio set.
4. Press [F8 (Select)] to close the Studio Set List screen.
By pressing [F6 (User Group)] you can access the user group list screen, where you can register frequently-used studio sets. Registering a sound in the User Group screen (p. 201)
If youre using a USB mouse, you can click the keyboard symbol in the screen, and then use the virtual keyboard in the screen to perform a keyword search.
When you modify the settings of a Studio Set, the Studio Play screen will indicate . Settings you modify are temporary, and will be lost if you turn off the power, switch the tone generator mode, or select a different sound. If you want to keep the modified sound, you must save it in the User bank (Saving
a Live/Studio Set Youve Created (Write) (p. 148)).
The currently selected part is called the current part.
1. Press [STUDIO].
The Studio Play screen appears.
2. Use [CURSOR] to select the part.
The selected part is highlighted. fig.08-007_50
3. Play the keyboard, and youll hear the current part.
If you dont like the patch that is assigned to a part, its easy to switch the patch.
1. Select the part whose sound you want to switch.
2. Press [F1 (Patch List)].
The Patch List screen will appear.
For details on using the Patch List screen, refer to Selecting
Patches from the List (p. 49).
Selecting Studio Sets from the List Using the Studio Play Screen
Selecting a Part
Selecting the Sound for a Part
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Heres how to select the part that you want to play from the keyboard. Each part has a setting called the keyboard switch that determines whether that part will sound in response to the keyboard. If this is turned off for all parts, the current part will sound.
When youre recording a song, we recommend that you turn the keyboard switch off for all parts. If this is turned on for any parts, the keyboard will not play the current part, which would not be convenient for song production.
1. Press [STUDIO].
2. Press [F6 ].
3. Use [CURSOR] to move the cursor to the Keyboard Sw field, and press [INC] to turn the keyboard switch on.
When you play the keyboard, youll hear the parts whose keyboard switch is on. If the keyboard switch is turned off for all parts, youll hear the current part.
fig.08-008_50
You can turn on the keyboard switch for multiple parts.
In the Studio Play screen you can set the following parameters for each part.
1. Press [STUDIO].
2. Use [CURSOR] to move the cursor to the parameter you want to edit.
3. Turn the VALUE dial or use [INC] [DEC] to set the desired value.
In this screen, the name of the parameter selected by the cursor
is shown in the area at the lower left of the screen. The current value is also shown here.
For details on how to switch between part groups, refer to Switching the Displayed Part Group (p. 67).
Use [F6 ] to switch between Mixer 1/2.
*1 Parts whose Recording Switch is off will not be recorded to audio tracks of the sequencer. (Nor will they be sampled.) You can turn this off for a part that you want to hear, but not record as audio. Normally you will leave this turned on. Effects will not be applied to a part whose Recording Switch is off.
Selecting the Part that You Want to Sound (Keyboard Switch)
Editing the Part Settings
Mixer1/2 Parameter Page
Internal
Mixer1 Mute Switch p. 134 Part Chorus Send Level p. 136 Part Reverb Send Level p. 137 Part Pan p. 134 Part Level p. 134
Mixer2 Part Output Level p. 136 Part Output Assign p. 136 Recording Switch *1 Keyboard Switch p. 135 Arpeggio Part p. 146 Sample Pad Part p. 146 Rhythm Pad Part p. 146
EXP 1, EXP 2
Mixer1 Mute Switch p. 134 Part EFX1 Send Level p. 137 Part EFX2 Send Level p. 137 Part Pan p. 134 Part Level p. 134 Exp.1/2 Master Chorus Send Level Exp.1/2 Master Reverb Send Level Exp.1/2 Master Pan Exp.1/2 Master Level
Mixer2 Part Output Level p. 136 Part Output Assign p. 136 Keyboard Switch p. 135 Arpeggio Part p. 146 Rhythm Pad Part p. 146 Exp.1/2 Master Output Level Exp.1/2 Master Output Assign Exp.1/2 Master Recording Switch
External
Mixer1 External Pan p. 135 External Level p. 135
Mixer2 Keyboard Switch p. 135 Arpeggio Part p. 146 Rhythm Pad Part p. 146
Audio Track
Mixer1 Mute Switch Part Chorus Send Level Part Reverb Send Level Part Pan Part Level
Mixer2 Part Output Assign Recording Switch *1
69
Playing in Studio Mode
Fantom-G_r_e.book 70
For details on using the Arpeggio, refer to Playing
Arpeggios (p. 78).
For details on the setting, refer to Selecting the Parameter
Controlled by the Realtime Controllers or D Beam
Controller (Control Setting) (p. 142).
For details regarding effect settings, refer to the pages shown below.
Making Effect Settings (p. 151)
Applying Effects in Studio Mode (p. 154)
For details, refer to How Do I Adjust the Volume? (p. 294).
Refer to Creating a Live/Studio Set (p. 132).
Performing with the Arpeggio
Performing with the Realtime Controllers and D Beam Controller
Setting Effects
Adjusting the Master Level
Making Detailed Settings for a Studio Set
70
Fantom-G_r_e.book 71
03: Sound Generator, Section 2 (Controlling Sounds)
This chapter explains the realtime controllers, the arpeggiator, and the chord memory function.
Real Time Controller ....................................................p. 72 Arpeggios..................................................................p. 78 Chord Memory ...........................................................p. 80
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Fantom-G_r_e.book 72
Modifying the Sound in Real Time
Here we will explain the procedures and settings for using these functions in Single mode. The operations are the same in Live Mode/Studio Mode.
The D Beam controller can be used simply by waving your hand over it. It can be used to apply various effects, depending on the function that is assigned to it. You can also create effects in which the sound changes instantaneously, in a way that would not be possible by operating a knob or the bender lever. On the Fantom-G, the D Beam controller can be used not only to modify the sounds assigned to the Keyboard part or Pad part, but also to control the pitch of a monophonic (solo) synthesizer sound.
1. Access the Single Play screen (p. 46).
The following area of the screen is the D Beam controller display area.
fig.10-001
2. Press either the D BEAM [PAD TRIGGER], [SOLO SYNTH], or [ASSIGNABLE] button to turn on the D Beam controller.
PAD TRIGGER button: Use the D Beam controller to play sounds instead of striking the pads.
SOLO SYNTH button: Lets you use the D Beam as a monophonic synthesizer.
ASSIGNABLE button: Operates the function assigned to the D Beam controller.
3. While you play the keyboard or pads to produce sound, place your hand above the D Beam controller and move it slowly up and down.
An effect will be applied to the sound, depending on the function that is assigned to the D Beam controller.
4. To turn off the D Beam controller, once again press the button you pressed in step 2 so the indicator goes out.
If live mode is selected, the D Beam controller on/off setting is saved for each live set as part of the live set settings. Similarly in studio mode, this setting is saved as part of the studio set.
The sensitivity of the D Beam controller will change depending on the amount of light in the vicinity of the unit. If it does not function as you expect, adjust the sensitivity as appropriate for the brightness of your location. Increase this value will raise the sensitivity (p. 287).
Waving Your Hand Over the D Beam to Modify the Sound (D Beam Controller)
The usable range of the D Beam controller The following diagram shows the usable range of the D Beam controller. Waving your hand outside this range will produce no effect. fig.10-003
The response of the D Beam Controller can also be checked in the D Beam area of the display. This is displayed graphically as a bar that lengthens as you move your hand closer, and shortens as you move your hand away. fig.10-002
The usable range of the D Beam controller will become extremely small when used under strong direct sunlight. Please be aware of this when using the D Beam controller outside.
Modifying the Sound in Real Time
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Pad Trigger (Pad-related settings) You can use the D Beam controller to control the pads as an alternative to striking the pads themselves.
1. Hold down [SHIFT] and press D BEAM [PAD TRIGGER].
2. Move the cursor to the parameter that you want to set, and turn the VALUE dial or press [INC] [DEC] to make the setting.
3. Press [EXIT] to close the window.
Beam Trigger Pad Specifies the pad number affected by the D Beam.
Value: Pad 1Pad 16
Beam Trigger Velo (Beam Trigger Velocity) Specifies the strength of the pad sound played by the D Beam controller.
Value: 1127
Beam Trigger Mode This specifies how the D Beam will behave when it is obstructed. If this is set to MOMENTARY, the parameter will be on only while the D Beam is obstructed, and will turn off when you stop obstructing it. If this is set to LATCH, the parameter will alternately be switched on/off each time you obstruct the D Beam.
Value: MOMENTARY, LATCH
If Live mode is selected, PAD trigger settings are saved independently for each live set as part of the live set settings. This lets you create live sets that make effective use of controller settings. Similarly in studio mode, this setting is saved as part of the studio set.
If Single mode is selected, this is saved as part of the system settings. If you want to save the settings, press [F7 (Sys Write)].
Solo Synth On the Fantom-G you can play a monophonic synthesizer whose pitch is controlled by the D Beam.
1. Hold down [SHIFT] and press D BEAM [SOLO SYNTH].
2. Move the cursor to the parameter that you want to set, and turn the VALUE dial or press [INC] [DEC] to make the setting.
3. If you want to save the settings, press [F7 (Sys Write)].
Press [EXIT] to close the Solo Synth window.
Setting for the Solo Synth are saved for system settings.
In this screen, the name of the parameter selected by the cursor
is shown in the area in the lower left of the
screen. The current value of the setting is also shown here.
OSC 1/2 Waveform Select the waveform. SAW is a sawtooth wave, and SQR is a square wave.
Value: SAW, SQR
OSC 1/2 Pulse Width Specifies the pulse width of the waveform. By cyclically modifying the pulse width you can create subtle changes in the tone.
* The Pulse Width is activated when SQR is selected with OSC1/2
waveform.
Value: 0127
LFO Osc 1 Pulse Width Depth Specifies the depth to which the LFO will modulate the pulse width of the OSC1 waveform.
* The Pulse Width is activated when SQR is selected with waveform.
Value: -63 +63
LFO Osc 2 Pulse Width Depth Specifies the depth to which the LFO will modulate the pulse width of the OSC2 waveform.
* The Pulse Width is activated when SQR is selected with waveform.
Value: -63 +63
Making Settings for the D Beam Controller
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LFO Osc 1 Pitch Depth Specifies the depth to which the LFO will modulate the OSC1 pitch.
Value: -63 +63
LFO Osc 2 Pitch Depth Specifies the depth to which the LFO will modulate the OSC2 pitch.
Value: -63 +63
OSC 1/2 Coarse Tune Adjusts the pitch of the tones sound up or down in semitone steps (+/-4 octaves).
Value: -48 +48
OSC 1/2 Fine Tune Adjusts the pitch of the tones sound up or down in 1-cent steps (+/- 50 cents).
Value: -50 +50
OSC Sync Switch Turning this switch on produces a complex sound with many harmonics. This is effective when the OSC1 pitch is higher than the OSC2 pitch.
Value: ON, OFF
OSC2 Level Adjust the OSC2 level.
Value: 0127
Filter Type Selects the type of filter. A filter modifies the brightness or thickness of the sound by cutting a specific frequency range.
Value
OFF: No filter is used.
LPF: Low Pass Filter. This reduces the volume of all frequencies above the cutoff frequency (Cutoff Freq).
BPF: Band Pass Filter. This leaves only the frequencies in the region of the cutoff frequency, and cuts the rest.
HPF: High Pass Filter. This cuts the frequencies in the region below the cutoff frequency.
PKG: Peaking Filter. This emphasizes the frequencies in the region of the cutoff frequency.
Cutoff Selects the frequency at which the filter begins to have an effect on the waveforms frequency components.
Value: 0127
Resonance Emphasizes the portion of the sound in the region of the cutoff frequency, adding character to the sound.
Value: 0127
LFO Rate Adjusts the modulation rate, or speed, of the LFO.
Value: 0127
Range (Solo synth range) Specifies the range in which the pitch of the solo synth will vary.
Value: 2 OCT, 4 OCT, 8 OCT
Chorus Send Level Sets the level of the signal sent to chorus.
Value: 0127
Reverb Send Level Sets the level of the signal sent to reverb.
Value: 0127
Level Sets the volume.
Value: 0127
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Assignable You can assign various functions to the D Beam controller and apply a wide range of effects to the sound in real time.
1. Hold down [SHIFT] and press D BEAM [ASSIGNABLE].
2. Move the cursor to the parameter that you want to set, and turn the VALUE dial or press [INC] [DEC] to make the setting.
3. Press [EXIT] to close the window.
Type (Assignable Type) Specifies the function controlled by the D Beam controller.
Value
OFF: Off
CC0131, CC32(OFF), 3395: Control Change
AFTERTOUCH: Aftertouch
BEND UP: Controls the pitch as specified by the Pitch Bend Range Up setting (p. 96).
BEND DOWN: Controls the pitch as specified by the Pitch Bend Range Down setting (p. 96).
ARPEGGIO ACCENT: Arpeggio accent rate
ARPEGGIO SHUFFLE: Arpeggio shuffle rate
ARPEGGIO OCT UP: The range in which the arpeggio is sounded will rise in steps of an octave.
ARPEGGIO OCT DOWN: The range in which the arpeggio is sounded will lower in steps of an octave.
Range Min Specify the lower limit of the range of the D Beam controller.
Value: 0127
Range Max Specify the upper limit of the range of the D Beam controller. By setting Range Max below Range Min you can invert the range of change.
Value: 0127
If Live mode is selected, The settings for the ASSIGNABLE are saved independently for each live set as part of the live set settings. This lets you create live sets that make effective use of controller settings. Similarly in studio mode, this setting is saved as part of the studio set.
If Single mode is selected, this is saved as part of the system settings. If you want to save the settings, press [F7 (Sys Write)].
You can use the knobs, sliders and [S1] [S2] buttons to modify the sound in real time.
1. Access the Single Play screen (p. 46).
The Realtime Control area shows the function that is assigned to each realtime controller knob, slider and [S1] [S2] button.
fig.10-007.e
2. While playing the keyboard to produce sound, operate the knobs, sliders or [S1] [S2] buttons.
The sound will change according to the function assigned to each knob, slider or button.
Using Knobs, Sliders or S1/S2 Buttons to Modify the Sound (Realtime Controller)
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Knob 14 Settings 1. Hold down [SHIFT] and rotate one of the knobs.
The Knob screen appears.
2. Move the cursor to the parameter that you want to set, and turn the VALUE dial or press [INC] [DEC] to set it.
3. If you want to save your settings, press [F7 (Sys Write)]. Press [Exit] to return to the previous screen.
Realtime controller settings are saved independently for each live set as part of the live settings. This lets you create live sets that make effective use of controller settings. Similarly in studio mode, this setting is saved as part of the studio set.
Knob 14 Assign Specify the functions that will be controlled by the knobs.
Value
OFF: Off
CC0131, CC32(OFF), 3395: Control Change
AFTERTOUCH: Aftertouch
PITCH BEND: Pitch Bend
ARPEGGIO ACCENT: Arpeggio accent rate
ARPEGGIO SHUFFLE: Arpeggio shuffle rate
ARPEGGIO OCT UP: The range in which the arpeggio is sounded will rise in steps of an octave.
ARPEGGIO OCT DOWN: The range in which the arpeggio is sounded will lower in steps of an octave.
MASTER LEVEL: Master Level (p. 293)
DIGITAL/USB INPUT LEVEL:
Digital/USB Input Level (p. 258)
* If the system setting Knob Assign Source (p. 289) is set to
System, the system settings will be used. If it is set to TEMP, the
settings of the live set or studio set will be used.
Slider 18 Settings 1. Hold down [SHIFT] and move one of the sliders.
The Slider screen appears.
2. Move the cursor to the parameter that you want to set, and turn the VALUE dial or press [INC] [DEC] to set it.
3. If you want to save your settings, press [F7 (Sys Write)]. Press [Exit] to return to the previous screen.
Realtime controller settings are saved independently for each live set as part of the live settings. This lets you create live sets that make effective use of controller settings. Similarly in studio mode, this setting is saved as part of the studio set.
Slider 18 Assign Specify the functions that will be controlled by the sliders.
Value
OFF: Off
CC0131, CC32(OFF), 3395: Control Change
AFTERTOUCH: Aftertouch
PITCH BEND: Pitch Bend
ARPEGGIO ACCENT: Arpeggio accent rate
ARPEGGIO SHUFFLE: Arpeggio shuffle rate
ARPEGGIO OCT UP: The range in which the arpeggio is sounded will rise in steps of an octave.
ARPEGGIO OCT DOWN: The range in which the arpeggio is sounded will lower in steps of an octave.
* If the system setting Slider Assign Source (p. 289) is set to
System, the system settings will be used. If it is set to TEMP, the
settings of the live set or studio set will be used.
Changing Realtime Controller Settings
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S1/S2 Switch Settings 1. Hold down [SHIFT] and press [S1] [S2].
The Switch screen appears.
2. Move the cursor to the parameter that you want to set, and turn the VALUE dial or press [INC] [DEC] to make the setting.
3. If you want to save your settings, press [F7 (Sys Write)]. Press [Exit] to return to the previous screen.
Realtime controller settings are saved independently for each live set as part of the live settings. This lets you create live sets that make effective use of controller settings. Similarly in studio mode, this setting is saved as part of the studio set.
Switch S1/S2 Assign Specify the functions that will be controlled by the [S1] [S2] switches.
Value OFF, CC01 - CC31, CC32 (OFF), CC33 - CC95, AFTERTOUCH, MONO/POLY, PFX SWITCH, MFX SWITCH, RESERVE, CHORUS SWITCH, REVERB SWITCH, MASTERING SWITCH, MASTER KEY UP, MASTER KEY DOWN, SCALE TUNE SWITCH
Switch 1/2 Assign Mode Specify the functions that will be controlled by the [S1] [S2] switches.
Value
LATCH: The on/off status will alternate each time you press [S1] [S2].
MOMENTARY: The status will be on only while you hold down [S1] [S2].
If Single mode is selected, assignable switches are available when the keyboard part is selected.
You can modify the sound by pressing a pedal that is connected to the rear panel PEDAL CONTROL 1, 2 jacks.
Pedal such as expression pedals (DP-8; available separately), pedal switches (DP series; available separately), or foot switches (BOSS FS- U; available separately) can be connected to the Fantom-G.
1. Access the Single Play screen (p. 46).
2. While playing the keyboard to produce sound, operate a pedal.
The sound will change according to the function that is assigned to the control pedal.
1. Press [MENU].
2. Use or to select System, and then press [ENTER].
The System Setup screen appears.
3. Press [F1 (Up)] or [F2 (Down)] to select Pedal/D Beam.
4. Turn the VALUE dial or press [INC] [DEC] to make the setting.
5. If you want to save your settings, press [F7 (Sys Write)]. Press [Exit] to return to the Single Play screen.
See Pedal/D Beam (p. 287) for each parameters functions.
Using a Pedal to Modify the Sound (Control Pedal)
Making Control Pedal Settings
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Playing Arpeggios
The Fantom-Gs Arpeggio function lets you produce arpeggios automatically; simply hold down some keys, and a corresponding arpeggio will be played automatically.
Use Arpeggio Part Number (p. 146) to specify the parts that will use the Arpeggio function. The Chord Memory function (p. 80) will also apply to the parts selected by the Arpeggio Part setting.
If you want to play arpeggios in Live mode or Studio mode, youll also need to check the Arpeggio (p. 146) parameter of the live set or studio set.
1. Press [ARPEGGIO] to turn it on.
The button will light.
2. Play a chord on the keyboard.
The Fantom-G will play an arpeggio, according to the notes forming the chord you have just voiced.
3. To finish playing arpeggios, press [ARPEGGIO] again to turn it off.
For details regarding each parameter, refer to Arpeggio
Settings (p. 78).
This sets the arpeggio/rhythm tempo.
1. Press [TEMPO].
The current tempo value appears in the display.
2. Press VALUE dial or [INC], [DEC] to set the tempo value (5.00300.00), or set the value by tapping [F6 (Tap Tempo)] a number of times with the same rhythm (Tap Tempo). By holding down [SHIFT] and turning the VALUE dial you can adjust the value below the decimal point.
* If you press [F7 (Click)] to turn on, the click will sound.
3. When you have made the setting, press [F8 (Close)].
By using the following procedure, you can produce arpeggios even without continuing to press the keyboard.
1. Press [HOLD].
The indicator will light.
2. Play a chord on the keyboard.
3. If you play a different chord or notes while the arpeggio is being held, the arpeggio will change accordingly.
4. To cancel Arpeggio Hold, press [HOLD] once again.
When Using a Hold Pedal If you play an arpeggio while pressing the hold pedal, the arpeggio will continue to be played even if you release the chord.
1. Connect an optional pedal switch (DP series etc.) to the HOLD PEDAL jack.
2. Press [ARPEGGIO] to turn on the arpeggio.
3. Play a chord while pressing the hold pedal.
4. If you play a different chord or notes while the arpeggio is being held, the arpeggio will change accordingly.
1. Hold down [SHIFT] and press [ARPEGGIO].
2. Press [CURSOR] to move the cursor to each parameter, and either turn the VALUE dial or press [INC] or [DEC] to make the setting.
3. When you have made the setting, press [EXIT].
Style (Arpeggio Style) Specifies the basic way in which the arpeggio will be played.
Variation (Arpeggio Variation) The arpeggiator provides several variations (performance patterns) for each arpeggio style. This parameter selects the variation number. The number of variations will differ according to the arpeggio style.
About Arpeggio
Playing Arpeggios
Turning Arpeggio On and Off
Determining the Tempo for Arpeggio Performances
Using in Combination with the Chord Memory Function When performing with the Arpeggio, you can also use it along with the Chord Memory function (p. 80). After first storing complex Chord Forms in memory, you can then call them up when Arpeggio function is on, and you can easily play complex arpeggio sounds just by pressing a single key.
Holding an Arpeggio
Arpeggio Settings
Playing Arpeggios
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Motif (Arpeggio Motif) Sets the order in which notes of the chord will sound.
Value
UP: Notes you press will be sounded, beginning from low to high.
DOWN: Notes you press will be sounded, from high to low.
UP&DOWN: Notes you press will be sounded, from low to high, and then back down from high to low.
RANDOM: Notes you press will be sounded, in random order.
NOTE ORDER: Notes you press will be sounded in the order in which you pressed them. By pressing the notes in the appropriate order you can produce melody lines. Up to 128 notes will be remembered.
GLISSANDO: Each chromatic step between the highest and lowest notes you press will sound in succession, repeating upward and downward. Press only the lowest and the highest notes.
CHORD: All notes you press will sound simultaneously.
AUTO1: The timing at which keys will sound will be assigned automatically, giving priority to the lowest key that was pressed.
AUTO2: The timing at which keys will sound will be assigned automatically, giving priority to the highest key that was pressed.
PHRASE: Pressing a single key will sound the phrase based on the pitch of that key. If multiple keys are pressed, the last-pressed key will be valid.
Accent Rate (Arpeggio Accent Rate) Modifies the strength of accents and the length of the notes to adjust the groove feel of the arpeggio. A setting of 100% will produce the most pronounced groove feel.
Value: 0100%
Shuffle Rate (Arpeggio Shuffle Rate) This setting lets you modify the note timing to create shuffle rhythms.
With a setting of 50% the notes will be spaced evenly. As the value is increased, the note timing will have more of a dotted (shuffle) feel.
Value: 0100% fig.Shuffle Rate
Shuffle Resolution (Arpeggio Shuffle Resolution) Specify the timing resolution in terms of a note value. The note value can be specified as either an 16th note or a eighth note.
Value: ,
Keyboard Velocity (Arpeggio Keyboard Velocity) Specifies the loudness of the notes that you play.
If you want the velocity value of each note to depend on how strongly you play the keyboard, set this parameter to REAL. If you want each note to have a fixed velocity regardless of how strongly you play the keyboard, set this parameter to the desired value (1 127).
Value: REAL, 1127
Octave Range (Arpeggio Octave Range) Sets the key range in octaves over which arpeggio will take place. If you want the arpeggio to sound using only the notes that you actually play, set this parameter to 0. To have the arpeggio sound using the notes you play and notes 1 octave higher, set this parameter to +1. A setting of -1 will make the arpeggio sound using the notes you play and notes 1 octave lower.
Value: -3 +3
Key Trigger (Arpeggio Key Trigger) Turn this ON if you want the arpeggio to start at the moment that you press the key. If you want the arpeggio to start playing in synchronization with the sequencer, turn this OFF.
Value: OFF, ON
The Arpeggios you create are temporary; they are deleted as soon as you turn off the power or select some other Arpeggio. You can store 128 arpeggios in the User memory.
1. Confirm that the current Arpeggio is the one you want to save.
2. Press [F7 (Write)].
The Arpeggio name entry screen will appear (p. 42).
3. When you have finished entering the name, press [F8 (OK)].
A screen in which you can select the destination for the write will appear.
4. Turn the VALUE dial or use [INC] [DEC] to select the write destination.
5. Press [F8 (Write)].
A message will ask you for confirmation.
6. To write the data, press [F7 (OK)].
Never switch off the Fantom-G while data is being saved.
To cancel, press [F8 (EXIT)].
90 10 90 1050 50 50 50
Shuffle Rate = 50% Shuffle Rate = 90%
Saving the Arpeggio You Have Created (Write)
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Using the Chord Memory Function (Chord Memory)
Chord Memory is a function that allows you to play chords based on pre-programmed Chord Forms, just by pressing a single key on the keyboard. The Fantom-G can store 128 user chord forms.
When you use the Chord Memory function with a tone for which the Mono/Poly Parameters (p. 105) is Mono, only one sound in the chord is played. When using the Chord Memory function to turn Poly the Mono/Poly Parameters.
Use Arpeggio Part Number (p. 146) to specify the parts that will use the Chord Memory function. The Arpeggio function (p. 78) will also apply to the pats selected by the Arpeggio Part setting.
1. Press [CHORD MEMORY] to turn it on.
The button will light.
2. Play the keyboard.
A chord will sound according to the currently selected chord form.
When you press the C4 key (Middle C), the chord is played using the exact chord structure recorded in the Chord Form. This is referenced to the C4 key; parallel chords are played by pressing other keys.
3. To finish the chord Memory Function, press [CHORD MEMORY] again to turn it off.
Changing the chord form will change the notes in the chord.
1. Hold down [SHIFT] and press [CHORD MEMORY].
The following screen appears. fig.12-001_50
2. Either turn the VALUE dial or use [INC] [DEC] to select a Chord Form number.
The notes of the chord will be displayed.
3. When you have finished selecting a Chord Form, press [Exit].
About the Chord Memory Function
Using in Combination with the Arpeggio Function When performing with the Chord Form function, you can also use it along with the Arpeggio function (p. 78). After first storing complex Chord Forms in memory, you can then call them up when Arpeggio is on, and you can easily create complex arpeggio sounds just by pressing a single key.
Performing with the Chord Memory Function
Turning Chord Memory Function On and Off
Selecting Chord Forms
Using the Chord Memory Function (Chord Memory)
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This causes the notes within a chord to be sounded consecutively, rather than simultaneously. Since the playback speed will change according to the force with which you play the keyboard, you can vary your playing dynamics to create a realistic simulation of playing a guitar.
1. Hold down [SHIFT] and press [CHORD MEMORY].
The Chord Memory screen appears.
2. Press [F1 (Rolled Chord)] to turn on.
With this setting, the notes of the chord will be sounded consecutively when you play the keyboard.
Changing the order in which notes are sounded (Rolled Chord Type) You can change the order in which the notes of a chord are sounded.
1. Hold down [SHIFT] and press [CHORD MEMORY].
The Chord Memory screen appears.
2. Use or to select Rolled Chord Type.
3. Either turn the VALUE dial or use [INC] [DEC] to change a value.
Value
UP: Notes will be sounded in order from bottom to top.
DOWN: Notes will be sounded in order from top to bottom.
ALTERNATE: The order in which the notes are sounded will change each time you play the keyboard.
L-DOWN: The lowest note will be sounded first, and then notes will be sounded in order from the top down.
* If you press C E G B, the notes will be sounded
as C B G E.
U-UP: The highest note will be sounded first, and then notes will be sounded in order from the bottom up.
* If you press C E G B, the notes will be sounded
as B C E G.
Not only can you use the prepared internal Chord Forms, which determine the constituent notes of chords played using the Chord Memory function, but you can also freely create and rewrite them as well.
1. Hold down [SHIFT] and press [CHORD MEMORY].
2. Turn the VALUE dial to select a chord form.
3. Press [F6 (Chord Edit)].
The Chord Form Edit screen appears.
4. Use the keyboard to input the chord that you want to play.
When you press a key, the note will be added in the screen.
If you input a note by mistake, press [F5 (Del Note)].
You can also erase a note you input by pressing the same key.
You can press [F6 (Preview)] to hear the chord that you are inputting.
5. If you want to save the chord form you created, proceed to step 3 of Saving the Chord Forms You Have Created (p. 82). If you dont want to save it, press [F8 (Exit)].
Sounding a Chord in the Order of Its Notes (Rolled Chord)
Creating Your Own Chord Forms
81
Using the Chord Memory Function (Chord Memory)
Fantom-G_r_e.book 82
The Chord Form you create are temporary; they are deleted as soon as you turn off the power or select some other Style. If you want to keep a Chord Form you have made, save it to the Fantom-Gs user memory.
1. Hold down [SHIFT] and press [CHORD MEMORY].
Confirm that the chord form is selected that you want to save.
2. Press [F7 (Write)].
The Chord Form name entry screen will appear (p. 42).
3. When you have finished entering the name, press [F8 (OK)].
A screen will appear, allowing you to select the write destination.
4. Use or to select the write destination.
5. Press [F8 (Write)].
A message will ask you confirm.
6. To save the chord form, press [F7 (OK)].
Never switch off the Fantom-G while data is being saved.
* To cancel, press [F8 (EXIT)].
Saving the Chord Forms You Have Created
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04: Sound Generator, Section 3 (Creating Sounds)
This chapter explains how to create sounds such as patches, live sets, and effects. Patch.........................................................................p. 84 Rhythm Set ...............................................................p. 112 Sample Set...............................................................p. 126 Live Set/Studio Set ....................................................p. 132 Adding Effects ..........................................................p. 150 Effects List ................................................................p. 161
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Creating a Patch
Start with an existing patch and edit it to create a new patch. Since a patch is a combination of up to any four tones, you should listen to how the individual tones sound before you edit.
The Patch Zoom Edit screen allows you to edit the most important parameters of a patch. If you want to have access to all of the parameters, use the Patch Pro Edit screen (p. 86).
1. Select the patch whose settings you want to edit (p. 47).
2. Press [PATCH].
The Patch Zoom Edit screen appears. fig.05-015_50
F-key operations in the Patch Zoom Edit screen
How to Make Patch Settings
Four Tips for Editing Patches Select a patch that is similar to the sound you wish to
create (p. 47).
Its hard to create a new sound thats exactly what you want if you just select a patch and modify its parameters at random. It makes sense to start with a patch whose sound is related to what you have in mind.
Decide which tones will sound (p. 50).
When creating a patch, it is important to decide which tones you are going to use. In the Patch Pro Edit screen, set Tone Switch 14 to specify whether each tone will sound (on), or not (off). It is also important to turn off unused tones to avoid wasting voices, unnecessarily reducing the number of simultaneous notes you can play.
Check the Structure setting (p. 92).
The important Structure parameter determines how the four tones combine. Before you select new tones, make sure you understand how the currently selected tones are affecting each other.
Turn Effects off (p. 150).
Since the Fantom-G effects have such a profound impact on its sounds, turn them off to listen to the sound itself so you can better evaluate the changes youre making. Since you will hear the original sound of the patch itself when the effects are turned off, the results of your modifications will be easier to hear. Actually, sometimes just changing effects settings can give you the sound you want.
Editing a Patch Quickly (Patch Zoom Edit)
F-key Explanation Page
F1 Group/Up
Moves the edit group tab upward.
F2 Group/Down
Moves the edit group tab downward.
F4 Util Menu
Patch Initialize
Initializes the settings of the currently selected patch.
p. 87
Tone Initialize
Initializes the settings of the currently selected tone.
p. 87
Tone Copy
Copies tone settings from a patch to the specified tone of the currently se- lected patch.
p. 87
F5 PFX
Accesses the PFX (Patch Multi-effect) ed- iting screen.
p. 157
F6 Pro Edit
Accesses the Patch Pro Edit screen, where you can edit all of the parameters.
p. 86
F7 Part Select
Selects the part to be edited.
F8 Tone Sw/Sel
Selects the tones that will sound. p. 85
Groups Parameters
Creating a Patch
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3. The parameters are organized into several editing groups. Press [F1 (Up)] or [F2 (Down)] to select the tab for the editing group that contains the parameter you wish to edit.
For details on each parameter, refer to the following pages.
To change the part that you want to edit
Press [F7 (Part Select)].
4. Press [CURSOR] button to move the cursor to the parameter you wish to modify.
5. Press [F8 (Tone Sw/Sel)] to select the tone that you want to edit.
The Tone Switch/Select window appears. fig.06-001_50
Press any one of the [F5 (Select 1)][F8 (Select 4)] buttons to select the tone that you want to edit.
Simultaneously editing the same parameter of multiple
tones
To select the tones you want to edit at the same time, simultaneously press two or more of the [F5 (Select 1)][F8 (Select 4)] buttons, making them light.
To switch a tone on/off
Press a [F1 (Sw 1)][F4 (Sw 4)] button to switch the corresponding tone on/off.
You can also use the pads to select tones and switch them on/off. 7 TONE SEL/SW (Using the Pads to Select Tones or
Switch Them On/Off) (p. 197)
6. When you have made your selection, press [EXIT].
7. Turn the VALUE dial or press [INC] [DEC] to get the value you want.
If youve selected two or more tones, your editing will modify the parameter values for all selected tones by the same amount.
8. Repeat steps 37 to set each parameter you want to edit.
9. If you wish to save the changes youve made, press [WRITE] to perform the Save operation (p. 88). If you do not wish to save changes, press [EXIT] to return to the Single Play screen.
If you return to the Single Play screen without saving, the
symbol will be displayed at the right of the patch name, indicating that the patch settings have been edited.
The settings you edit are temporary, and will be lost if you turn off the power, switch the sound generator mode, or select a different sound.
Parameter name Page Parameter name Page Pitch Envelope p. 97 Structure Type p. 92 TVF p. 98 LFO1/2 p. 103 TVF Envelope p. 100 Step LFO p. 104 TVA Envelope p. 101
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Fantom-G_r_e.book 86
The Patch Pro Edit screen allows you to edit all parameters of a patch.
1. Select the patch whose settings you want to edit (p. 47).
If you want to create a patch from scratch (rather than starting from an existing patch), execute the Initialize operation (p. 87).
2. Press [PATCH] twice.
The Patch Pro Edit screen appears. fig.05-015_50
F-key operations in the Patch Pro Edit screen
3. The parameters are organized into several editing groups. Press [F1 (Up)] or [F2 (Down)] to select the tab for the editing group that contains the parameter you wish to edit.
See Functions of Patch Parameters (p. 89) for each parameters functions.
To change the part that you want to edit
Press [F7 (Part Select)].
4. Press [CURSOR] button to move the cursor to the parameter you wish to modify.
5. Press [F8 (Tone Sw/Sel)] to select the tone that you want to edit.
The Tone Switch/Select window appears. fig.06-001_50
Press any one of the [F5 (Select 1)][F8 (Select 4)] buttons to select the tone that you want to edit.
Simultaneously editing the same parameter of multiple
tones
To select the tones you want to edit at the same time, simultaneously press two or more of the [F5 (Select 1)][F8 (Select 4)] buttons, making them light.
To switch a tone on/off
Press a [F1 (Sw 1)][F4 (Sw 4)] button to switch the corresponding tone on/off.
You can also use the pads to select tones and switch them on/off. 7 TONE SEL/SW (Using the Pads to Select Tones or
Switch Them On/Off) (p. 197)
6. When you have made your selection, press [EXIT].
7. Turn the VALUE dial or press [INC] [DEC] to get the value you want.
If youve selected two or more tones, your editing will modify the parameter values for all selected tones by the same amount.
8. Repeat steps 37 to set each parameter you want to edit.
9. If you wish to save the changes youve made, press [WRITE] to perform the Save operation (p. 88). If you do not wish to save changes, press [EXIT] to return to the Single Play screen.
If you return to the Single Play screen without saving, the
symbol will be displayed at the right of the patch name, indicating that the patch settings have been edited.
The settings you edit are temporary, and will be lost if you turn off the power, switch the sound generator mode, or select a different sound.
Editing All Parameters of a Patch (Patch Pro Edit)
F-key Explanation Page
F1 Group/Up
Moves the edit group tab upward.
F2 Group/Down
Moves the edit group tab downward.
F3 Set Stereo
This is shown if youre editing the WAVE group. It recalls the right wave (R) from the left wave (L) of a stereo wave.
p. 91
F4 Util Menu
Patch Initialize
Initializes the settings of the currently selected patch.
p. 87
Tone Initialize
Initializes the settings of the currently selected tone.
p. 87
Tone Copy
Copies tone settings from a patch to the specified tone of the currently se- lected patch.
p. 87
F5 PFX
Accesses the PFX (Patch Multi-effect) ed- iting screen.
p. 157
F6 Zoom Edit
Accesses the Zoom Edit screen, where you can edit the most important parame- ters.
p. 84
F7 Part Select
Selects the part to be edited.
F8 Tone Sw/Sel
Selects the tones that will sound. p. 85
Groups Parameters
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Initialize means to return the settings of the currently selected sound to a standard set of values.
Patch Initialize will initialize the settings of the currently selected patch.
Tone Initialize will initialize the settings of the currently selected tone.
The Initialize operation will affect only the currently selected sound; the sounds that are stored in user memory will not be affected. If you wish to restore all of the Fantom-Gs settings to their factory values, perform a Factory Reset (p. 280).
1. Select the patch that you want to initialize (p. 47).
2. Press [PATCH].
3. Press [F4 (Util Menu)].
The Patch Utility Menu window appears.
4. Press or to choose what you want to initialize (Patch Initialize or Tone Initialize), and then press [F8 (Select)].
If you decide to cancel the operation, press [F7 (Cancel)].
A message will ask you for confirmation.
5. Press [F7 (OK)] to execute.
To cancel, press [F8 (EXIT)].
This operation copies the settings of any desired patch to the currently selected patch. You can use this feature to make the editing process faster and easier.
1. Select that you want to edit and the copy-destination patch (p. 47).
2. Press [PATCH].
3. Press [F4 (Util Menu)].
The Patch Utility Menu window appears.
4. Press or to choose Patch Tone Copy, and then press [F8 (Select)].
If you decide to cancel the operation, press [F7 (Cancel)].
The Patch Tone Copy window appears.
5. Press [CURSOR] to move the cursor, select the Source (copy-source) bank and number, and patch tone.
6. Turn the VALUE dial or use [INC] [DEC] to make settings.
7. Press [CURSOR] to move the cursor, select the Destination (copy-destination) patch tone number.
8. Turn the VALUE dial or use [INC] [DEC] to make settings.
9. Press [F8 (Execute)].
A message will ask you for confirmation.
10. Press [F7 (OK)] to return to execute.
To cancel, press [F8 (EXIT)].
Initializing Patch/Tone Settings (Patch Initialize/Tone Initialize)
Copying Patch (Tone) Settings (Patch Tone Copy)
The Compare Function For the Patch Tone Copy operations, you can use the Compare function.
The Compare function allows you to hear the copy-source patch in order to verify it.
If you want to play the copy-source patch, press [F6 (Compare)].
The patch auditioned using the Compare function may sound slightly different than when it is played normally.
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Fantom-G_r_e.book 88
The sounds of the Fantom-G are based on complex PCM waveforms, and if you attempt to make settings that are contrary to the type of the original waveform, the results will not be as you expect. The internal waveforms of the Fantom-G fall into the following two banks. One-shot: These waveforms contain sounds that have short decays. A one-shot waveform records the initial rise and fall of the sound. Some of the Fantom-Gs one-shot waveforms are sounds that are complete in themselves, such as percussive instrument sounds. The Fantom-G also contains many other one-shot waveforms that are elements of other sounds. These include attack components such as piano-hammer sounds and guitar fret noises. Looped: These waveforms include sounds with long decays as well as sustained sounds. Loop waveforms repeatedly play back (loop) the portion of the waveform after the sound has reached a relatively steady state. The Fantom-Gs looped waveforms also include components of other sounds, such as piano-string resonant vibrations and the hollow sounds of brass instruments. The following diagram shows an example of sound (electric organ) that combines one-shot and looped waveforms. fig.06-005.e
Cautions When Using a One-shot Waveform It is not possible to use the envelope to modify a one-shot waveform to create a decay that is longer than the original waveform, or to turn it into a sustaining sound. If you were to program such an envelope, you would be attempting to shape a portion of the sound that simply doesnt exist, and the envelope would have no effect.
Cautions When Using a Loop Waveform With many acoustic instruments such as piano and sax, extreme timbral changes occur during the first few moments of each note. This initial attack is what defines much of the instruments character. For such waveforms, it is best to use the complex tonal changes of the attack portion of the waveform just as they are, and to use the envelope only to modify the decay portion. If you attempt to use the envelope to modify the attack portion as well, the characteristics of the original waveform may prevent you from getting the sound that you intend. fig.06-006.e
Edits you make to the settings are temporary, and will be lost if you turn off the power, switch the sound generator mode, or select a different sound. If you want to keep the modified sound, you must save it in the USER bank.
When you edit the patch settings, the symbol will appear in the Single Play screen. When you save the patch, the symbol will disappear.
When you perform the save procedure, the data that previously occupied the save destination will be lost.
1. Make sure that the patch you wish to save is selected.
2. Press [WRITE].
The WRITE MENU window appears.
3. Select Patch / Rhythm / Sample Set.
Press or to select Patch / Rhythm / Sample Set, and then press [F8 (Select)].
The Patch Name window appears. fig.06-008_50
4. Assign a name to the patch.
For details on assigning names, refer to Assigning a Name (p. 42)
5. When you have finished inputting the name, press [F8 (OK)].
A screen will appear, allowing you to select the write- destination patch.
Cautions When Selecting a Waveform
TVA ENV for looped Organ waveform
Note off Time
Level
Resulting TVA ENV change
TVA ENV for one-shot Key-click waveform
Note off
+ =
Tone change stored with the wave
Envelope for the TVF filter
Resulting tone change
Looped portion
Time
Level
Saving Patches Youve Created (Write)
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6. Turn the VALUE dial or use [INC] [DEC] to select the patch number.
By pressing [F6 (Compare)] you can check the save-destination patch (Compare function).
7. Press [F8 (Write)].
A message will ask you for confirmation.
Never switch off the Fantom-G while data is being saved.
8. Press [F7 (OK)] to execute the save operation.
To cancel the operation, press [F8 (EXIT)].
Before you save a patch, you can audition the patch which currently occupies the save destination to make sure that it is one you dont mind overwriting. This can help prevent important patches from being accidentally overwritten and lost.
1. Follow the procedure in Saving Patches Youve Created (Write) through step 6 to select the save destination.
2. Press [F6 (Compare)] to turn on.
3. Play the keyboard or pad to sound the save destination patch, then check whether you really want to overwrite it.
The patch auditioned using the Compare function may sound slightly different than when it is played normally.
4. If you wish to change the save destination, re-specify the save-destination patch by turning the VALUE dial.
5. Press [F8 (Write)].
A message will ask you for confirmation.
6. Press [F7 (OK)] once again to execute the Save operation.
This section explains the functions the different patch parameters have, as well as the composition of these parameters.
Parameters marked with a can be controlled using specified MIDI messages (Matrix Control). Settings in Matrix Ctrl screen will determine how these parameters are controlled (p. 109).
If a number is displayed for the parameter name, ( , , , ), you can use the realtime controller knob of the corresponding
number (the left most knob is number 1, the right most knob is number 4) to set the value. fig.06-010
Patch Name Specifies the name of the patch.
By pressing [ENTER], you can assign a name to the patch.
Value: space, AZ, az, 09, ! # $ % & ( ) * + , - . / : ; < = > ? @ [ \ ] ^ _ ` { | }
For details on entering a name, refer to Assigning a Name (p. 42).
Patch Category Specifies the type (category) of the patch.
It also determines the phrase that will be sounded when using the Phrase Preview function.
For details on the possible category names, refer to (p. 48).
Patch Level Specifies the volume of the patch.
Value: 0127
Patch Pan Specifies the pan of the patch. L64 is far left, 0 is center, and 63R is far right.
Value: L64063R
Auditioning the Save-Destination Patch (Compare)
Functions of Patch Parameters
Settings Common to the Entire Patch (General)
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Patch Priority This determines how notes will be managed when the maximum polyphony is exceeded (128 voices).
Value
LAST: The last-played voices will be given priority, and currently sounding notes will be turned off in order, beginning with the first-played note.
LOUDEST: The voices with the loudest volume will be given priority, and currently sounding notes will be turned off, beginning with the lowest-volume voice.
Octave Shift Adjusts the pitch of the patchs sound up or down in units of an octave (+/-3 octaves).
Value: -3 +3
Patch Coarse Tune Adjusts the pitch of the patchs sound up or down in semitone steps (+/-4 octaves).
Value: -48 +48
Patch Fine Tune Adjusts the pitch of the patchs sound up or down in 1-cent steps (+/ -50 cents).
Value: -50 +50
One cent is 1/100th of a semitone.
Stretch Tune Depth This setting allows you to apply stretched tuning to the patch. (Stretched tuning is a system by which acoustic pianos are normally tuned, causing the lower range to be lower and the higher range to be higher than the mathematical tuning ratios would otherwise dictate.) With a setting of OFF, the patchs tuning will be equal temperament. A setting of 3 will produce the greatest difference in the pitch of the low and high ranges.
Value: OFF, 13
The diagram shows the pitch change relative to equal temperament that will occur in the low and high ranges. This setting will have a subtle effect on the way in which chords resonate. fig.06-011.e
Analog Feel (Analog Feel Depth) Specifies the depth of 1/f modulation that is to be applied to the patch. (1/f modulation is a pleasant and naturally-occurring ratio of modulation that occurs in a babbling brook or rustling wind.)
By adding this 1/f modulation, you can simulate the natural instability characteristic of an analog synthesizer.
Value: 0127
Cutoff Offset Cutoff Frequency Offset alters the cutoff frequency of the overall patch, while preserving the relative differences between the cutoff frequency values set for each tone in the Cutoff Frequency parameters (p. 98).
Value: -63 +63
This value is added to the cutoff frequency value of a tone, so if the cutoff frequency value of any tone is already set to 127 (maximum), positive + settings here will not produce any change.
1
2
3
OFF
2
1
OFF
3
High note range
Pitch difference from equal temperament Parameter value
Low note range
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Resonance Offset Resonance Offset alters the resonance of the overall patch, while preserving the relative differences between the resonance values set for each tone in the Resonance parameter (p. 98).
Range: -63 +63
* Resonance: emphasizes the overtones in the region of the cutoff
frequency, adding character to the sound.
This value is added to the resonance value of a tone, so if the resonance value of any tone is already set to 127 (maximum), positive + settings here will not produce any change.
Attack Time Offset Attack Time Offset alters the attack time of the overall patch, while preserving the relative differences between the attack time values set for each tone in the TVA Env Time 1 parameters (p. 102), TVF Env Time 1 parameters (p. 100).
Range: -63 +63
* Attack Time: The time it takes for a sound to reach maximum
volume after the key is pressed and sound begun.
This value is added to the attack time value of a tone, so if the attack time value of any tone is already set to 127 (maximum), positive + settings here will not produce any change.
Release Time Offset Release Time Offset alters the release time of the overall patch, while preserving the relative differences between the release time values set for each tone in the TVA Env Time 4 parameters (p. 102), TVF Env Time 4 parameters (p. 100).
Range: -63 +63
* Release Time: The time from when you take your finger off the key
until the sound disappears.
This value is added to the release time value of a tone, so if the release time value of any tone is already set to 127 (maximum), positive + settings here will not produce any change.
Velocity Sens Offset Velocity Sensitivity Offset alters the Velocity Sensitivity of the overall patch while preserving the relative differences between the Velocity Sensitivity values set for each tone in the parameters below.
Cutoff Velocity Sens parameter (p. 99)
Level Velocity Sens parameter (p. 100)
Range: -63 +63
* Velocity: Pressure with which the key is pressed.
This value is added to the velocity sensitivity value of a tone, so if the velocity sensitivity value of any tone is already set to +63 (maximum), positive + settings here will not produce any change.
Wave Group Selects the group for the waveform that is to be the basis of the tone.
Value
INT: Waveforms stored in internal
SAMP: Sample waveforms
Wave Number L (Mono) Wave Number R Selects the basic waveform for a tone. Along with the Wave number, the Wave name appears at the lower part of the display.
When in monaural mode, only the left side (L) is specified. When in stereo, the right side (R) is also specified.
Value: OFF, 1 (The upper limit will depend on the wave group.)
If you specify only the right side (R), there will be no sound.
If you want to select a left/right pair of Waves, select the left (L) Wave number and then press [F3 (Set Stereo)]; the right (R) (Wave) will be recalled.
* When using a sample in stereo, you must specify the same number for
L and R.
Modifying Waveforms (Wave)
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Wave Gain Sets the gain (amplification) of the waveform. The value changes in 6 dB (decibel) stepsan increase of 6 dB doubles the waveforms gain. If you intend to use the Booster to distort the waveforms sound, set this parameter to its maximum value (p. 94).
Value: -6, 0, +6, +12
Wave Tempo Sync When you wish to synchronize a Phrase Loop to the clock (tempo), set this to ON. This is valid only when selected as the sample for a tone.
Value: OFF, ON
If a sample is selected for a tone, you must first set the BPM (tempo) parameter of the sample.
If a sample is selected for a tone, Wave Tempo Sync will require twice the normal number of voices.
When the Wave Tempo Sync parameter is set to ON, set the Delay Time parameter (p. 108) to 0. With other settings, a delay effect will be applied, and you will be not be able to play as you expect.
FXM Switch This sets whether FXM will be used (ON) or not (OFF).
Value: OFF, ON
FXM Color Specifies how FXM will perform frequency modulation. Higher settings result in a grainier sound, while lower settings result in a more metallic sound.
Value: 14
FXM Depth Specifies the depth of the modulation produced by FXM.
Value: 016
You can use the force with which keys are played, or MIDI messages to control the way each Tone is played. This is referred to as the Tone Mix Table (TMT).
Structure Type 1 & 2, 3 & 4 Determines how tone 1 and 2, or tone 3 and 4 are connected.
Value: 110
The following 10 different Types of combination are available. fig.06-014
With this type, tones 1 and 2 (or 3 and 4) are independent. Use this type when you want to preserve PCM sounds or create and combine sounds for each tone. fig.06-015
This type stacks the two filters together to intensify the characteristics of the filters. The TVA for tone 1 (or 3) controls the volume balance between the two tones. fig.06-016
This type mixes the sound of tone 1 (3) and tone 2 (4), applies a filter, and then applies a booster to distort the waveform.
Phrase Loop Phrase loop refers to the repeated playback of a phrase thats been pulled out of a song (e.g., by using a sampler). One technique involving the use of Phrase Loops is the excerpting of a Phrase from a pre-existing song in a certain genre, for example dance music, and then creating a new song with that Phrase used as the basic motif. This is referred to as Break Beats.
Realtime Time Stretch If the wave group is SAMP, and the Wave Tempo Sync parameter is turned ON, you can vary the playback speed of the waveform without affecting the pitch.
FXM FXM (Frequency Cross Modulation) uses a specified waveform to apply frequency modulation to the currently selected waveform, creating complex overtones. This is useful for creating dramatic sounds or sound effects.
Changing How a Tone Is Sounded (TMT)
TONE 1 (3)
TONE 2 (4)
TVATVFWG
WG TVF TVA
TYPE 1
TONE 1 (3)
TONE 2 (4)
TVA TVFWG
WG TVF TVA
TYPE 2
TONE 1 (3)
TONE 2 (4)
TVA TVFWG
WG TVF TVA
B
TYPE 3 B: Booster
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fig.06-017
This type applies a booster to distort the waveform, and then combines the two filters. The TVA for tone 1 (or 3) controls the volume balance between the two tones and adjusts booster level. fig.06-018
This type uses a ring modulator to create new overtones, and combines the two filters. The tone 1 (3) TVA will control the volume balance of the two tones, adjusting the depth of ring modulator. fig.06-019
This type uses a ring modulator to create new overtones, and in addition mixes in the sound of tone 2 (4) and stacks the two filters. Since the ring-modulated sound can be mixed with tone 2 (4), tone 1 (3) TVA can adjust the amount of the ring-modulated sound. fig.06-020
This type applies a filter to tone 1 (3) and ring-modulates it with tone 2 (4) to create new overtones.
fig.06-021
This type sends the filtered tone 1 (3) and tone 2 (4) through a ring modulator, and then mixes in the sound of tone 2 (4) and applies a filter to the result. fig.06-022
This type passes the filtered sound of each tone through a ring modulator to create new overtones. The tone 1 (3) TVA will control the volume balance of the two tones, adjusting the depth of ring modulator. fig.06-023
This type passes the filtered sound of each tone through a ring modulator to create new overtones, and also mixes in the sound of tone 2 (4). Since the ring-modulated sound can be mixed with tone 2 (4), tone 1 (3) TVA can adjust the amount of the ring-modulated sound.
When TYPE 210 is selected and one tone of a pair is turned off, the other tone will be sounded as TYPE 1 regardless of the displayed setting.
If you limit the keyboard area in which a tone will sound (Keyboard Range p. 94) or limit the range of velocities for which it will sound (Velocity Range p. 95), the result in areas or ranges where the tone does not sound is just as if the tone had been turned off. This means that if TYPE 210 is selected and you create a keyboard area or velocity range in which one tone of a pair does not sound, notes played in that area or range will be sounded by the other tone as TYPE 1 regardless of the displayed setting.
TONE 1 (3)
TONE 2 (4)
TVA TVFWG
WG TVF TVA
B
TYPE 4 B: Booster
TONE 1 (3)
TONE 2 (4)
TVA TVFWG
WG TVF TVA
R
TYPE 5 R: Ring Modulator
TONE 1 (3)
TONE 2 (4)
TVA TVFWG
WG TVF TVA
R
TYPE 6 R: Ring Modulator
TONE 1 (3)
TONE 2 (4)
TVATVFWG
WG TVF TVA
R
TYPE 7 R: Ring Modulator
TONE 1 (3)
TONE 2 (4)
TVATVFWG
WG TVF TVA
R
TYPE 8 R: Ring Modulator
TONE 1 (3)
TONE 2 (4)
TVATVFWG
WG TVF TVA
R
TYPE 9 R: Ring Modulator
TONE 1 (3)
TONE 2 (4)
TVATVFWG
WG TVF TVA
R
TYPE 10 R: Ring Modulator
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Booster 1&2, 3&4 (Booster Gain 1&2, 3&4) When a Structure Type of TYPE 3 or TYPE 4 is selected, you can adjust the depth of the booster. The booster increases the input signal in order to distort the sound. This creates the distortion effect frequently used with electric guitars. Higher settings will produce more distortion.
Value: 0, +6, +12, +18
Keyboard Fade Width Lower This determines what will happen to the tones level when a note thats lower than the tones specified keyboard range is played. Higher settings produce a more gradual change in volume. If you dont want the tone to sound at all when a note below the keyboard range is played, set this parameter to 0.
Value: 0127
Keyboard Range Lower Specifies the lowest note that the tone will sound for each tone.
Value: C-1UPPER
Keyboard Range Upper Specifies the highest note that the tone will sound for each tone.
Value: LOWERG9
If you attempt to raise the lower key higher than the upper key, or to lower the upper key below the lower key, the other value will be automatically modified to the same setting.
Booster The Booster is used to distort the incoming signal. fig.06-024.e
In addition to using this to create distortion, you can use the waveform (WG1) of one of the tones as an LFO which shifts the other waveform (WG2) upward or downward to create modulation similar to PWM (pulse width modulation). This parameter works best when you use it in conjunction with the Wave Gain parameter (p. 92). fig.06-025.e
Booster level
TVAWG1
WG2
Booster
Adds to WG1
Shift in waveform by WG1
Distorted area of the Waveform changes
WG2
Uses WG1 as LFO Adjusts WG1 output
Ring Modulator A ring modulator multiplies the waveforms of two tones with each other, generating many new overtones (in harmonic partials) which were not present in either waveform. (Unless one of the waveforms is a sine wave, evenly-spaced frequency components will not usually be generated.)
As the pitch difference between the two waveforms changes the harmonic structure, the result will be an unpitched metallic sound. This function is suitable for creating metallic sounds such as bells. fig.06-026
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Keyboard Fade Width Upper This determines what will happen to the tones level when a note thats higher than the tones specified keyboard range is played. Higher settings produce a more gradual change in volume. If you dont want the tone to sound at all when a note above the keyboard range is played, set this parameter to 0.
Value: 0127 fig.06-027.e
TMT Velocity Control (TMT Velocity Control Switch) TMT Velocity Control determines whether a different tone is played (ON) or not (OFF) depending on the force with which the key is played (velocity).
When set to RANDOM, the patchs constituent tones will sound randomly, regardless of any Velocity messages.
When set to CYCLE, the patchs constituent tones will sound consecutively, regardless of any Velocity messages.
Value: OFF, ON, RANDOM, CYCLE
Use Velocity Range Lower (p. 95) and Velocity Range
Upper (p. 95) to specify the range of keyboard dynamics.
If Velocity Range Lower and Velocity Range Upper are set to the same values, you wont be able to obtain any effect by setting TMT Velocity Control to RANDOM or CYCLE.
Instead of using Velocity, you can also have tones substituted using the Matrix Control (p. 109, p. 95). However, the keyboard velocity and the Matrix Control cannot be used simultaneously to make different tones to sound. When using the Matrix Control to switch tones, set the Velocity Control parameter to OFF.
Velocity Fade Width Lower This determines what will happen to the tones level when the tone is played at a velocity lower than its specified velocity range. Higher settings produce a more gradual change in volume. If you want notes played outside the specified key velocity range to not be sounded at all, set this to 0.
Value: 0127
Velocity Range Lower This sets the lowest velocity at which the tone will sound. Make these settings when you want different tones to sound in response to notes played at different strengths.
Value: 1UPPER
Velocity Range Upper This sets the highest velocity at which the tone will sound. Make these settings when you want different tones to sound in response to notes played at different strengths.
Value: LOWER127
If you attempt to set the Lower velocity limit above the Upper, or the Upper below the Lower, the other value will automatically be adjusted to the same setting.
When using the Matrix Control (p. 109) to have different tones played, set the lowest value (Lower) and highest value (Upper) of the value of the MIDI message used.
Velocity Fade Width Upper This determines what will happen to the tones level when the tone is played at a velocity greater than its specified velocity range. Higher settings produce a more gradual change in volume. If you want notes played outside the specified key velocity range to not be sounded at all, set this to 0.
Value: 0127 fig.06-028.e
TMT Control Switch Use the Matrix Control (p. 109) to enable (ON), or disable (OFF) sounding of different tones.
Value: OFF, ON
You can also cause different tones to sound in response to notes played at different strengths (velocity) on the keyboard (p. 95). However, the Matrix Control and the keyboard velocity cannot be used simultaneously to make different tones to sound. When you want to make the different tones to sound, set the Velocity Control parameter (p. 95) to OFF.
Range Lower Range Upper Fade Lower Fade Upper
Level
Pitch
Range Lower Range Upper Fade Lower Fade Upper
Level
Velocity
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Fantom-G_r_e.book 96
Pitch
Tone Coarse Tune Adjusts the pitch of the tones sound up or down in semitone steps (+/-4 octaves).
Value: -48 +48
Tone Fine Tune Adjusts the pitch of the tones sound up or down in 1-cent steps (+/- 50 cents).
Value: -50 +50
One cent is 1/100th of a semitone.
Random Pitch Depth This specifies the width of random pitch deviation that will occur each time a key is pressed. If you do not want the pitch to change randomly, set this to 0. These values are in units of cents (1/100th of a semitone).
Value: 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 20, 30, 40, 50, 60, 70, 80, 90, 100, 200, 300, 400, 500, 600, 700, 800, 900, 1000, 1100, 1200
Wave Pitch Key Follow This specifies the amount of pitch change that will occur when you play a key one octave higher (i.e., 12 keys upward on the keyboard).
If you want the pitch to rise one octave as on a conventional keyboard, set this to +100. If you want the pitch to rise two octaves, set this to +200. Conversely, set this to a negative value if you want the pitch to fall. With a setting of 0, all keys will produce the same pitch.
Value: -200, -190, -180, -170, -160, -150, -140, -130, -120, -110, -100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80, +90, +100, +110, +120, +130, +140, +150, +160, +170, +180, +190, +200
fig.06-030.e
Pitch Bend Range Up Specifies the degree of pitch change in semitones when the Pitch Bend lever is all the way right. For example, if this parameter is set to 12, the pitch will rise one octave when the pitch bend lever is moved to the right-most position.
Value: 0 +48
Pitch Bend Range Down Specifies the degree of pitch change in semitones when the Pitch Bend lever is all the way left. For example if this is set to -48 and you move the pitch bend lever all the way to the left, the pitch will fall 4 octaves.
Value: -480
Pitch Env Velocity Sens Keyboard playing dynamics can be used to control the depth of the pitch envelope. If you want the pitch envelope to have more effect for strongly played notes, set this parameter to a positive (+) value. If you want the pitch envelope to have less effect for strongly played notes, set this to a negative (-) value.
Value: -63 +63
Pitch Env Time 1 Velocity Sens This allows keyboard dynamics to affect the Time 1 of the Pitch envelope. If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.
Value: -63 +63
Modifying Pitch (Pitch/Pitch Env)
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Pitch Env Time 4 Velocity Sens Use this parameter when you want key release speed to affect the Time 4 value of the pitch envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.
Value: -63 +63
Pitch Env Time Key Follow Use this setting if you want the pitch envelope times (Time 2Time 4) to be affected by the keyboard location. Based on the pitch envelope times for the C4 key, positive (+) settings will cause notes higher than C4 to have increasingly shorter times, and negative (-) settings will cause them to have increasingly longer times. Larger settings will produce greater change.
Value: -100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80, +90, +100
fig.06-031.e
Hold Bend This specifies whether pitch bend will be disabled (ON) or enabled (OFF) while its being held by the pedal and during the release portion of the sound.
Value: OFF, ON
Bend Mode Specifies what will happen when you operate the pitch bend lever.
Value
NORMAL: The pitch bend lever will apply in the conventional way.
TOUCH: Moving the pitch bend lever will change the pitch smoothly, but the pitch will instantly return to center if you return the lever even slightly.
CATCH: If you play a note-on with the pitch bend lever already moved, the pitch will sound at the center position. The pitch will change only after the lever has passed through the center position.
LAST: The pitch bend lever will apply only to the last- played note.
CATCH+LAST: The operation of CATCH and LAST will be combined.
Bend Mode Control This specifies the CC (control change) whose value is used to switch the pitch bend levers operation between the mode specified by Bend Mode (control values 64 or higher) and conventional operation (control values 63 or lower).
Value: CC0131, CC32(OFF), CC3395
Pitch Env (Pitch Envelope)
Pitch Env Depth Adjusts the effect of the Pitch Envelope. Higher settings will cause the pitch envelope to produce greater change. Negative (-) settings will invert the shape of the envelope.
Value: -12 +12
Pitch Env Time 14 Specify the pitch envelope times (Time 1Time 4). Higher settings will result in a longer time until the next pitch is reached. (For example, Time 2 is the time over which the pitch changes from Level 1 to Level 2.)
Value: 0127 fig.06-032.e
Pitch Env Level 04 Specify the pitch envelope levels (Level 0Level 4). It determines how much the pitch changes from the reference pitch (the value set with Coarse Tune or Fine Tune on the Pitch screen) at each point. Positive (+) settings will cause the pitch to be higher than the standard pitch, and negative (-) settings will cause it to be lower.
Value: -63 +63
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Fantom-G_r_e.book 98
TVF Filter Type Selects the type of filter. A filter cuts or boosts a specific frequency region to change a sounds brightness, thickness, or other qualities.
Value
OFF: No filter is used.
LPF: Low Pass Filter. This reduces the volume of all frequencies above the cutoff frequency (Cutoff Freq) in order to round off, or un-brighten the sound. This is the most common filter used in synthesizers.
BPF: Band Pass Filter. This leaves only the frequencies in the region of the cutoff frequency (Cutoff Freq), and cuts the rest. This can be useful when creating distinctive sounds.
HPF: High Pass Filter. This cuts the frequencies in the region below the cutoff frequency (Cutoff Freq). This is suitable for creating percussive sounds emphasizing their higher tones.
PKG: Peaking Filter. This emphasizes the frequencies in the region of the cutoff frequency (Cutoff Freq). You can use this to create wah-wah effects by employing an LFO to change the cutoff frequency cyclically.
LPF2: Low Pass Filter 2. Although frequency components above the Cutoff frequency (Cutoff Freq) are cut, the sensitivity of this filter is half that of the LPF. This makes it a comparatively warmer low pass filter. This filter is good for use with simulated instrument sounds such as the acoustic piano.
LPF3: Low Pass Filter 3. Although frequency components above the Cutoff frequency (Cutoff Freq) are cut, the sensitivity of this filter changes according to the Cutoff frequency. While this filter is also good for use with simulated acoustic instrument sounds, the nuance it exhibits differs from that of the LPF2, even with the same TVF Envelope settings.
If you set LPF2 or LPF3, the setting for the Resonance parameter will be ignored (p. 98).
Cutoff Frequency Selects the frequency at which the filter begins to have an effect on the waveforms frequency components.
Value: 0127
With LPF/LPF2/LPF3 selected for the Filter Type parameter, lower cutoff frequency settings reduce a tones upper harmonics for a more rounded, warmer sound. Higher settings make it sound brighter.
If BPF is selected, harmonic components will change depending on the TVF Cutoff Frequency setting. This can be useful when creating distinctive sounds.
With HPF selected, higher Cutoff Frequency settings will reduce lower harmonics to emphasize just the brighter components of the sound.
With PKG selected, the harmonics to be emphasized will vary depending on Cutoff Frequency setting.
To edit the overall patch while preserving the relative differences in the Cutoff Frequency values set for each tone, set the Cutoff Offset parameter (p. 90).
Resonance Emphasizes the portion of the sound in the region of the cutoff frequency, adding character to the sound. Excessively high settings can produce oscillation, causing the sound to distort.
Value: 0127
To edit the overall patch while preserving the relative differences in the Resonance values set for each tone, set the Resonance Offset parameter (p. 91).
fig.06-034.e
Modifying the Brightness of a Sound with a Filter (TVF/TVF Env)
LPF BPF HPF PKG
p ar
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Level
Cutoff frequency
Frequency
High
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TVF Cutoff Key follow Use this parameter if you want the cutoff frequency to change according to the key that is pressed. Relative to the cutoff frequency at the C4 key (center C), positive (+) settings will cause the cutoff frequency to rise for notes higher than C4, and negative (-) settings will cause the cutoff frequency to fall for notes higher than C4. Larger settings will produce greater change.
Value: -200, -190, -180, -170, -160, -150, -140, -130, -120, -110, -100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80, +90, +100, +110, +120, +130, +140, +150, +160, +170, +180, +190, +200
fig.06-035.e
Cutoff Velocity Curve Selects one of the following seven curves that determine how keyboard playing dynamics (velocity) influence the cutoff frequency. Set this to FIXED if you dont want the Cutoff frequency to be affected by the keyboard velocity.
Value: FIXED, 17 fig.06-036
Cutoff Velocity Sens Use this parameter when changing the cutoff frequency to be applied as a result of changes in playing velocity. If you want strongly played notes to raise the cutoff frequency, set this parameter to positive (+) settings. If you want strongly played notes to lower the cutoff frequency, use negative (-) settings.
Value: -63 +63
To edit the overall patch while preserving the relative differences in the Cutoff Frequency Velocity Sensitivity values set for each tone, set the Velocity Sens Offset parameter (p. 91). However, this setting is shared by the Level Velocity Sens parameter (p. 100).
Resonance Velocity Sens This allows keyboard velocity to modify the amount of Resonance. If you want strongly played notes to have a greater Resonance effect, set this parameter to positive (+) settings. If you want strongly played notes to have less Resonance, use negative (-) settings.
Value: -63 +63
TVF Env Velocity Curve Selects one of the following 7 curves that will determine how keyboard playing dynamics will affect the TVF envelope. Set this to FIXED if you dont want the TVF Envelope to be affected by the keyboard velocity.
Value: FIXED, 17 fig.06-036
TVF Env Velocity Sens Specifies how keyboard playing dynamics will affect the depth of the TVF envelope. Positive (+) settings will cause the TVF envelope to have a greater effect for strongly played notes, and negative (-) settings will cause the effect to be less.
Value: -63 +63
TVF Env Time 1 Velocity Sens This allows keyboard dynamics to affect the Time 1 of the TVF envelope. If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.
Value: -63 +63
TVF Env Time 4 Velocity Sens The parameter to use when you want key release speed to control the Time 4 value of the TVF envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.
Value: -63 +63
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TVF ENV (TVF Envelope)
TVF Env Depth Specifies the depth of the TVF envelope. Higher settings will cause the TVF envelope to produce greater change. Negative (-) settings will invert the shape of the envelope.
Value: -63 +63
TVF Env Time Key Follow Use this setting if you want the TVF envelope times (Time 2Time 4) to be affected by the keyboard location. Based on the TVF envelope times for the C4 key (center C), positive (+) settings will cause notes higher than C4 to have increasingly shorter times, and negative (-) settings will cause them to have increasingly longer times. Larger settings will produce greater change.
Value: -100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80, +90, +100
fig.06-031.e
TVF Env Time 14 Specify the TVF envelope times (Time 1Time 4). Higher settings will lengthen the time until the next cutoff frequency level is reached. (For example, Time 2 is the time over which Level 1 will change to Level 2.)
Value: 0127 fig.06-037.e
TVF Env Level 04 Specify the TVF envelope levels (Level 0Level 4). These settings specify how the cutoff frequency will change at each point, relative to the standard cutoff frequency (the cutoff frequency value specified in the TVF screen).
Value: 0127
TVA
Tone Level Sets the volume of the tone. This setting is useful primarily for adjusting the volume balance between tones.
Value: 0127
Level Velocity Curve (TVA Level Velocity Curve) You can select from seven curves that determine how keyboard playing strength will affect the volume. If you do not want the volume of the tone to be affected by the force with which you play the key, set this to FIXED.
Value: FIXED, 17 fig.06-036
Level Velocity Sens (TVA Level Velocity Sensitivity) Set this when you want the volume of the tone to change depending on the force with which you press the keys. Set this to a positive (+) value to have the changes in tone volume increase the more forcefully the keys are played; to make the tone play more softly as you play harder, set this to a negative (-) value.
Value: -63 +63
If you wish to make adjustments to the entire patch while maintaining the relative values of TVA Level Velocity Sensitivity among tones, adjust the Velocity Sens Offset parameter (p. 91). However, this setting is shared by the Cutoff Velocity Sens parameter (p. 99).
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Adjusting the Volume (TVA/TVA Env)
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Bias Bias causes the volume to be affected by the keyboard position. This is useful for changing volume through keyboard position (pitch) when playing acoustic instruments. fig.06-039.e
Bias Level Adjusts the angle of the volume change that will occur in the selected Bias Direction. Larger settings will produce greater change. Negative (-) values will invert the change direction.
Value: -100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80, +90, +100
Bias Position Specifies the key relative to which the volume will be modified.
Value: C-1G9
Bias Direction Selects the direction in which change will occur starting from the Bias Position.
Value
LOWER: The volume will be modified for the keyboard area below the Bias Point.
UPPER: The volume will be modified for the keyboard area above the Bias Point.
LO&UP: The volume will be modified symmetrically toward the left and right of the Bias Point.
ALL: The volume changes linearly with the bias point at the center.
Tone Pan Sets the pan of the tone. L64 is far left, 0 is center, and 63R is far right.
Value: L64063R
Tone Pan Key Follow Use this parameter if you want key position to affect panning. Positive (+) settings will cause notes higher than C4 key (center C) to be panned increasingly further toward the right, and negative (-) settings will cause notes higher than C4 key (center C) to be panned toward the left. Larger settings will produce greater change.
Value: -100 +100 fig.06-040.e
Random Pan Depth Use this parameter when you want the stereo location to change randomly each time you press a key. Higher settings will produce a greater amount of change.
Value: 063
Alternate Pan Depth This setting causes panning to be alternated between left and right each time a key is pressed. Higher settings will produce a greater amount of change. L or R settings will reverse the order in which the pan will alternate between left and right. For example if two tones are set to L and R respectively, the panning of the two tones will alternate each time they are played.
Value: L63063R
When any value from Type 210 is selected for the Structure parameter in the Pan Key Follow, Rnd Pan Depth, Alter Pan Depth parameter settings, the output of tones 1 and 2 are joined in tone 2, and the output of tones 3 and 4 are joined in tone 4. For this reason, tone 1 will follow the settings of tone 2, and tone 3 will follow the settings of tone 4 (p. 92).
TVA Env (TVA Envelope)
TVA Env Time 1 Velocity Sens This allows keyboard dynamics to affect the Time 1 of the TVA envelope. If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.
Value: -63 +63
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Bias Position
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Level
Level
Level
Key
Key
Key
Key Bias Position
Bias Position
Bias Position
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TVA Env Time 4 Velocity Sens The parameter to use when you want key release speed to control the Time 4 value of the TVA envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.
Value: -63 +63
TVA Env Time Key Follow Use this setting if you want the TVA envelope times (Time 2Time 4) to be affected by the keyboard location. Based on the TVA envelope times for the C4 key (center C), positive (+) settings will cause notes higher than C4 to have increasingly shorter times, and negative (-) settings will cause them to have increasingly longer times. Larger settings will produce greater change.
Value: -100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80, +90, +100
fig.06-031.e
TVA Env Time 14 Specify the TVA envelope times (Time 1 Time 4). Higher settings will lengthen the time until the next volume level is reached. (For example, Time 2 is the time over which Level 1 will change to Level 2.)
Value: 0127
TVA Env Level 13 Specify the TVA envelope levels (Level 1Level 3). These settings specify how the volume will change at each point, relative to the standard volume (the Tone Level value specified in the TVA screen).
Value: 0127 fig.06-041.e
Tone Output Assign Specifies how the direct sound of each tone will be output.
Value:
PFX: Output through patch multi-effects. DRY: Output without passing through patch multi-effects.
Tone Output Level Specifies the signal level of each tone.
Value: 0127
Tone Chorus Send Level Specifies the level of the signal sent to the chorus for each tone.
Value: 0127
Tone Reverb Send Level Specifies the level of the signal sent to the reverb for each tone.
Value: 0127
An LFO (Low Frequency Oscillator) causes change over a cycle in a sound. Each tone has two LFOs (LFO1/LFO2), and these can be used to cyclically change the pitch, cutoff frequency and volume to create modulation-type effects such as vibrato, wah and tremolo. Both LFOs have the same parameters so only one explanation is needed.
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Modulating Sounds (LFO1/2/Step LFO)
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LFO1/2 Waveform (LFO1/LFO2 Waveform) Selects the waveform of the LFO.
Value
SIN: Sine wave
TRI: Triangle wave
SAW-U: Sawtooth wave
SAW-D: Sawtooth wave (negative polarity)
SQR: Square wave
RND: Random wave
BND-U: Once the attack of the waveform output by the LFO is allowed to develop in standard fashion, the waveform then continues without further change.
BND-D: Once the decay of the waveform output by the LFO is allowed to develop in standard fashion, the waveform then continues without further change.
TRP: Trapezoidal wave
S&H: Sample & Hold wave (one time per cycle, LFO value is changed)
CHAOS: Chaos wave
VSIN: Modified sine wave. The amplitude of a sine wave is randomly varied once each cycle.
STEP: A waveform generated by the data specified by LFO Step 164. This produces stepped change with a fixed pattern similar to a step modulator.
If you set this to BND-U or BND-D, you must turn the Key Trigger parameter to ON. If this is OFF, it will have no effect.
Rate (LFO1/LFO2 Rate) Adjusts the modulation rate, or speed, of the LFO.
Value: 0127, Note
LFO Rate sets the beat length for the synchronized tempo is synchronized with the tempo set in a sequencer.
(Example)
For a tempo of 120 (120 quarter notes occur in 1 minute (60 seconds))
This setting will be ignored if the Waveform parameter is set to CHAOS.
Rate Detune (LFO1/LFO2 Rate Detune) LFO Rate Detune makes subtle changes in the LFO cycle rate (Rate parameter) each time a key is pressed. Higher settings will cause greater change. This parameter is invalid when Rate is set to note.
Value: 0127
Offset (LFO1/LFO2 Offset) Raises or lowers the LFO waveform relative to the central value (pitch or cutoff frequency). Positive (+) settings will move the waveform so that modulation will occur from the central value upward. Negative (-) settings will move the waveform so that modulation will occur from the central value downward.
Value: -100, -50, 0, +50, +100
Delay Time (LFO1/LFO2 Delay Time) Delay Time (LFO Delay Time) specifies the time elapsed before the LFO effect is applied (the effect continues) after the key is pressed (or released).
Value: 0127
After referring to How to Apply the LFO (p. 104), change the setting until the desired effect is achieved.
When using violin, wind, or certain other instrument sounds in a performance, rather than having vibrato added immediately after the sounds are played, it can be effective to add the vibrato after the note is drawn out somewhat. If you set the Delay Time in conjunction with the Pitch Depth parameter and Rate parameter, the vibrato will be applied automatically following a certain interval after the key is pressed. This effect is called Delay Vibrato.
LFO1/LFO2 Delay Time Key Follow Adjusts the value for the Delay Time parameter depending on the key position, relative to the C4 key (center C). To decrease the time that elapses before the LFO effect is applied (the effect is continuous) with each higher key that is pressed in the upper registers, select a positive value; to increase the elapsed time, select a negative value. Larger settings will produce greater change. If you do not want the elapsed time before the LFO effect is applied (the effect is continuous) to change according to the key pressed, set this to 0.
Value: -100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80, +90, +100
fig.06-031.e
Setting LFO Rate
(half note) 1 second (60 / 60 =1 (second))
(quarter note) 0.5 seconds (60 / 120= 0.5 (seconds))
(eighth note) 0.25 seconds (60 / 240= 0.25 (seconds))
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Fantom-G_r_e.book 104
Fade Mode (LFO1/LFO2 Fade Mode) Specifies how the LFO will be applied.
Value: ON <, ON >, OFF <, OFF >
After referring to How to Apply the LFO (p. 104), change the setting until the desired effect is achieved.
Fade Time (LFO1/LFO2 Fade Time) Specifies the time over which the LFO amplitude will reach the maximum (minimum).
Value: 0127
After referring to How to Apply the LFO (p. 104), change the setting until the desired effect is achieved.
Key Trigger (LFO1/LFO2 Key Trigger) This specifies whether the LFO cycle will be synchronized to begin when the key is pressed (ON) or not (OFF).
Value: OFF, ON
Pitch Depth (LFO1/LFO2 Pitch Depth) Specifies how deeply the LFO will affect pitch.
Value: -63 +63
TVF Depth (LFO1/LFO2 TVF Depth) Specifies how deeply the LFO will affect the cutoff frequency.
Value: -63 +63
TVA Depth (LFO1/LFO2 TVA Depth) Specifies how deeply the LFO will affect the volume.
Value: -63 +63
Pan Depth (LFO1/LFO2 Pan Depth) Specifies how deeply the LFO will affect the pan.
Value: -63 +63
Positive (+) and negative (-) settings for the Depth parameter result in differing kinds of change in pitch and volume. For example, if you set the Depth parameter to a positive (+) value for one tone, and set another tone to the same numerical value, but make it negative (-), the modulation phase for the two tones will be the reverse of each other. This allows you to shift back and forth between two different tones, or combine it with the Pan setting to cyclically change the location of the sound image.
When the Structure parameter is set to any value from 2 through 10, the output of tones 1 and 2 will be combined into tone 2, and the output of tones 3 and 4 will be combined into tone 4. This applies to the Pan Depth parameter settings. For this reason, tone 1 will follow the settings of tone 2, and tone 3 will follow the settings of tone 4 (p. 92).
Step LFO
LFO Step Type When generating an LFO waveform from the data specified in LFO Step164, specify whether the level will change abruptly at each step or will be connected linearly.
Value: TYPE1 (stair-step change), TYPE2 (linear change)
Step 164 (LFO Step 164) Specifies the data for the Step LFO. If the LFO Pitch Depth is +63, each +1 unit of the step data corresponds to a pitch of +50 cents.
Value: -36 +36
LFO End Step Specifies the number of LFO steps.
Value: 1, 2, 4, 8, 16, 32, 64
How to Apply the LFO
Apply the LFO gradually after the key is pressed
fig.06-043.e
Fade Mode: ON <
Delay Time: The time from when the keyboard is played until the LFO begins to be applied.
Fade Time: The time over which the LFO amplitude will reach the maximum after the Delay Time has elapsed.
Note on
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low (less)
Pitch Cutoff Frequency
Level Pan
Delay Time Fade Time
Depth
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Apply the LFO immediately when the key is pressed, and then gradually begin to decrease the effect
fig.06-044.e
Fade Mode: ON >
Delay Time: The time that the LFO will continue after the keyboard is played.
Fade Time: The time over which the LFO amplitude will reach the minimum after the Delay Time has elapsed.
Apply the LFO gradually after the key is released
fig.06-045.e
Fade Mode: OFF <
Delay Time: The time from when the keyboard is released until the LFO begins to be applied.
Fade Time: The time over which the LFO amplitude will reach the maximum after the Delay Time has elapsed.
Apply the LFO from when the key is pressed until it is released, and gradually begin to decrease the effect when the key is released
fig.06-046.e
Fade Mode: OFF >
Delay Time: The time that the LFO will continue after the keyboard is released.
Fade Time: The time over which the LFO amplitude will reach the minimum after the Delay Time has elapsed.
Mono/Poly Specifies whether the patch will play polyphonically (POLY) or monophonically (MONO). The MONO setting is effective when playing a solo instrument patch such as sax or flute.
Value
MONO: Only the last-played note will sound.
POLY: Two or more notes can be played simultaneously.
Legato Switch Legato Switch is valid when the Mono/Poly parameter is set to MONO. This setting specifies whether the Legato Switch will be used (LEGATO) or not (OFF).
With the Legato Switch parameter LEGATO, pressing a key while continuing to press a previous key causes the note to change pitch to the pitch of the most recently pressed key, sounding all the while. This creates a smooth transition between notes, which is effective when you wish to simulate the hammering-on and pulling-off techniques used by a guitarist.
If you choose SUSTAIN, the legato effect is applied while you hold down the hold pedal.
Value: OFF, LEGATO, SUSTAIN, LEGATO+SUSTAIN
Legato Retrigger (Legato Retrigger Switch) Legato Retrigger is available if the Mono/Poly parameter is set to MONO and the Legato Switch parameter has a setting other than OFF. The setting determines whether sounds are replayed (ON) or not (OFF) when performing legato. Normally you will leave this parameter ON. If this is turned OFF, pressing a second key while still holding down the first key will cause only the pitch to change; there will be no attack sound for the second key you pressed. Set this to OFF when performing wind and string phrases or when using modulation with the mono synth keyboard sound.
If this is set to AUTO, retriggering will occur only if you play a key that is one octave or farther away.
Value: OFF, ON, AUTO
Note on
high (more)
low (less)
Delay Time Fade Time
Depth Pitch
Cutoff Frequency Level
Pan
high (more)
low (less)
Delay Time Fade Time
Depth
Note off
Note on
Pitch Cutoff Frequency
Level Pan
Note on
high (more)
low (less)
Delay Time Fade Time
Depth
Note off
Pitch Cutoff Frequency
Level Pan
Apply Portamento or Legato to the Sound (Solo/Porta)
Lets say you have the Legato Switch set to LEGATO, and the Legato Retrigger set to OFF. When you try to sound a legato (by pressing a higher key while a lower key is held down), the pitch may sometimes not be able to rise all the way to the intended pitch (stopping instead at an intermediate pitch). This can occur because the limit of pitch rise, as determined at the wave level, has been exceeded. Additionally, if differing upper pitch limits are used for the waves of a Patch that uses multiple tones, it may stop being heard in MONO. When making large pitch changes, set the Legato Retrigger to ON.
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Portamento Switch Specifies whether the portamento effect will be applied (ON) or not (OFF).
Value: OFF, ON
Portamento Mode Specifies the performance conditions for which portamento will be applied.
Value
NORMAL: Portamento will always be applied. LEGATO: Portamento will be applied only when you play
legato (i.e., when you press the next key before releasing the previous key).
Portamento Type Specifies the type of portamento effect.
Value
RATE: The time it takes will depend on the distance between the two pitches.
TIME: The time it takes will be constant, regardless of how far apart in pitch the notes are.
Portamento Start When another key is pressed during a pitch change produced by portamento, a new pitch change will begin. This setting specifies the pitch at which the change will begin.
Value
PITCH: Starts a new portamento when another key is pressed while the pitch is changing.
fig.06-048.e
NOTE: Portamento will begin a new from the pitch where the current change would end.
fig.06-049.e
Portamento Time When portamento is used, this specifies the time over which the pitch will change. Higher settings will cause the pitch change to the next note to take more time.
Value: 0127
Portamento Portamento is an effect which smoothly changes the pitch from the first-played key to the next-played key. By applying portamento when the Mono/Poly parameter is MONO, you can simulate slide performance techniques on a violin or similar instrument.
C5
D4 C4
press D4 key
Pitch
Time
press C4 key
press C5 key
C5
D4 C4
press D4 key
Pitch
Time
press C4 key
press C5 key
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Tone Delay Mode Selects the type of tone delay.
Value
NORM: The tone begins to play after the time specified in the Delay Time parameter has elapsed.
fig.06-051.e
HOLD: Although the tone begins to play after the time specified in the Delay Time parameter has elapsed, if the key is released before the time specified in the Delay Time parameter has elapsed, the tone is not played.
fig.06-052.e
OFF-N: Rather than being played while the key is pressed, the tone begins to play once the period of time specified in the Delay Time parameter has elapsed after release of the key. This is effective in situations such as when simulating noises from guitars and other instruments.
fig.06-053.e
OFF-D: Rather than being played while the key is pressed, the tone begins to play once the period of time specified in the Delay Time parameter has elapsed after release of the key. Here, however, changes in the TVA Envelope begin while the key is pressed, which in many cases means that only the sound from the release portion of the envelope is heard.
fig.06-054.e
If you have selected a waveform that is a decay-type sound (i.e., a sound that fades away naturally even if the key is not released), selecting OFF-N or OFF-D may result in no sound being heard.
Miscellaneous Settings (Misc)
Note off
Delay time
Note on
No Tone Delay
Note off
Delay time
Note on
No sound played
Note off
Delay time
Note on
Note off
Delay time
Note on
Tone Delay This produces a time delay between the moment a key is pressed (or released), and the moment the tone actually begins to sound. You can also make settings that shift the timing at which each tone is sounded. This differs from the Delay in the internal effects, in that by changing the sound qualities of the delayed tones and changing the pitch for each tone, you can also perform arpeggio-like passages just by pressing one key.
You can also synchronize the tone delay time to the tempo of the sequencer.
If you are not going to use Tone Delay, set the Delay Mode parameter to NORM and Delay Time parameter to 0.
If the Structure parameters set in the range of 210, the output of tones 1 and 2 will be combined into tone 2, and the output of tones 3 and 4 will be combined into tone 4. For this reason, tone 1 will follow the settings of tone 2, and tone 3 will follow the settings of tone 4 (p. 92).
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Tone Delay Time Specifies the time from when the key is pressed (or if the Delay Mode parameter is set to OFF-N or OFF-D, the time from when the key is released) until when the tone will sound.
Value: 0127, Note
Tone Delay Time specifies the beat length for the synchronized tempo when the tempo that specifies the elapsed time until the tone is sounded (Patch Tempo) is synchronized with the tempo set in a sequencer.
(Example)
For a tempo of 120 (120 quarter notes occur in 1 minute (60 seconds))
Tone Env Mode When a loop waveform (p. 88) is selected, the sound will normally continue as long as the key is pressed. If you want the sound to decay naturally even if the key remains pressed, set this to NO SUS.
Range: NO SUS, SUST
If a one-shot type Wave (p. 88) is selected, it will not sustain even if this parameter is set to SUST.
Tone Receive Bender (Tone Receive Pitch Bend Switch) For each tone, specify whether MIDI Pitch Bend messages will be received (ON), or not (OFF).
Value: OFF, ON
Tone Receive Expression (Tone Receive Expression Switch) For each tone, specify whether MIDI Expression messages will be received (ON), or not (OFF).
Value: OFF, ON
Tone Receive Hold-1 (Tone Receive Hold Switch) For each tone, specify whether MIDI Hold-1 messages will be received (ON), or not (OFF).
Value: OFF, ON
If NO SUS is selected for Env Mode parameter, this setting will have no effect.
Tone Receive Pan Mode For each tone, specify how pan messages will be received.
Value
CONT: Whenever Pan messages are received, the stereo position of the tone will be changed.
K-ON: The pan of the tone will be changed only when the next note is played. If a pan message is received while a note is sounding, the panning will not change until the next key is pressed.
If PFX (Patch Multi-Effects) (p. 157) is on, the Tone Rx Pan Mode setting is ignored.
The channels cannot be set so as not to receive Pan messages.
Tone Redamper Switch You can specify, on an individual tone basis, whether or not the sound will be held when a Hold 1 message is received after a key is released, but before the sound has decayed to silence. If you want to sustain the sound, set this ON. When using this function, also set the Tone Receive Hold-1 parameter ON. This function is effective for piano sounds.
Value: OFF, ON
Setting Delay time
(half note) 1 second (60 / 60 =1 (second))
(quarter note) 0.5 seconds (60 / 120= 0.5 (seconds))
(eighth note) 0.25 seconds (60 / 240= 0.25 (seconds))
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Control 14 Source Sets the MIDI message used to change the tone parameter with the Matrix Control.
Value
OFF: Matrix control will not be used.
CC0131, CC32(OFF), 3395: Control Change
PITCH BEND: Pitch Bend
AFTERTOUCH: Aftertouch
SYS CTRL1SYS CTRL4: MIDI messages used as common matrix controls.
VELOCITY: Velocity (pressure you press a key with)
KEY FOLLOW: Key follow (keyboard position with C4 as 0)
TEMPO: The specified tempo (sequencer tempo) or the tempo of an external MIDI sequencer.
LFO1: LFO 1
LFO2: LFO 2
PITCH ENV: Pitch envelope
TVF ENV: TVF envelope
TVA ENV: TVA envelope
Velocity and Key follow correspond to Note messages.
Although there are no MIDI messages for LFO 1 through TVA Envelope, they can be used as Matrix Control. In this case, you can change the tone settings in realtime by playing patches.
If you want to use common controllers for the entire Fantom-G, select SYS CTRL1SYS CTRL4. MIDI messages used as System Control 14 are set with the System Ctrl 14 Source parameters (p. 297).
There are parameters that determine whether or not Pitch Bend, Controller Number 11 (Expression) and Controller Number 64 (Hold 1) are received (p. 108). When these settings are ON, and the MIDI messages are received, then when any change is made in the settings of the desired parameter, the Pitch Bend, Expression, and Hold 1 settings also change simultaneously. If you want to change the targeted parameters only, then set these to OFF.
The value of CC#67 (soft) is applied at the moment the note begins; any changes that occur during the note will not affect the parameters.
Control Destination 14 (Matrix Control Destination 14) Matrix Control Destination selects the tone parameter that is to be controlled when using the Matrix Control. The following parameters can be controlled. When not controlling parameters with the Matrix Control, set this to OFF. Up to four parameters can be specified for each Matrix Control, and controlled simultaneously.
In this manual, Parameters that can be controlled using the Matrix Control are marked with a .
Opening and Closing the Filter CUTOFF: Changes the cutoff frequency.
RESONANCE: Emphasizes the overtones in the region of the cutoff frequency, adding character to the sound.
Changing the Volume, Pan, and Pitch LEVEL: Changes the volume level.
PAN: Changes the pan.
PITCH: Changes the pitch.
Matrix Control Settings (Control 14)
Matrix Control Ordinarily, if you wanted to change tone parameters using an external MIDI device, you would need to send System Exclusive messagesMIDI messages designed exclusively for the Fantom-G. However, System Exclusive messages tend to be complicated, and the amount of data that needs to be transmitted can get quite large.
For that reason, a number of the more typical of the Fantom-Gs tone parameters have been designed so they accept the use of Control Change (or other) MIDI messages for the purpose of making changes in their values. This provides you with a variety of means of changing the way patches are played. You can change the sound of a patch in various ways, for example by using the pitch bend lever to change the speed of the LFO, or using your keyboard playing dynamics to open or close a filter.
The function which allows you use MIDI messages to make these changes in realtime to the tone parameters is called the Matrix Control. Up to four Matrix Controls can be used in a single patch.
To use the Matrix Control, specify which MIDI message (Source parameter) will be used to control which parameter (Destination parameter), and how greatly (Sns parameter), and the tone to which the effect is applied (Tone parameter).
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Changing How the Effects Are Applied OUTPUT LEVEL: Changes the amount of original sound.
CHORUS SEND: Changes the amount of chorus.
REVERB SEND: Changes the amount of reverb.
Applying LFO to Modulate Sounds LFO1/LFO2 PITCH DEPTH:
Changes the vibrato depth.
LFO1/LFO2 TVF DEPTH: Changes the wah depth.
LFO1/LFO2 TVA DEPTH: Changes the tremolo depth.
LFO1/LFO2 PAN DEPTH: Changes the effect that the LFO will have on pan.
LFO1/LFO2 RATE: Changes the speed of the LFO cycles. The speed will not change if LFO Rate is set to note.
Changing the Pitch Envelope PIT ENV A-TIME: Changes the Env Time 1 parameter of the
pitch envelope.
PIT ENV D-TIME: Changes the Env Time 2 and Env Time 3 parameters of the pitch envelope.
PIT ENV R-TIME: Changes the Env Time 4 parameter of the pitch envelope.
Changing the TVF Envelope TVF ENV A-TIME: Changes the Env Time 1 parameter of the
TVF envelope.
TVF ENV D-TIME: Changes the Env Time 2 and Env Time 3 parameters of the TVF envelope.
TVF ENV R-TIME: Changes the Env Time 4 parameter of the TVF envelope.
Changing the TVF Envelope TVA ENV A-TIME:Changes the Env Time 1 parameter of the
TVA envelope.
TVA ENV D-TIME:Changes the Env Time 2 and Env Time 3 parameters of the TVA envelope.
TVA ENV R-TIME:Changes the Env Time 4 parameter of the TVA envelope.
Splitting Tones That Are Played TMT
If the Matrix Control is used to split tones, set the TMT Velocity Control parameter to OFF, and the TMT Control Switch parameter to ON (p. 95).
If the Matrix Control is used to split tones, we recommend setting the Control Sens to +63. Selecting a lower value may prevent switching of the tones. Furthermore, if you want to reverse the effect, set the value to -63.
If you want to use matrix control to switch smoothly between tones, use the Velocity Fade Width Lower and Velocity Fade Width Upper parameters (p. 95). The higher the values set, the smoother the switch is between the tones.
Changing the Depth of Frequency Modulation for FXM FXM DEPTH
Changing Specific PFX Parameters PFX 14: Change the parameter that was specified by
PFX Control (p. 157) parameter.
If you have not made the necessary settings for using the PFX, the PFX will not be applied even if you attempt to control it as a Matrix Control destination.
If youre not using Matrix Control OFF: Matrix Control will not be used.
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Control Sens 14 (Matrix Control Sens 14) Sets the amount of the Matrix Controls effect that is applied. If you wish to modify the selected parameter in a positive (+) direction i.e., a higher value, toward the right, or faster etc. from its current setting, select a positive (+) value. If you wish to modify the selected parameter in a negative (-) direction i.e., a lower value, toward the left, or slower etc. from its current setting, select a negative (-) value. For either positive or negative settings, greater absolute values will allow greater amounts of change. Set this to 0 if you dont want to apply the effect.
Value: -63 +63
Control Tone 14 (Tone Control Switch 14) Matrix Control Tone selects the tone to which the effect is applied when using the Matrix Control.
Value
OFF: The effect will not be applied.
ON: The effect will be applied.
REVS: The effect will be applied in reverse.
Press the [F5 (PFX)] button to access the PFX (Patch Multi-effect) editing screen (p. 157).
For details regarding effect settings, refer to the pages shown below.
Making Effect Settings (p. 151)
Making Patch Multi-Effects Settings (PFX) (p. 157)
Setting Effects for a Patch (PFX)
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Creating a Rhythm Set
Start with an existing rhythm set and edit it to create a new rhythm set. Rhythm sets are created from a collection of multiple rhythm tones (percussion instruments). You can change the assignments of the rhythm tones for each key with rhythm set edit.
The rhythm tone assigned to each key consists of up to four waves. Rhythm tones and waves are related in the same way that patches and tones are related.
The Patch Zoom Edit screen allows you to edit the most important parameters of a patch. If you want to have access to all of the parameters, use the Patch Pro Edit screen (p. 114).
1. Select the rhythm set whose settings you want to edit (p. 52).
2. Press [PATCH].
The Patch Zoom Edit screen appears. fig.07-001_50
F-key operations in the Patch Zoom Edit screen
How to Make Rhythm Set Settings
Editing a Rhythm Set Quickly (Patch Zoom Edit)
F-key Explanation Page
F1 Group/Up
Moves the edit group tab upward.
F2 Group/Down
Moves the edit group tab downward.
F4 Util Menu
Rhythm Set Initialize
Initializes the settings of the currently selected rhythm set.
p. 115
Rhythm Key Initialize
Initializes the settings of the currently selected rhythm key.
p. 115
Rhythm Tone Copy
Copies settings from a de- sired rhythm set to the currently selected rhythm set.
p. 115
F5 PFX
Accesses the PFX (Patch Multi-effect) ed- iting screen.
p. 157
F6 Pro Edit
Accesses the Patch Pro Edit screen, where you can edit all of the parameters.
p. 114
F7 Part Select
Selects the part to be edited.
F8 Wave Sw/Sel
Selects the tones that will sound. p. 113
Groups Parameters
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3. The parameters are organized into several editing groups. Press [F1 (Up)] or [F2 (Down)] to select the tab for the editing group that contains the parameter you wish to edit.
For details on each parameter, refer to the following pages.
To change the part that you want to edit
Press [F7 (Part Select)].
4. Press [CURSOR] button to move the cursor to the parameter you wish to modify.
5. Press [F8 (Wave Sw/Sel)] to select the wave that you want to edit.
The Wave Switch/Select window will appears. fig.05-011_50
Press any one of the [F5 (Select 1)][F8 (Select 4)] buttons to select the wave that you want to edit.
Simultaneously editing the same parameter of multiple
waves
To select the tones you want to edit at the same time, simultaneously press two or more of the [F5 (Select 1)][F8 (Select 4)] buttons.
To switch a wave on/off
Press a [F1 (Sw 1)][F4 (Sw 4)] button to switch the corresponding wave on/off.
You can also use the pads to select waves and switch them on/off. p. 197
6. When you have made your selection, press [EXIT].
7. Turn the VALUE dial, or Press [INC] [DEC] to set a value.
If youve selected several waves for editing, their values will change while maintaining the difference between them.
8. Repeat steps 37 to set each parameter you want to edit.
9. If you wish to save the changes youve made, press [WRITE] to perform the Save operation (p. 116). If you do not wish to save changes, press [EXIT] to return to the Single Play screen.
If you return to the Single Play screen without saving, the
symbol will be displayed at the right of the rhythm set name, indicating that the rhythm set settings have been edited.
The settings you edit are temporary, and will be lost if you turn off the power, switch the sound generator mode, or select a different sound.
Parameter name Page Pitch Envelope p. 121 TVF p. 122 TVF Envelope p. 124 TVA Envelope p. 125
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The Patch Pro Edit screen allows you to edit all parameters of a patch.
1. Select the rhythm set whose settings you want to edit (p. 52).
If you want to create a rhythm set from scratch (rather than starting from an existing rhythm set), execute the Initialize operation (p. 115).
2. Press [PATCH] twice.
The Patch Pro Edit screen appears. fig.07-001_50
F-key operations in the Patch Pro Edit screen
3. The parameters are organized into several editing groups. Press [F1 (Up)] or [F2 (Down)] to select the tab for the editing group that contains the parameter you wish to edit.
See Functions of Rhythm Set Parameters (p. 117) for each parameters functions.
To change the part that you want to edit
Press [F7 (Part Select)].
4. Use or to move the cursor to the parameter you wish to modify.
5. Press [F8 (Wave Sw/Sel)] to select the wave that you want to edit.
The Wave Switch/Select window will appears. fig.05-011_50
Press any one of the [F5 (Select 1)][F8 (Select 4)] buttons to select the wave that you want to edit.
Simultaneously editing the same parameter of multiple
waves
To select the tones you want to edit at the same time, simultaneously press two or more of the [F5 (Select 1)][F8 (Select 4)] buttons.
To switch a wave on/off
Press a [F1 (Sw 1)][F4 (Sw 4)] button to switch the corresponding wave on/off.
You can also use the pads to select waves and switch them on/off. p. 197
6. When you have made your selection, press [EXIT].
7. Turn the VALUE dial, or Press [INC] [DEC] to set a value.
8. Repeat steps 37 to set each parameter you want to edit.
9. If you wish to save the changes youve made, press [WRITE] to perform the Save operation (p. 116). If you do not wish to save changes, press [EXIT] to return to the Single Play screen.
If you return to the Single Play screen without saving, the
symbol will be displayed at the right of the rhythm set name, indicating that the rhythm set settings have been edited.
The settings you edit are temporary, and will be lost if you turn off the power, switch the sound generator mode, or select a different sound.
Editing All Parameters (Patch Pro Edit)
F-key Explanation Page
F1 Group/Up
Moves the edit group tab upward.
F2 Group/Down
Moves the edit group tab downward.
F3 Set Stereo
This is shown if youre editing the WAVE group. It recalls the right wave (R) from the left wave (L) of a stereo wave.
p. 119
F4 Util Menu
Rhythm Set Initialize
Initializes the settings of the currently selected rhythm set.
p. 115
Rhythm Key Initialize
Initializes the settings of the currently selected rhythm key.
p. 115
Rhythm Tone Copy
Copies the settings of a desired rhythm set to the currently selected rhythm set.
p. 115
F5 PFX
Accesses the PFX (Patch Multi-effect) ed- iting screen.
p. 157
F6 Zoom Edit
Accesses the Patch Zoom Edit screen, where you can edit the most important parameters.
p. 112
F7 Part Select
Selects the part to be edited.
F8 Wave Sw/Sel
Selects the tones that will sound. p. 113
Groups Parameters
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Initialize means to return the settings of the currently selected sound to a standard set of values or to the factory settings.
The Initialize operation will affect only the currently selected sound. If you wish to restore all of the Fantoms settings to their factory values, perform a Factory Reset (p. 280).
1. Select the rhythm set that you want to initialize (p. 52).
2. Press [PATCH].
3. Press [F4 (Util Menu)].
The Rhythm Utility Menu window appears.
4. Press or to choose what you want to initialize, and then press [F8 (Select)].
Rhythm Set Initialize:
All keys of the rhythm set will be initialized. (This is the same as the rhythm set initialize procedure described above.)
Rhythm Key Initialize:
One key will be initialized.
5. Press [F8 (Select)].
To cancel, press [F7 (Cancel)].
A message will ask you for confirmation.
6. Press [F7 (OK)] to execute.
To cancel, press [F8 (EXIT)].
This operation copies the settings of any desired rhythm set to the currently selected rhythm set. You can use this feature to make the editing process faster and easier.
1. Select the copy-destination Rhythm set (p. 52).
2. Press [PATCH].
3. Press [F4 (Util Menu)].
The Rhythm Utility Menu window appears.
4. Press or to choose Rhythm Tone Copy, and then press [F8 (Select)].
To cancel, press [F7 (Cancel)].
The Rhythm Tone Copy window appears.
5. Using [CURSOR] to move the cursor, select the Source (copy-source) bank and number, and the rhythm tone.
6. Turn the VALUE dial or use [INC] [DEC] to make the setting.
7. Using [CURSOR] to move the cursor, select the Destination (copy-destination) rhythm tone number.
8. Turn the VALUE dial or use [INC] [DEC] to make the setting.
9. Press [F8 (Execute)].
A message will ask for confirmation.
10. Press [F7 (OK)] to return to the Rhythm Edit screen.
To cancel, press [F8 (EXIT)].
Initializing Rhythm Set/Key Settings (Rhythm Set Initialize/Rhythm Key Initialize)
Copying Rhythm Tone Settings (Rhythm Tone Copy)
The Compare Function For the Rhythm Tone Copy operations, you can use the Compare function.
If you want to play the copy-source patch, press [F6 (Compare)]. fig.07-004_50
The rhythm set auditioned using the Compare function may sound slightly different than when it is played normally.
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The sounds of the Fantom-G are based on complex PCM waveforms, and if you attempt to make settings that are contrary to the type of the original waveform, the results will not be as you expect.
The internal waveforms of the Fantom-G fall into the following two groups.
One-shot: These waveforms contain sounds that have short decays. A one-shot waveform records the initial rise and fall of the sound. Some of the Fantom-Gs one- shot waveforms are sounds that are complete in themselves, such as percussive instrument sounds. The Fantom-G also contains many other one-shot waveforms that are elements of other sounds. These include attack components such as piano-hammer sounds and guitar fret noises.
Looped: These waveforms include sounds with long decays as well as sustained sounds. Loop waveforms repeatedly play back (loop) the portion of the waveform after the sound has reached a relatively steady state. The Fantom-Gs looped waveforms also include components of other sounds, such as piano- string resonant vibrations and the hollow sounds of brass instruments.
Cautions When Using a One-shot Waveform It is not possible to use the envelope to modify a one-shot waveform to create a decay that is longer than the original waveform, or to turn it into a sustaining sound. If you were to program such an envelope, you would be attempting to shape a portion of the sound that simply doesnt exist, and the envelope would have no effect.
Cautions When Using a Loop Waveform With many acoustic instruments such as piano and sax, extreme timbral changes occur during the first few moments of each note. This initial attack is what defines much of the instruments character. For such waveforms, it is best to use the complex tonal changes of the attack portion of the waveform just as they are, and to use the envelope only to modify the decay portion. If you attempt to use the envelope to modify the attack portion as well, the characteristics of the original waveform may prevent you from getting the sound that you intend.
The settings you edit are temporary, and will be lost if you turn off the power, switch the sound generator mode, or select a different sound. If you want to keep the modified sound, you must save it in the user bank.
When you edit the rhythm set settings, the symbol will appear in the Single Play screen. When you save the rhythm set, the symbol will disappear.
When you perform the save procedure, the data that previously occupied the save destination will be lost.
1. Make sure that the Rhythm Set you wish to save is selected.
2. Press [WRITE].
The WRITE MENU window appears.
3. Select Patch / Rhythm / Sample Set.
Press or to select Patch / Rhythm / Sample Set, and then press [F8 (Select)].
The Rhythm Set Name window appears. fig.07-006_50
4. Assign a name to the rhythm set.
For details on assigning names, refer to Assigning a Name (p. 42).
5. When you have finished inputting the name, press [F8 (OK)].
A screen will appear, allowing you to select the write- destination rhythm set.
Cautions When Selecting a Waveform
Tone change stored with the wave
Envelope for the TVF filter
Resulting tone change
Looped portion
Time
Level
Saving Rhythm Sets Youve Created (Write)
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6. Turn the VALUE dial or use [INC] [DEC] to select the rhythm set number.
By pressing [F6 (Compare)] you can check the save-destination Rhythm set (Compare function).
7. Press [F8 (Write)].
A message will ask you for confirmation.
Never switch off the Fantom-G while data is being saved.
8. Press [F7 (OK)] to execute the save operation.
To cancel, press [F8 (EXIT)].
Before you save a rhythm set, you can audition the rhythm set which currently occupies the save destination to make sure that it is one you dont mind overwriting. This can help prevent important rhythm sets from being accidentally overwritten and lost.
1. Follow the procedure in Saving Rhythm Sets Youve Created (Write) through step 5 to select the save destination.
2. Press [F6 (Compare)] to turn on.
The Rhythm Compare window appears, making it possible to sound the currently selected save destination rhythm set.
3. Play the keyboard or pad to sound the save destination rhythm set, then check whether you really want to overwrite it.
The rhythm set auditioned using the Compare function may sound slightly different than when it is played normally.
4. If you wish to change the save destination, re-specify the save-destination rhythm set by turning the VALUE dial.
5. Press [F8 (Write)].
A message will ask you for confirmation.
6. Press [F7 (OK)] once again to execute the Save operation.
This section explains the functions the different rhythm set parameters have, as well as the composition of these parameters.
If a number is displayed for the parameter name, ( , , , ), you can use the realtime controller knob of the corresponding
number (the left most knob is number 1, the right most knob is number 4) to set the value. fig.06-010
Rhythm Set Name and Rhythm Level applies to the entire rhythm set; the other parameters are set individually for each rhythm tone.
Rhythm Set Name Specifies the name of the rhythm set.
By pressing [ENTER], you can assign a name to the rhythm set.
Value: space, AZ, az, 09, ! # $ % & ( ) * + , - . / : ; < = > ? @ [ \ ] ^ _ ` { | }
For details on entering a name, refer to Assigning a Name (p. 42).
Rhythm Level (Rhythm Set Level) Sets the volume of the rhythm set.
Value: 0127
The volume levels of the tones from which the rhythm set is composed is set with the Tone Level parameter (p. 124). The volume levels of the Waves from which the rhythm tone is composed is set with the Wave Level parameter (p. 120).
Auditioning the Save-Destination Rhythm Set (Compare)
Functions of Rhythm Set Parameters
Making Settings Common to the Entire Rhythm Set (General)
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Rhythm Tone Name You can assign a name of up to 12 characters to the rhythm tone.
By pressing [ENTER], you can assign a name to the rhythm tone.
Value: space, A-Z, a-z, 0-9, ! # $ % & ( ) * + , - . / : ; < = > ? @ [ \ ] ^ _ ` { | }
For details on assigning names, refer to Assigning a Name (p. 42)
Assign Type Assign Type sets the way sounds are played when the same key is pressed a number of times.
Value
MULTI: Layer the sound of the same keys. Even with continuous sounds where the sound plays for an extended time, such as with crash cymbals, the sounds are layered, without previously played sounds being eliminated.
SINGLE: Only one sound can be played at a time when the same key is pressed. With continuous sounds where the sound plays for an extended time, the previous sound is stopped when the following sound is played.
Mute Group On an actual acoustic drum set, an open hi-hat and a closed hi-hat sound can never occur simultaneously. To reproduce the reality of this situation, you can set up a Mute Group.
The Mute Group function allows you to designate two or more rhythm tones that are not allowed to sound simultaneously. Up to 31 Mute Groups can be used. rhythm tones that are not belong to any such group should be set to OFF.
Value: OFF, 131
Tone Env Mode (Rhythm Tone Envelope Mode) When a loop waveform (p. 116) is selected, the sound will normally continue as long as the key is pressed. If you want the sound to decay naturally even if the key remains pressed, set this to NO-SUS.
Value: NO-SUS, SUSTTAIN
If a one-shot type Wave (p. 116) is selected, it will not sustain even if this parameter is set to SUSTTAIN.
Tone Pitch Bend Range (Rhythm Tone Pitch Bend Range) Specifies the amount of pitch change in semitones (4 octaves) that will occur when the Pitch Bend Lever is moved. The amount of change when the lever is tilted is set to the same value for both left and right sides.
Value: 048
Tone Receive Expression (Rhythm Tone Receive Expression Switch) For each rhythm tone, specify whether MIDI Expression messages will be received (ON), or not (OFF).
Value: OFF, ON
Tone Receive Hold-1 (Rhythm Tone Receive Hold-1 Switch) For each rhythm tone, specify whether MIDI Hold-1 messages will be received (ON), or not (OFF).
Value: OFF, ON
If NO-SUS is selected for Env Mode parameter (p. 118), this setting will have no effect.
Tone Receive Pan Mode (Rhythm Tone Receive Pan Mode) For each rhythm tone, specify how pan messages will be received.
Value
CONTINUOUS:Whenever Pan messages are received, the stereo position of the tone will be changed.
KEY-ON: The pan of the tone will be changed only when the next note is played. If a pan message is received while a note is sounding, the panning will not change until the next key is pressed.
If PFX (Patch Multi-Effects) (p. 157) is on, the Tone Receive Pan Mode setting is ignored.
The channels cannot be set so as not to receive Pan messages.
One Shot Mode The sound will play back until the end of the waveform (or the end of the envelope, whichever comes first). The result will be the same as when the envelopes Tone Env Mode parameter (p. 118) is set to NO-SUS. If you have set Wave Group (p. 119) to Sample, the loop setting will be forced to ONE SHOT.
Value: OFF, ON
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With rhythm tones, sounds are created by combining up to four Waves (eight for stereo).
Wave Group Select the groups containing the Waves comprising the rhythm tone.
Value
INT: Waveforms stored in internal
SAMP: Sample waveforms
Wave Number L (Mono) Wave Number R This selects the Waves comprising the rhythm tone. Along with the Wave number, the Wave name appears at the lower part of the display.
When in monaural mode, only the left side (L) is specified. When in stereo, the right side (R) is also specified.
Value: OFF, 1 (The upper limit will depend on the wave group.)
If you want to select a left/right pair of Waves, select the left (L) Wave number and then press [F3 (Set Stereo)]; the right (R) (Wave) will be recalled.
* When using a sample in stereo, you must specify the same number for
L and R.
Wave Gain Sets the gain (amplification) of the waveform. The value changes in 6 dB (decibel) stepsan increase of 6 dB doubles the waveforms gain.
Value: -6, 0, +6, +12
Wave Tempo Sync When you wish to synchronize a Phrase Loop to the clock (tempo), set this to ON. This is valid only when selected as the sample for a wave.
Value: OFF, ON
If a sample is selected for a tone, you must first set the BPM (tempo) parameter of the sample.
If a sample is selected for a tone, Wave Tempo Sync will require twice the normal number of voices.
Wave FXM Switch This sets whether FXM will be used (ON) or not (OFF).
Value: OFF, ON
Modifying Waveforms (Wave)
Tips on Creating a Rhythm Tone The Waves for the bass drum, snare, hi-hat, toms, and other percussion instruments are each assigned to one rhythm tone. When adding 3D effects to the sound, make the Pan settings for each rhythm tone individually.
Phrase Loop Phrase loop refers to the repeated playback of a phrase thats been pulled out of a song (e.g., by using a sampler). One technique involving the use of Phrase Loops is the excerpting of a Phrase from a pre-existing song in a certain genre, for example dance music, and then creating a new song with that Phrase used as the basic motif. This is referred to as Break Beats.
Realtime Time Stretch If the wave group is SAMP, and the Wave Tempo Sync parameter is turned ON, you can vary the playback speed of the waveform without affecting the pitch.
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Wave FXM Color Specifies how FXM will perform frequency modulation. Higher settings result in a grainier sound, while lower settings result in a more metallic sound.
Value: 14
Wave FXM Depth Specifies the depth of the modulation produced by FXM.
Value: 016
When the Tempo Sync parameter is set to ON, settings related to Pitch (p. 121) and FXM (p. 120) are disabled.
The WMT (Wave Mix Table) uses key velocity to control the four waveforms assigned to the rhythm tone.
Wave Coarse Tune Adjusts the pitch of the waveforms sound up or down in semitone steps (+/-4 octaves).
Value: -48 +48
The Coarse Tune of the entire rhythm tone is set by the Tone Coarse parameter (p. 121).
Wave Fine Tune Adjusts the pitch of the waveforms sound up or down in 1-cent steps (+/-50 cents).
Value: -50 +50
One cent is 1/100th of a semitone.
The Fine Tune of the entire rhythm tone is set by the Tone Fine Tune parameter (p. 121).
Wave Level You can set the volume of the waveform.
Value: 0127
The volume level of each rhythm tone is set with the Tone Level parameter; the volume levels of the entire rhythm set is set with the Rhythm Level parameter (p. 117).
Wave Pan This specifies the pan of the waveform. L64 is far left, 0 is center, and 63R is far right.
Value: L63063R
Wave Random Pan Switch Use this setting to cause the waveforms panning to change randomly each time a key is pressed (ON) or not (OFF).
Value: OFF, ON
* The range of the panning change is set by the Rnd Pan Depth
parameter (p. 124).
Wave Alternate Pan Switch This setting causes panning of the waveform to be alternated between left and right each time a key is pressed. Set Alternate Pan Switch to ON to pan the Wave according to the Alter Pan Depth parameter (p. 125) settings, or to REV when you want the panning reversed. If you do not want the panning to change each time a key is pressed, set this to OFF.
Range: OFF, ON, REV
WMT Velocity Control (WMT Velocity Control Switch) WMT Velocity Control determines whether a different rhythm tone is played (ON) or not (OFF) depending on the force with which the key is played (velocity).
When set to RND, the rhythm sets constituent rhythm tones will sound randomly, regardless of any Velocity messages.
Value: OFF, ON, RANDOM
Velocity Fade Width Lower This determines what will happen to the tones level when the tone is played at a velocity lower than its specified velocity range. Higher settings produce a more gradual change in volume. If you want notes played outside the specified key velocity range to not be sounded at all, set this to 0.
Value: 0127
Velocity Range Lower This sets the lowest velocity at which the waveform will sound. Make these settings when you want different waveforms to sound in response to notes played at different strengths.
Value: 1UPPER
Velocity Range Upper This sets the highest velocity at which the waveform will sound. Make these settings when you want different waveforms to sound in response to notes played at different strengths.
Value: LOWER127
If you attempt to set the Lower velocity limit above the Upper, or the Upper below the Lower, the other value will automatically be adjusted to the same setting.
Changing How a Rhythm Tone Is Sounded (WMT)
FXM FXM (Frequency Cross Modulation) uses a specified waveform to apply frequency modulation to the currently selected waveform, creating complex overtones. This is useful for creating dramatic sounds or sound effects.
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Velocity Fade Width Upper This determines what will happen to the tones level when the tone is played at a velocity greater than its specified velocity range. Higher settings produce a more gradual change in volume. If you want notes played outside the specified key velocity range to not be sounded at all, set this to 0.
Value: 0127 fig.06-028.e
Pitch
Tone Coarse Tune (Rhythm Tone Coarse Tune) Selects the pitch at which a rhythm tone sounds.
Value: C-1 G9
Set the coarse tuning for Waves comprising the rhythm tones with the Wave Coarse Tune parameter (p. 120).
Tone Fine Tune (Rhythm Tone Fine Tune) Adjusts the pitch of the rhythm tones sound up or down in 1-cent steps (+/-50 cents).
Value: -50 +50
One cent is 1/100th of a semitone.
Set the fine tuning for Waves comprising the rhythm tones with the Wave Fine Tune parameter (p. 120).
Tone Random Pitch Depth This specifies the width of random pitch deviation that will occur each time a key is pressed. If you do not want the pitch to change randomly, set this to 0. These values are in units of cents (1/100th of a semitone).
Value: 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 20, 30, 40, 50, 60, 70, 80, 90, 100, 200, 300, 400, 500, 600, 700, 800, 900, 1000, 1100, 1200
Pitch Env (Pitch Envelope)
Pitch Env Depth Adjusts the effect of the Pitch Envelope. Higher settings will cause the pitch envelope to produce greater change. Negative (-) settings will invert the shape of the envelope.
Value: -12 +12
Pitch Env Velocity Sens Keyboard playing dynamics can be used to control the depth of the pitch envelope. If you want the pitch envelope to have more effect for strongly played notes, set this parameter to a positive (+) value. If you want the pitch envelope to have less effect for strongly played notes, set this to a negative (-) value.
Value: -63 +63
Pitch Env Time 1 Velocity Sens This allows keyboard dynamics to affect the Time 1 of the Pitch envelope. If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.
Value: -63 +63
Pitch Env Time 4 Velocity Sens Use this parameter when you want key release speed to affect the Time 4 value of the pitch envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.
Value: -63 +63
Pitch Env Time 14 Specify the pitch envelope times (Time 1Time 4). Higher settings will result in a longer time until the next pitch is reached. (For example, Time 2 is the time over which the pitch changes from Level 1 to Level 2.)
Value: 0127
Modifying Pitch (Pitch/Pitch Env)
Range Lower Range Upper Fade Lower Fade Upper
Level
Velocity
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Pitch Env Level 04 Specify the pitch envelope levels (Level 0Level 4). It determines how much the pitch changes from the reference pitch (the value set with Coarse Tune or Fine Tune on the Pitch screen) at each point. Positive (+) settings will cause the pitch to be higher than the standard pitch, and negative (-) settings will cause it to be lower.
Value: -63 +63 fig.06-032.e
TVF Filter Type Selects the type of filter. A filter cuts or boosts a specific frequency region to change a sounds brightness, thickness, or other qualities.
Value
OFF: No filter is used.
LPF: Low Pass Filter. This reduces the volume of all frequencies above the cutoff frequency (Cutoff Freq) in order to round off, or un-brighten the sound. This is the most common filter used in synthesizers.
BPF: Band Pass Filter. This leaves only the frequencies in the region of the cutoff frequency (Cutoff Frequency), and cuts the rest. This can be useful when creating distinctive sounds.
HPF: High Pass Filter. This cuts the frequencies in the region below the cutoff frequency (Cutoff Frequency). This is suitable for creating percussive sounds emphasizing their higher ones.
PKG: Peaking Filter. This emphasizes the frequencies in the region of the cutoff frequency (Cutoff Frequency). You can use this to create wah-wah effects by employing an LFO to change the cutoff frequency cyclically.
LPF2: Low Pass Filter 2. Although frequency components above the Cutoff frequency (Cutoff Frequency) are cut, the sensitivity of this filter is half that of the LPF. This makes it a comparatively warmer low pass filter. This filter is good for use with simulated instrument sounds such as the acoustic piano.
LPF3: Low Pass Filter 3. Although frequency components above the Cutoff frequency (Cutoff Frequency) are cut, the sensitivity of this filter changes according to the Cutoff frequency. While this filter is also good for use with simulated acoustic instrument sounds, the nuance it exhibits differs from that of the LPF2, even with the same TVF Envelope settings.
If you set LPF2 or LPF3, the setting for the Resonance parameter will be ignored.
T1 T2 T3 T4
L3
L4L2
L1
L0
Note off
Pitch Time
Note on
T: Time L: Level
Modifying the Brightness of a Sound with a Filter (TVF/TVF Env)
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Cutoff Frequency Selects the frequency at which the filter begins to have an effect on the waveforms frequency components.
Value: 0127
With LPF/LPF2/LPF3 selected for the Filter Type parameter, lower cutoff frequency settings reduce a tones upper harmonics for a more rounded, warmer sound. Higher settings make it sound brighter.
If BPF is selected, harmonic components will change depending on the TVF Cutoff Frequency setting. This can be useful when creating distinctive sounds.
With HPF selected, higher Cutoff Frequency settings will reduce lower harmonics to emphasize just the brighter components of the sound.
With PKG selected, the harmonics to be emphasized will vary depending on Cutoff Frequency setting.
Resonance Emphasizes the portion of the sound in the region of the cutoff frequency, adding character to the sound. Excessively high settings can produce oscillation, causing the sound to distort.
Value: 0127 fig.06-034.e
Cutoff Velocity Curve Selects one of the following seven curves that determine how keyboard playing dynamics (velocity) influence the cutoff frequency. Set this to FIXED if you dont want the Cutoff frequency to be affected by the keyboard velocity.
Value: FIXED, 17 fig.06-036
Cutoff Velocity Sens Use this parameter when changing the cutoff frequency to be applied as a result of changes in playing velocity. If you want strongly played notes to raise the cutoff frequency, set this parameter to positive (+) settings. If you want strongly played notes to lower the cutoff frequency, use negative (-) settings.
Value: -63 +63
Resonance Velocity Sens This allows keyboard velocity to modify the amount of Resonance. If you want strongly played notes to have a greater Resonance effect, set this parameter to positive (+) settings. If you want strongly played notes to have less Resonance, use negative (-) settings.
Value: -63 +63
TVF Env Velocity Curve Selects one of the following 7 curves that will determine how keyboard playing dynamics will affect the TVF envelope. Set this to FIXED if you dont want the TVF Envelope to be affected by the keyboard velocity.
Value: FIXED, 17 fig.06-036
TVF Env Velocity Sens Specifies how keyboard playing dynamics will affect the depth of the TVF envelope. Positive (+) settings will cause the TVF envelope to have a greater effect for strongly played notes, and negative (-) settings will cause the effect to be less.
Value: -63 +63
TVF Env Time 1 Velocity Sens This allows keyboard dynamics to affect the Time 1 of the TVF envelope. If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.
Value: -63 +63
TVF Env Time 4 Velocity Sens The parameter to use when you want key release speed to control the Time 4 value of the TVF envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.
Value: -63 +63
LPF BPF HPF PKG
p ar
am et
er v
al u
e
Level
Cutoff frequency
Frequency
High
Low
1 2 3 4 5 6 7
1 2 3 4 5 6 7
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TVF Env
TVF Env Depth Specifies the depth of the TVF envelope. Higher settings will cause the TVF envelope to produce greater change. Negative (-) settings will invert the shape of the envelope.
Value: -63 +63
TVF Env Time 14 (TVF Envelope Time 14) Specify the TVF envelope times (Time 1 Time 4). Higher settings will lengthen the time until the next cutoff frequency level is reached. (For example, Time 2 is the time over which Level 1 will change to Level 2.)
Value: 0127
TVF Env Level 04 (TVF Envelope Level 04) Specify the TVF envelope levels (Level 0Level 4). These settings specify how the cutoff frequency will change at each point, relative to the standard cutoff frequency (the cutoff frequency value specified in the TVF screen).
Value: 0127 fig.06-037.e
TVA Tone Level (Rhythm Tone level) Sets the volume of the rhythm tone. Use this parameter to adjust the volume balance between rhythm tones.
Value: 0127
The volume levels of the Waves from which the rhythm tone is composed is set with the WMT14 Wave Level parameter (p. 120).
Level Velocity Curve You can select from seven curves that determine how keyboard playing strength will affect the volume. If you do not want the volume of the rhythm tone to be affected by the force with which you press the key, select FIXED.
Value: FIXED, 17 fig.06-036
Level Velocity Sens Set this when you want the volume of the rhythm tone to change depending on the force with which you press the keys. Set this to a positive (+) value to have the changes in rhythm tone volume increase the more forcefully the keys are played; to make the tone play more softly as you play harder, set this to a negative (-) value.
Value: -63 +63
Tone Pan (Rhythm Tone Pan) Sets the pan for the rhythm tone. L64 is far left, 0 is center, and 63R is far right.
Value: L64063R
Set the Pan for Waves comprising the rhythm tones with the Wave Pan parameter (p. 120).
Random Pan Depth Use this parameter when you want the stereo location to change randomly each time you press a key. Higher settings will produce a greater amount of change.
Value: 063
This will affect only waves whose Wave Rnd Pan Sw parameter (p. 120) is ON.
T1 T2 T3 T4
L3L1 L0
L2 L4 Note off
Cutoff Frequency
Time
Note on
T: Time L: Level
Adjusting the Volume (TVA/TVA Env)
1 2 3 4 5 6 7
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Alternate Pan Depth This setting causes panning to be alternated between left and right each time a key is pressed. Higher settings will produce a greater amount of change. L or R settings will reverse the order in which the pan will alternate between left and right. For example if two rhythm tones are set to L and R respectively, the panning of the two rhythm tones will alternate each time they are played.
Value: L63063R
This will affect only waves whose Wave Alter Pan Sw parameter (p. 120) is ON or REV.
Relative Level Corrects for the volume of the rhythm tone. This parameter is set by the key-based controller system exclusive message. Normally, you should leave it set to 0.
Value: -64 +63
If the rhythm tone level is set to 127, the volume will not increase beyond that point.
TVA Env
TVA Env Time 1 Velocity Sens This allows keyboard dynamics to affect the Time 1 of the TVA envelope. If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.
Value: -63 +63
TVA Env Time 4 Velocity Sens The parameter to use when you want key release speed to control the Time 4 value of the TVA envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.
Value: -63 +63
TVA Env Time 14 Specify the TVA envelope times (Time 1 Time 4). Higher settings will lengthen the time until the next volume level is reached. (For example, Time 2 is the time over which Level 1 will change to Level 2.)
Value: 0127
TVA Env Level 13 Specify the TVA envelope levels (Level 1Level 3). These settings specify how the volume will change at each point, relative to the standard volume (the Rhythm Tone Level value specified in the TVA screen).
Value: 0127 fig.06-041.e
Tone Output Assign Specifies how the direct sound of each tone will be output.
Value:
PFX: Output through patch multi-effects. DRY: Output without passing through patch multi-effects.
Tone Output Level Specifies the signal level of each tone.
Value: 0127
Tone Chorus Send Level Specifies the level of the signal sent to the chorus for each tone.
Value: 0127
Tone Reverb Send Level Specifies the level of the signal sent to the reverb for each tone.
Value: 0127
You can press the [F5 (PFX)] button to access the PFX (Patch Multi- effect) editing screen (p. 157).
For details regarding effect settings, refer to the pages shown below.
Making Effect Settings (p. 151)
Making Patch Multi-Effects Settings (PFX) (p. 157)
Output Settings (Output)
Setting Effects for a Rhythm Set (PFX)
T1 T2 T3 T4
L3L1 L2 Note off
Level Time
Note on
T: Time L: Level
125
12
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Creating a Sample Set
On the Fantom-G, a waveform (wave) obtained by audio recording or sampling is called a sample. A sample set consists of sixteen samples handled as a set. You can specify how the samples will play when you press a pad or note on the keyboard.
Heres how to create a new sample set by starting with one of the provided sample sets.
The Patch Zoom Edit screen lets you edit the most important parameters. If you want to have access to all parameters, use the Patch Pro Edit screen (p. 127).
1. Select the sample set whose settings you want to edit (p. 53).
2. Press [PATCH].
The Patch Zoom Edit screen appears. fig.07-001_50
F-key operations in the Patch Zoom Edit screen
3. Press [CURSOR] button to move the cursor to the parameter you wish to modify.
For details on each parameter, refer to the following pages.
To change the part that you want to edit
Press [F7 (Part Select)].
4. Turn the VALUE dial, or Press [INC] [DEC] to set a value.
5. Repeat steps 34 to set each parameter you want to edit.
6. If you wish to save the changes youve made, press [WRITE] to perform the Save operation (p. 128). If you do not wish to save changes, press [EXIT] to return to the Single Play screen.
If you return to the Single Play screen without saving, the
symbol will be displayed at the right of the sample set name, indicating that the sample set settings have been edited.
The settings you edit are temporary, and will be lost if you turn off the power, switch the sound generator mode, or select a different sound.
How to make Sample Set settings
Editing a Sample Set Quickly (Patch Zoom Edit)
F-key Explanation Page
F4 Util Menu
Sample Set Initialize
Initializes the settings of the currently selected sample set.
p. 127
F5 PFX
Accesses the PFX (Patch Multi-effect) ed- iting screen.
p. 157
F6 Pro Edit
Accesses the Patch Pro Edit screen, where you can edit all of the parameters.
p. 127
F7 Part Select
Selects the part to be edited.
Parameters
Parameter name Page Wave p. 130 Pitch p. 130 Amp p. 131
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The Patch Pro Edit screen allows you to edit all parameters.
1. Select the sample set whose settings you want to edit (p. 53).
If you want to create a sample set from scratch (rather than starting from an existing sample set), execute the Initialize operation (p. 127).
2. Press [PATCH] twice.
The Patch Pro Edit screen appears. fig.07-001_50
F-key operations in the Patch Pro Edit screen
3. The parameters are organized into several editing groups. Press [F1 (Up)] or [F2 (Down)] to select the tab for the editing group that contains the parameter you wish to edit.
For details on how the parameters are grouped, refer to Functions of Sample Set Parameters (p. 129).
To change the part that you want to edit
Press [F7 (Part Select)].
4. Use or to move the cursor to the parameter you wish to modify.
5. Turn the VALUE dial, or Press [INC] [DEC] to set a value.
6. Repeat steps 35 to set each parameter you want to edit.
7. If you wish to save the changes youve made, press [WRITE] to perform the Save operation (p. 128). If you do not wish to save changes, press [EXIT] to return to the Single Play screen.
If you return to the Single Play screen without saving, the
symbol will be displayed at the right of the sample set name, indicating that the sample set settings have been edited.
The settings you edit are temporary, and will be lost if you turn off the power, switch the sound generator mode, or select a different sound.
Initialize means to return the settings of the currently selected sound to a standard set of values or to the factory settings.
The Initialize operation will affect only the currently selected sound; the sounds that are stored in user memory will not be affected. If you wish to restore all of the Fantoms settings to their factory values, perform a Factory Reset (p. 280).
1. Select the sample set that you want to initialize (p. 53).
2. Press [PATCH].
3. Press [F4 (Util Menu)].
The Utility Menu window appears.
4. Press or to choose Sample Set Initialize, and then press [F8 (Select)].
To cancel, press [F7 (Cancel)].
A message will ask for confirmation.
5. Press [F7 (OK)].
To cancel, press [F8 (EXIT)].
Editing All Parameters (Patch Pro Edit)
F-key Explanation Page
F1 Group/Up
Moves the edit group tab upward.
F2 Group/Down
Moves the edit group tab downward.
F3 Set Stereo
This is shown if youre editing the WAVE group. It recalls the right wave (R) from the left wave (L) of a stereo wave.
p. 130
F4 Util Menu
Sample Set Initialize
Initializes the settings of the currently selected sample set.
p. 127
F5 PFX
Accesses the PFX (Patch Multi-effect) ed- iting screen.
p. 157
F6 Zoom Edit
Accesses the Patch Zoom Edit screen, where you can edit the most important parameters.
p. 126
F7 Part Select
Selects the part to be edited.
Groups Parameters
Initializing Sample Set Settings (Sample Set Initialize)
127
Creating a Sample Set
Fantom-G_r_e.book 128
Changes you make to sound settings are temporary, and will be lost if you turn off the power or select another sound. If you want to keep the modified sound, you must save it in the user bank.
When you edit the sample set settings, the symbol will appear in the Single Play screen. When you save the sample set, the symbol will disappear.
When you perform the save procedure, the data that previously occupied the save destination will be lost.
1. Make sure that the Sample Set you wish to save is selected.
2. Press [WRITE].
The WRITE MENU window appears.
3. Select Patch / Rhythm / Sample Set.
Press or to select Patch / Rhythm / Sample Set, and then press [F8 (Select)].
The Sample Set Name window appears. fig.07-006_50
4. Assign a name to the sample set.
For details on assigning names, refer to Assigning a Name (p. 42)
5. When you have finished inputting the name, press [F8 (OK)].
A screen will appear, allowing you to select the write- destination sample set.
6. Turn the VALUE dial or use [INC] [DEC] to select the sample set number.
7. Press [F8 (Write)].
A message will ask you for confirmation.
Never switch off the Fantom-G while data is being saved.
8. Press [F7 (OK)] to execute the save operation.
To cancel, press [F8 (EXIT)].
Saving Sample Sets Youve Created (Write)
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This section explains the functions the different sample set parameters have, as well as the composition of these parameters.
If a number is displayed for the parameter name, ( , , , ), you can use the realtime controller knob of the corresponding
number (the left most knob is number 1, the right most knob is number 4) to set the value. fig.06-010
Sample Set Level, Sample Set MFX Switch, Sample Set Chorus Switch and Sample Set Reverb Switch applies to the entire sample set; the other parameters are set individually for each sample set tone.
Sample Set Name Specifies the name of the sample set.
By pressing [ENTER], you can assign a name to the sample set.
Value: space, AZ, az, 09, ! # $ % & ( ) * + , - . / : ; < = > ? @ [ \ ] ^ _ ` { | }
For details on entering a name, refer to Assigning a Name (p. 42).
Sample Set Level Sets the volume of the sample set.
Value: 0127
The volume levels of the tones from which the sample set is composed is set with the Tone Level parameter (p. 131).
Direction Specifies the direction in which the sample will play.
Value:
FWD: Play forward.
REV: Play backward.
Trigger Mode Specifies how the sample will play when you press a pad (or key).
Value:
GATE: The sample will stop playing when you release the pad (or key).
DRUM: The sample will continue playing even after you release the pad (or key).
The sample will begin playing when you press the pad, and will stop automatically when the end of the sample is reached. If you select the DRUM setting, the Loop setting is ignored; the sample will play only once. Note that if you select DRUM, you will not be able to interrupt the sound, so use this setting with caution if the sample is extremely long.
Mute Group On an actual acoustic drum set, an open hi-hat and a closed hi-hat sound can never occur simultaneously. To reproduce the reality of this situation, you can set up a Mute Group.
The Mute Group function allows you to designate two or more sample tones that are not allowed to sound simultaneously. Up to 16 Mute Groups can be used. sample tones that are not belong to any such group should be set to OFF.
Value: OFF, 116
Functions of Sample Set Parameters
Making Settings Common to the Entire Sample Set (General)
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Sample Number L (Mono) Sample Number R This selects the Samples comprising the sample tone. Along with the Sample number, the Sample name appears at the lower part of the display.
When in monaural mode, only the left side (L) is specified. When in stereo, the right side (R) is also specified.
Value: OFF, 00012000
If you want to select a left/right pair of Samples, select the left (L) Sample number and then press [F3 (Set Stereo)]; the right (R) (Sample) will be recalled.
* When using a sample in stereo, you must specify the same number for
L and R.
Wave Gain Sets the gain (amplification) of the waveform. The value changes in 6 dB (decibel) stepsan increase of 6 dB doubles the waveforms gain.
Value: -6, 0, +6, +12
Tempo Sync (Wave Tempo Sync) When you wish to synchronize a Phrase Loop to the clock (tempo), set this to ON.
Value: OFF, ON
If a sample is selected for a tone, you must first set the BPM (tempo) parameter of the sample.
If a sample is selected for a tone, Wave Tempo Sync will require twice the normal number of voices.
Tone Coarse Tune (Sample Tone Coarse Tune) Selects the pitch at which a sample tone sounds.
Value: -48 +48
Tone Fine Tune (Sample Tone Fine Tune) Adjusts the pitch of the sample tones sound up or down in 1-cent steps (+/-50 cents).
Value: -50 +50
One cent is 1/100th of a semitone.
Modifying Waveforms (Wave)
Phrase Loop Phrase loop refers to the repeated playback of a phrase thats been pulled out of a song (e.g., by using a sampler). One technique involving the use of Phrase Loops is the excerpting of a Phrase from a pre-existing song in a certain genre, for example dance music, and then creating a new song with that Phrase used as the basic motif. This is referred to as Break Beats.
Realtime Time Stretch If the Wave Tempo Sync parameter is turned ON, you can vary the playback speed of the waveform without affecting the pitch.
Modifying Pitch (Pitch)
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Tone Level (Sample Tone level) Sets the volume of the sample tone. Use this parameter to adjust the volume balance between sample tones.
Value: 0127
Tone Pan (Sample Tone Pan) Sets the pan for the sample tone. L64 is far left, 0 is center, and 63R is far right.
Value: L64063R
Level Velocity Sens Set this when you want the volume of the sample tone to change depending on the force with which you press the keys. Set this to a positive (+) value to have the changes in sample tone volume increase the more forcefully the keys are played; to make the tone play more softly as you play harder, set this to a negative (-) value.
Value: -63 +63
Tone Output Level Specifies the signal level for each tone.
Value: 0127
Tone Chorus Send Level Specifies the level of the signal sent to the chorus for each tone.
Value: 0127
Tone Reverb Send Level Specifies the level of the signal sent to the reverb for each tone.
Value: 0127
Tone Output Assign Specifies how the direct sound of each tone will be output.
Value:
PFX: Output through patch multi-effects. DRY: Output without passing through patch multi-effects.
By pressing the [F5 (PFX)] button you can access the PFX (Patch Multi-effect) editing screen (p. 157).
For details regarding effect settings, refer to the pages shown below.
Making Effect Settings (p. 151)
Making Patch Multi-Effects Settings (PFX) (p. 157)
Adjusting the Volume (Amp) Output Settings (Output)
Setting Effects for a Sample Set (PFX)
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13
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Creating a Live/Studio Set
Heres how to make settings that are common to the entire live set (or studio set).
1. Press [LIVE] (or [STUDIO]).
2. Press [F2 (Utility)].
The Utility screen will appear.
3. The parameters are organized into several editing groups. Press [F1 (Up)] or [F2 (Down)] to select the tab for the editing group that contains the parameter you wish to edit.
4. Press or to move the cursor to the parameter you wish to modify.
5. Turn the VALUE dial or press [INC] [DEC] to get the value you want.
6. If you wish to save the changes youve made, press [WRITE] to perform the Save operation (p. 148). If you do not wish to save changes, press [EXIT].
If you return to the Play screen without saving, the
symbol will be displayed at the right of the live/studio set name, indicating that the patch settings have been edited.
The settings you edit are temporary, and will be lost if you turn off the power, switch the sound generator mode, or select a different sound.
Live Set Name Studio Set Name Specifies the name of the live/studio set.
By pressing [ENTER], you can assign a name to the live/studio set.
Value: space, AZ, az, 09, ! # $ % & ( ) * + , - . / : ; < = > ? @ [ \ ] ^ _ ` { | }
For details on entering a name, refer to Assigning a Name (p. 42).
Live Set Memo Studio Set Memo You can assign a memo of up to 32 characters.
By pressing [ENTER], you can assign a memo to the live/studio set.
Value: space, AZ, az, 09, ! # $ % & ( ) * + , - . / : ; < = > ? @ [ \ ] ^ _ ` { | }
In this display you can check the receive status of various types of MIDI message for each MIDI channel. This is a convenient way to check that the sound generator is responding correctly to messages from the keyboard or external MIDI controllers.
Modulation: Modulation messages
Breath: Breath messages
Foot Type: Foot type messages
Volume: Volume messages
Panpot: Panpot messages
Expression: Expression messages
Hold 1: Hold 1 messages
Pitch Bend: Pitch Bend messages
Aftertouch: Aftertouch messages
Common Settings (Utility)
NAME
Part Info
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You can view the part settings as a list. This is called the Part View screen. In this screen you can view a list that shows settings for all parts at once, such as the patch assigned to each part, and its volume and pan settings. You can also edit these settings here.
1. Press [LIVE] (or [STUDIO]).
2. Press [F3 (Part View)].
The Part View screen will appear. fig.08-017_50
3. The parameters are organized into several editing groups. Press [F1 (Up)] or [F2 (Down)] to select the tab for the editing group that contains the parameter you wish to edit.
You can use the F-keys to switch the part group that is shown.
In the Part View screen, the edit groups that are shown will depend on the part group thats selected.
4. Use [CURSOR] to move the cursor to the parameter that you want to edit.
In this screen, the name of the parameter selected by the cursor
is shown in the area in the lower left of the
screen. The value of the current setting is also shown here.
5. Turn the VALUE dial or press [INC] [DEC] to get the value you want.
6. If you wish to save the changes youve made, press [WRITE] to perform the Save operation (p. 148). If you do not wish to save changes, press [EXIT].
If you return to the Play screen without saving, the
symbol will be displayed at the right of the live/studio set name, indicating that the patch settings have been edited.
The settings you edit are temporary, and will be lost if you turn off the power, switch the sound generator mode, or select a different sound.
Part Settings (Part View)
F-key Explanation F3 Internal Internal (internal sound generator) F4 EXP 1 Expansion board 1 F5 EXP 2 Expansion board 2 F6 External External MIDI output
Edit Group F3 Internal
F4/F5 EXP 1/2
F6 External
Level/Pan
Keyboard
Output/EFX
Pitch
Scale Tune
Vibrato
Offset
Mono/Poly/Legato
Voice Reserve
MIDI Rx Filter
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Patch Type Sets the assignment of a patch (Patch), rhythm set (Rhythm) or sample set (Sample) to each of the parts.
Value: PATCH, RHYTHM, SAMPLE
* EXP 1 and EXP 2 parts will depend on the expansion board that is
installed.
Patch Bank Selects the group to which the desired patch or rhythm set belongs.
Value
USER: User
PRST: Preset
USAM: User Sample
GM: GM (GM2)
* EXP 1 and EXP 2 parts will depend on the expansion board that is
installed.
Patch Number Selects the desired patch, rhythm set or sample set by its number.
Value: 001
* EXP 1 and EXP 2 parts will depend on the expansion board that is
installed.
Mute Switch Mutes (MUTE) or un-mutes (OFF) each part.
Use this setting when, for example, you want to use the instrument for karaoke by muting the part playing the melody, or when you want to play something using a separate sound module.
Value: OFF, MUTE
The Mute Switch parameter does not turn the part off, but sets the volume to minimum so that no sound is heard. Therefore, MIDI messages are still received.
Part Level Adjust the volume of each part. This settings main purpose is to adjust the volume balance between parts.
Value: 0127
Part Pan Adjust the pan of each part. L64 is far left, 0 is center, and 63R is far right.
Value: L64063R
Receive Switch For each part, specify whether MIDI messages will be received (ON), or not (OFF).
If this is OFF, the part will not respond. Normally, you should leave this ON, but you can turn it OFF when you do not want a specific part to be playing during song playback.
Value: OFF, ON
Receive Channel Specifies the MIDI receive channel for each part
Value: 116
Level/Pan (When the Part Group is Internal/EXP1/EXP2)
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External Bank Select MSB If you want a Bank Select number MSB (controller number 0) to also be transmitted when you switch Live/Studio Sets, specify the value that you want to transmit (0127) for each part. If you do not want this message to be transmitted, set this to ---.
Value: 0127, ---
The data of the part for which the Keyboard Switch is turned off will not be transmitted.
External Bank Select LSB If you want a Bank Select number LSB (controller number 32) to also be transmitted when you switch Live/Studio Sets, specify the value that you want to transmit (0127) for each part.
Value: 0127, ---
The data of the part for which the Keyboard Switch is turned off will not be transmitted.
External Program Number (External Program Change Number) If you want a Program Change number to also be transmitted when you switch Live/Studio Sets, specify the value that you want to transmit (0128) for each part. If you do not want this message to be transmitted, set this to ---.
Value: 1128, ---
The data of the part for which the Keyboard Switch is turned off will not be transmitted.
External Level If you want Volume messages to also be transmitted when you select a Live/Studio Set, specify the desired value (0127) for the part. If you do not want this message to be transmitted, set this to ---.
Value: 0127, ---
The data of the part for which the Keyboard Switch is turned off will not be transmitted.
External Pan If you want Pan messages to also be transmitted when you select a Live/Studio Set, specify the desired value (L64063R) for the part. If you do not want this message to be transmitted, set this to ---.
Value: L64063R, ---
These messages will not be transmitted by parts whose Keyboard Switch is turned off.
Keyboard Switch Specifies, for each part, whether or not the keyboard controller section will be connected to the internal sound generator.
Normally you will leave this off; you can turn it on if you want to layer sounds.
Value: On, OFF
Keyboard Range Lower (Part Keyboard Range Lower) Specifies the lowest note that the tone will sound for each part.
Value: C-1UPPER
Keyboard Range Upper (Part Keyboard Range Upper) Specifies the highest note that the tone will sound for each part.
Value: LOWERG9
When the Key Range (p. 94) is set for each individual tone in a patch, sounds are produced in the range where the Key Range of each tone and the Key Range for the part overlap.
fig.09-006.e
* Keyboard Range is valid only for parts whose Keyboard Switch
(p. 135) is on.
Velocity Range Lower For each part, specifies the bottom of the velocity range.
Value: 1127
Velocity Range Upper For each part, specifies the top of the velocity range.
Value: 1127
* Velocity Range is valid only for parts whose Keyboard Switch (p.
135) is on.
When the Key Range (p. 94) is set for each individual tone in a patch, sounds are produced in the range where the Key Range of each tone and the Key Range for the part overlap.
Level/Pan (When the Part Group is External)
Key Range
Key range specified for Performance
Key range specified for Patch
The range in which notes will play
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Part Velocity Sens Offset This changes the volume and cutoff frequency for each part according to the velocity with which the keys are pressed. If you want strongly played notes to raise the volume/cutoff frequency, set this parameter to positive (+) settings. If you want strongly played notes to lower the volume/cutoff frequency, use negative (-) settings. Set Velocity Sensitivity to 0 when you want sounds played at a fixed volume and cutoff frequency, regardless of the force with which the keys are played.
Value: -63 +63
Patches also contain a Velocity Sensitivity Offset setting (p. 91). The ultimate Velocity Sensitivity Offset value is the sum of the parts and the patchs Velocity Sensitivity Offsets. Accordingly, if the patchs Velocity Sensitivity Offset parameter is set to 127 (maximum), there will be no change in the parts Velocity Sensitivity Offset, even when this is set to a positive value.
* EXP 1, EXP 2, and External parts do not have this item.
Arpeggio Part Switch Specifies the part that will use the Arpeggio function.
Value: OFF, ON
Sample Pad Part Switch Specifies the Rhythm Pad Part.
Value: OFF, ON
Rhythm Pad Part Switch Specifies the Sample Pad Part.
Value: OFF, ON
Part Output Assign Specifies for each part how the direct sound will be output.
Value
A, B: Output to the OUTPUT A (MIX) jack or OUTPUT B jack in stereo without passing through multi-effects.
14: Output to the INDIVIDUAL 14 jacks in mono without passing through multi-effects.
MFX1, MFX2:
Output in stereo through multi-effects. *Studio set only
In the case of parts EXP1, EXP2: DRY: Output without being passed through the expansion
boards MFX.
EXP: Accords with the settings of the expansion board.
If youve made settings so that sounds are separately routed to the INDIVIDUAL 1 jack and INDIVIDUAL 2 jack, but no plug is actually inserted in the INDIVIDUAL 2 jack, the sounds routed to INDIVIDUAL 1 and INDIVIDUAL 2 will be mixed and output from the INDIVIDUAL 1 jack. This is due to the mechanism of the INDIVIDUAL 1 and 2 jacks.
If the Mix/Parallel parameter is set to MIX, all sounds are output from the OUTPUT A (MIX) jacks in stereo (p. 294).
Chorus are output in mono at all times.
The output destination of the signal after passing through the chorus is set with the Chorus Output Select (p. 153) and the Chorus Output Assign (p. 153).
The output destination of the signal after passing through the reverb is set with the Reverb Output Assign (p. 153).
* EXP 1 and EXP 2 parts will depend on the expansion board that is
installed.
* External parts do not have this item.
Part Output Level Set the level of the signal that is sent to the output destination specified by Part Output Assign.
Value: 0127
* EXP 1 and EXP 2 parts will depend on the expansion board that is
installed.
* External parts do not have this item.
Part Chorus Send Level Sets the level of the signal sent to chorus for each part.
Value: 0127
* External parts do not have this item.
Output/EFX
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Part Reverb Send Level Sets the level of the signal sent to reverb for each part.
Value: 0127
* External parts do not have this item.
Part EFX1 Send Level (Expansion part effect 1: Send Level) Sets the level of the signal sent to EFX 1 (Effect) 1 for each part of the expansion board.
Value: 0127
* EFX1 (Effect 1) is an effect on the expansion board. The content of
the effect will depend on the expansion board thats installed.
* Internal and External parts do not have this item.
Part EFX2 Send Level (Expansion part effect 2: Send Level) Sets the level of the signal sent to EFX 1 (Effect) 1 for each part of the expansion board.
Value: 0127
* EFX2 (Effect 2) is an effect on the expansion board. The content of
the effect will depend on the expansion board thats installed.
* Internal and External parts do not have this item.
Part Octave Shift Adjusts the pitch of the parts sound up or down in units of an octave (+/-3 octaves).
Value: -3 +3
Part Transpose Adjusts the pitch of the parts sound up or down in semitone steps.
Value: -5 +6
Part Coarse Tune Adjusts the pitch of the parts sound up or down in semitone steps (+/-4 octaves).
Value: -48 +48
* EXP 1 and EXP 2 parts will depend on the expansion board that is
installed.
* External parts do not have this item.
Part Fine Tune Adjusts the pitch of the parts sound up or down in 1-cent steps (+/- 50 cents).
Value: -50 +50
One cent is 1/100th of a semitone.
* EXP 1 and EXP 2 parts will depend on the expansion board that is
installed.
* External parts do not have this item.
Pitch
Coarse Tune and Octave Shift The Coarse Tune and Fine Tune parameters, along with the Octave Shift parameter, can all be seen as doing the same thing to the sound, i.e., changing the pitch of the sound. For example, if C4 (Middle C) is played with the Coarse Tune parameter set to +12, the note produced is C5 (one octave above C4). For example, if C4 (Middle C) is played with the Octave Shift parameter set to +1, the note produced is C5 (one octave above C4).
However, internally these function very differently. When the Coarse Tune parameter is set to +12, the pitch itself is raised one octave. On the other hand, when the Octave Shift parameter is set to +1, it is the same as pressing the keys one octave up. In other words, use the Coarse Tune parameter when changing the pitch, and the Octave Shift parameter when you want to shift the entire keyboard, for example, when the number of keys is insufficient.
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Part Pitch Bend Range Specifies the amount of pitch change in semitones (2 octaves) that will occur when the Pitch Bend Lever is moved. The amount of change when the lever is tilted is set to the same value for both left and right sides. If you want to use the Pitch Bend Range setting of the patch assigned to the part (p. 96), set this to PATCH.
Value: 024, PATCH
* EXP 1 and EXP 2 parts will depend on the expansion board that is
installed.
* External parts do not have this item.
Part Portamento Switch Specify whether portamento will be applied. Turn this parameter ON when you want to apply Portamento and OFF when you dont. If you want to use the Portamento Switch setting of the patch assigned to the part (p. 106), set this to PATCH.
Value: OFF, ON, PATCH
* EXP 1, EXP 2, and External parts do not have this item.
Part Portamento Time When portamento is used, this specifies the time over which the pitch will change. Higher settings will cause the pitch change to the next note to take more time. If you want to use the Portamento Time setting of the patch assigned to the part (p. 106), set this to PATCH.
Value: 0127, PATCH
This setting is ignored for parts to which a rhythm set is assigned.
* EXP 1, EXP 2, and External parts do not have this item.
Part Scale Tune CB Make scale tune settings for each part.
Value: -64 +63
Scale Tune is switched on/off by means of the Scale Tune Switch parameter (p. 296).
* EXP 1 and EXP 2 parts will depend on the expansion board that is
installed.
* External parts do not have this item.
Scale Tune
Equal Temperament This tuning divides the octave into 12 equal parts, and is the most widely used method of temperament used in Western music. The Fantom-G employs equal temperament when the Scale Tune Switch is set to OFF.
Just Temperament (Tonic of C) Compared with equal temperament, the principle triads sound pure in this tuning. However, this effect is achieved only in one key, and the triads will become ambiguous if you transpose.
Arabian Scale In this scale, E and B are a quarter note lower and C#, F# and G# are a quarter-note higher compared to equal temperament. The intervals between G and B, C and E, F and G#, Bb and C#, and Eb and F# have a natural thirdthe interval between a major third and a minor third. On the Fantom-G, you can use Arabian temperament in the three keys of G, C and F.
Note name Equal
temperament
Just Temperament
(tonic C)
Arabian Scale
C 0 0 -6 C# 0 -8 +45 D 0 +4 -2 Eb 0 +16 -12 E 0 -14 -51 F 0 -2 -8
F# 0 -10 +43 G 0 +2 -4
G# 0 +14 +47 A 0 -16 0 Bb 0 +14 -10 B 0 -12 -49
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Part Vibrato Rate For each part, adjust the vibrato speed (the rate at which the pitch is modulated). The pitch will be modulated more rapidly for higher settings, and more slowly with lower settings.
Value: -64 +63
* EXP 1, EXP 2, and External parts do not have this item.
Part Vibrato Depth For each part, this adjusts the depth of the vibrato effect (the depth at which the pitch is modulated). The pitch will be modulated more greatly for higher settings, and less with lower settings.
Value: -64 +63
* EXP 1, EXP 2, and External parts do not have this item.
Part Vibrato Delay For each part, this adjusts the time delay until the vibrato (pitch modulation) effect begins. Higher settings will produce a longer delay time before vibrato begins, while lower settings produce a shorter time.
Value: -64 +63
* EXP 1, EXP 2, and External parts do not have this item.
Part Cutoff Offset Adjusts the cutoff frequency for the patch, rhythm set or sample set assigned to a part.
Value: -64 +63
Patches also have a Cutoff Offset setting (p. 90). The final Cutoff frequency value is the sum of the tone Cutoff Frequency value and the patch and part Cutoff Offset values. If the tones cutoff frequency is already set to 127 (maximum), there will be no change produced by setting the Cutoff Offset to a positive value.
* EXP 1, EXP 2, and External parts do not have this item.
Part Resonance Offset Adjusts the Resonance for the patch, rhythm set or sample set assigned to a part.
Value: -64 +63
Patches also have a Resonance Offset setting (p. 91). The final Resonance value is the sum of the tone Resonance value and the patch and part Resonance Offset values. If the tones resonance is already set to 127 (maximum), there will be no change produced by setting the resonance offset to a positive value.
* EXP 1, EXP 2, and External parts do not have this item.
Part Attack Time Offset Adjusts the TVA/TVF Envelope Attack Time for the patch, rhythm set or sample set assigned to a part.
Value: -64 +63
Patches also contain the Attack Time Offset setting (p. 91). The final TVA Envelope attack time value is therefore the sum of the tones TVA Envelope Time 1 setting, the patchs Attack Time Offset, and the parts Attack Time Offset. If the tones Time 1 parameter is already set to 127 (maximum), there will be no change produced by setting the Attack Time Offset to a positive value.The same applies to the TVF envelope.
* EXP 1, EXP 2, and External parts do not have this item.
Part Decay Time Offset Adjusts the TVA/TVF Envelope Decay Time for the patch, rhythm set or sample set assigned to a part.
Value: -64 +63
This setting is ignored for parts to which a sample set is assigned.
* EXP 1, EXP 2, and External parts do not have this item.
Vibrato Offset
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Part Release Time Offset Adjusts the TVA/TVF Envelope Release Time for the patch, rhythm set or sample set assigned to a part.
Value: -64 +63
Patches also contain a Release Time Offset setting (p. 91). The final TVA Envelope release time value is therefore the sum of the tones TVA Envelope Time 4 setting, the patchs Release Time Offset, and the parts Release Time Offset. If the tones Time 4 parameter is set to 127 (maximum), there will be no change in the Release Time Offset, even when this is set to a positive value.The same applies to the TVF envelope.
* EXP 1, EXP 2, and External parts do not have this item.
Part Mono/Poly Set this parameter to MONO when the patch assigned to the part is to be played monophonically, or to POLY when the patch is to be played polyphonically. If you want to use the Mono/Poly setting of the patch assigned to the part (p. 105), set this to PATCH.
Value: MONO, POLY, PATCH
This setting is ignored for parts to which a rhythm set is assigned.
* EXP 1, EXP 2, and External parts do not have this item.
Part Legato Switch You can add legato when performing monophonically. The term legato refers to a playing style in which notes are smoothly connected to create a flowing feel. This creates a smooth transition between notes, which is effective when you wish to simulate the hammering-on and pulling-off techniques used by a guitarist.
Turn this parameter ON when you want to use the Legato feature and OFF when you dont. If you want to use the Legato Switch setting of the patch assigned to the part (p. 105), set this to PATCH.
Value: OFF, ON, PATCH
This setting is ignored for parts to which a rhythm set is assigned.
* EXP 1, EXP 2, and External parts do not have this item.
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Part Voice Reserve This setting specifies the number of voices that will be reserved for each part when more than 128 voices are played simultaneously.
Value: 063, FULL
It is not possible for the settings of all parts to total an amount greater than 64. The remaining number of available voices will be displayed at (rest=). Pay attention to this readout as you make Voice Reserve settings.
When playing audio tracks in a song, audio track playback will take priority over voice reserve settings. This means that if audio tracks are playing back, it may not be possible to guarantee the polyphony specified by the voice reserve settings.
Voice Monitor Heres how you can see a graphic indication of the number of voices used by the sound generator.
Receive Program Change (Receive Program Change Switch) For each MIDI channel, specify whether MIDI Program Change messages will be received (ON), or not (OFF).
Receive Bank Select (Receive Bank Select Switch) For each MIDI channel, specify whether MIDI Bank Select messages will be received (ON), or not (OFF).
Receive Bender (Receive Pitch Bend Switch) For each MIDI channel, specify whether MIDI Pitch Bend messages will be received (ON), or not (OFF).
Receive Polyphonic Key Pressure (Receive Polyphonic Key Pressure Switch) For each MIDI channel, specify whether MIDI polyphonic key pressure messages will be received (ON), or not (OFF).
Receive Channel Pressure (Receive Channel Pressure Switch) For each MIDI channel, specify whether MIDI Channel Pressure messages will be received (ON), or not (OFF).
Receive Modulation (Receive Modulation Switch) For each MIDI channel, specify whether MIDI Modulation messages will be received (ON), or not (OFF).
Receive Volume (Receive Volume Switch) For each MIDI channel, specify whether MIDI Volume messages will be received (ON), or not (OFF).
Receive Pan (Receive Pan Switch) For each MIDI channel, specify whether MIDI Pan messages will be received (ON), or not (OFF).
Receive Expression (Receive Expression Switch) For each MIDI channel, specify whether MIDI Expression messages will be received (ON), or not (OFF).
Receive Hold-1 (Receive Hold 1 Switch) For each MIDI channel, specify whether MIDI Hold 1 messages will be received (ON), or not (OFF).
Voice Reserve
Calculating the Number of Voices Being Used The Fantom-G is able to play up to 128 notes simultaneously. The polyphony, or the number of voices (sounds) does not refer only to the number of sounds actually being played, but changes according to the number of tones used in the patches, and the number of Waves used in the tones. The following method is used to calculate the number of sounds used for one patch being played.
(Number of Sounds Being Played) x (Number of Tones Used by Patches Being Played) x (Number of Waves Used in the Tones)
Realtime Stretch requires twice the normal polyphony.
MIDI Rx Filter
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Phase Lock (Phase Lock Switch) Set Phase Lock to ON when you want to suppress discrepancies in timing of parts played on the same MIDI channel.
When the Phase Lock parameter is set to ON, parts on the same MIDI channel are put in a condition in which their timing is matched, enabling them to be played at the same time. Accordingly, a certain amount of time may elapse between reception of the Note messages and playing of the sounds. Turn this setting to ON only as needed.
* This will not affect expansion boards.
Velocity Curve Type Velocity Curve selects for each MIDI channel one of the four following Velocity Curve types that best matches the touch of the connected MIDI keyboard. Set this to OFF if you are using the MIDI keyboards own velocity curve.
Value: OFF, 14 fig.09-010
* This will not affect expansion boards.
The Fantom-G lets you assign the parameters that will be affected when you operate the realtime control knobs, assignable switches, D Beam, pitch bend, or modulation lever. This lets you modify the sound in a variety of ways by operating the controllers.
1. Press [LIVE] (or [STUDIO]).
2. Press [F4 (Control)].
The Control Setting screen appears. fig.09-011_50
3. The parameters are organized into several editing groups. Press [F1 (Up)] or [F2 (Down)] to select the tab for the editing group that contains the parameter you wish to edit.
4. Use [CURSOR] to move the cursor to the parameter that you want to edit.
5. Turn the VALUE dial or press [INC] [DEC] to get the value you want.
6. Repeat steps 3-5 to set each parameter you want to edit.
7. The settings for the Solo Synth are saved for the system settings. Press [F7 (Sys Write)] to execute the write operation.
8. The settings in the Control Setting screen are saved independently for each live/studio set. If you wish to save the changes youve made, press [WRITE] to perform the Save operation (p. 148). If you do not wish to save changes, press [EXIT].
If you return to the Play screen without saving, the
symbol will be displayed at the right of the live/studio set name, indicating that the patch settings have been edited.
The settings you edit are temporary, and will be lost if you turn off the power, switch the sound generator mode, or select a different sound.
21 3 4
Selecting the Parameter Controlled by the Realtime Controllers or D Beam Controller (Control Setting)
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D Beam Switch Specifies the operating mode of the D Beam controller.
Value:
OFF: The D Beam will not be used.
PAD TRIGGER: This allows you to use the D Beam controller to sound the pads as an alternative to striking the pads.
SOLO SYNTH: This allows you to use the D Beam controller as a monophonic synthesizer.
ASSIGNABLE: The Fantom-G will control the function you assign.
The parameters shown in the screen will depend on the choice you make here.
D Beam: PAD TRIGGER Instead of striking the pads themselves, you can also use the D Beam controller to control the sounding of the pads.
Beam Trigger Pad Specifies the pad number affected by the D Beam.
Value: Pad 1Pad 16
Beam Trigger Velo (Beam Trigger Velocity) Specifies the strength of the pad sound played by the D Beam controller.
Value: 1127
Beam Trigger Mode This specifies how the D Beam will behave when it is obstructed. If this is set to MOMENTARY, the parameter will be on only while the D Beam is obstructed, and will turn off when you stop obstructing it. If this is set to LATCH, the parameter will alternately be switched on/off each time you obstruct the D Beam.
Value: MOMENTARY, LATCH
D Beam: SOLO SYNTH You can use the D Beam controller to perform in a way similar to on a mono synth.
Settings for the Solo Synth are saved for system settings. Press [F7 (Sys Write)] to execute the write operation.
In this screen, the name of the parameter selected by the cursor
is shown in the area in the lower left of the
screen. The current value of the setting is also shown here.
OSC 1/2 Waveform Select the waveform. SAW is a sawtooth wave, and SQR is a square wave.
Value: SAW, SQR
OSC 1/2 Pulse Width Specifies the pulse width of the waveform. By cyclically modifying the pulse width you can create subtle changes in the tone.
* The Pulse Width is activated when SQR is selected with OSC1/2
waveform.
Value: 0127
LFO Osc 1 Pulse Width Depth Specifies the depth to which the LFO will modulate the pulse width of the OSC1 waveform.
* The Pulse Width is activated when SQR is selected with OSC1/2
waveform.
Value: -63 +63
LFO Osc 2 Pulse Width Depth Specifies the depth to which the LFO will modulate the pulse width of the OSC2 waveform.
* The Pulse Width is activated when SQR is selected with OSC1/2
waveform.
Value: -63 +63
LFO Osc 1 Pitch Depth Specifies the depth to which the LFO will modulate the OSC1 pitch.
Value: -63 +63
LFO Osc 2 Pitch Depth Specifies the depth to which the LFO will modulate the OSC2 pitch.
Value: -63 +63
D Beam
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OSC 1/2 Coarse Tune Adjusts the pitch of the tones sound up or down in semitone steps (+/-4 octaves).
Value: -48 +48
OSC 1/2 Fine Tune Adjusts the pitch of the tones sound up or down in 1-cent steps (+/- 50 cents).
Value: -50 +50
OSC Sync Switch Turning this switch on produces a complex sound with many harmonics. This is effective when the OSC1 pitch is higher than the OSC2 pitch.
Value: OFF, ON
OSC2 Level Adjust the level.
Value: 0127
Filter Type Selects the type of filter.
OFF: No filter is used.
LPF: Low Pass Filter. This reduces the volume of all frequencies above the cutoff frequency (Cutoff Freq) in order to round off, or un-brighten the sound.
BPF: Band Pass Filter. This leaves only the frequencies in the region of the cutoff frequency, and cuts the rest.
HPF: High Pass Filter. This cuts the frequencies in the region below the cutoff frequency.
PKG: Peaking Filter. This emphasizes the frequencies in the region of the cutoff frequency.
Cutoff Selects the frequency at which the filter begins to have an effect on the waveforms frequency components.
Value: 0127
Resonance Emphasizes the portion of the sound in the region of the cutoff frequency, adding character to the sound.
Value: 0127
LFO Rate Adjusts the modulation rate, or speed, of the LFO.
Value: 0127
Range (Solo synth range) Specifies the range in which the pitch of the solo synth will vary.
Value: 2 OCTAVES, 4 OCTAVES, 8 OCTAVES
Chorus Send Level Sets the level of the signal sent to chorus.
Value: 0127
Reverb Send Level Sets the level of the signal sent to reverb.
Value: 0127
Level Sets the volume.
Value: 0127
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D Beam: ASSIGNABLE By assigning a variety of functions to the D Beam controller you can apply different effects to the sound in real time.
The settings for the ASSIGNABLE are saved independently for each live/studio set as part of the live/studio set settings. This lets you create live/studio sets that make effective use of controller settings.
Type (Assignable Type) Specifies the function controlled by the D Beam controller.
Value
OFF: Off
CC0131, CC32(OFF), 3395: Control Change
AFTERTOUCH: Aftertouch
BEND UP: Controls the pitch as specified by the Pitch Bend Range Up setting (p. 96).
BEND DOWN: Controls the pitch as specified by the Pitch Bend Range Down setting (p. 96).
ARPEGGIO ACCENT: Arpeggio accent rate
ARPEGGIO SHUFFLE: Arpeggio shuffle rate
ARPEGGIO OCT UP: The range in which the arpeggio is sounded will rise in steps of an octave.
ARPEGGIO OCT DOWN: The range in which the arpeggio is sounded will lower in steps of an octave.
Range Min (D Beam Range Lower) Specify the lower limit of the range of the D Beam controller.
Value: 0127
Range Max (D Beam Range Upper) Specify the upper limit of the range of the D Beam controller. By setting Range Max below Range Min you can invert the range of change.
Value: 0127
Knob Assign 14 Specify the functions that will be controlled by the knobs.
Value
OFF: Off
CC0131, CC32(OFF), 3395: Control Change
AFTERTOUCH: Aftertouch
PITCH BEND: Pitch Bend
ARPEGGIO ACCENT: Arpeggio accent rate
ARPEGGIO SHUFFLE: Arpeggio shuffle rate
ARPEGGIO OCT UP: The range in which the arpeggio is sounded will rise in steps of an octave.
ARPEGGIO OCT DOWN: The range in which the arpeggio is sounded will lower in steps of an octave.
MASTER LEVEL: Master Level (p. 293)
DIGITAL/USB INPUT LEVEL:
Digital/USB Input Level (p. 258)
* The system setting will be used if the system parameter Knob
Assign Source (p. 289) is set to System, and the setting of the
live set or studio set will be used if it is set to TEMP.
Slider 18 Assign Specify the functions that will be controlled by the sliders.
Value
OFF: Off
CC0131, CC32(OFF), 3395: Control Change
AFTERTOUCH: Aftertouch
PITCH BEND: Pitch Bend
ARPEGGIO ACCENT: Arpeggio accent rate
ARPEGGIO SHUFFLE: Arpeggio shuffle rate
ARPEGGIO OCT UP: The range in which the arpeggio is sounded will rise in steps of an octave.
ARPEGGIO OCT DOWN: The range in which the arpeggio is sounded will lower in steps of an octave.
* The system setting will be used if the system parameter Slider
Assign Source (p. 289) is set to System, and the setting of the
live set or studio set will be used if it is set to TEMP.
Knob
Slider
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Switch S1/S2 Assign Specify the functions that will be controlled by the [S1] [S2] switches.
Value
Live Set: OFF, CC01 - CC31, CC32 (OFF), CC33 - CC95, AFTERTOUCH, MONO/POLY, PFX SWITCH, MFX SWITCH, RESERVE, CHORUS SWITCH, REVERB SWITCH, MASTERING SWITCH, MASTER KEY UP, MASTER KEY DOWN, SCALE TUNE SWITCH
Studio Set: OFF, CC01 - CC31, CC32 (OFF), CC33 - CC95, AFTERTOUCH, MONO/POLY, PFX SWITCH, MFX1 SWITCH, MFX2 SWITCH, CHORUS SWITCH, REVERB SWITCH, MASTERING SWITCH, MASTER KEY UP, MASTER KEY DOWN, SCALE TUNE SWITCH
Switch S1/S2 Assign Mode Specify the functions that will be controlled by the [S1] [S2] switches.
Value
LATCH: The on/off status will alternate each time you press [S1] [S2].
MOMENTARY: The status will be on only while you hold down [S1] [S2].
Arpeggio Switch Turns the Arpeggio function (p. 78) on/off.
Value: ON, OFF
Arpeggio Hold Turns the Arpeggio Hold function (p. 78) on/off.
Value: ON, OFF
Arpeggio Number Specifies the arpeggio number.
Value: 001128
Arpeggio Part Group Selects the part group that will use the Arpeggio function: internal (INT), expansion board 1 (EXP1), expansion board 2 (EXP2), or external MIDI output (EXT).
Value: INT, EXP1, EXP2, EXT
Arpeggio Part Number Specifies the part that will use the Arpeggio function.
Value: Part116
Chord Switch Turns the Chord Memory function (p. 80) on/off.
Value: ON, OFF
Chord Form Specifies the Chord Form (p. 80).
Value: 001128
Rolled Chord Turns the Rolled Chord function (p. 81) on/off.
Value: ON, OFF
Rolled Chord Type Specifies the Rolled Chord Type (p. 81).
Value
UP: Notes will be sounded in order from bottom to top.
DOWN: Notes will be sounded in order from top to bottom.
ALTERNATE: The order in which the notes are sounded will change each time you play the keyboard.
L-DOWN: The lowest note will be sounded first, and then notes will be sounded in order from the top down.
* If you press C E G B, the notes will be sounded as C B
G E.
U-UP: The highest note will be sounded first, and then notes will be sounded in order from the bottom up.
* If you press C E G B, the notes will be sounded as B C
E G.
Rhythm Pad Part Group Selects the rhythm pad part group: internal (INT), expansion board 1 (EXP1), expansion board 2 (EXP2), or external MIDI output (EXT).
Value: INT, EXP1, EXP2, EXT
Rhythm Pad Part Number Specifies the Rhythm Pad Part.
Value: Part116
Sample Pad Part Number Specifies the Sample Pad Part.
Value: Part116
Switch S1/S2
Arpeggio
Chord Memory
Dynamic Pad
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You can change controller switch on/off settings for each part.
You can use the F-keys to switch the part group that is displayed.
In this screen, the name of the parameter selected by the cursor
is shown in the area in the lower left of the
screen. The current value of the setting is also shown here.
Control Bender (Control Pitch Bend Switch) For each part, specify whether MIDI Pitch Bend messages will be transmitted (ON), or not (OFF).
Value: OFF, ON
Control Aftertouch (Control Aftertouch Switch) For each part, specify whether MIDI Aftertouch messages will be transmitted (ON), or not (OFF).
Value: OFF, ON
Control Modulation (Control Modulation Switch) For each part, specify whether MIDI Modulation messages will be transmitted (ON), or not (OFF).
Value: OFF, ON
Control Hold Pedal (Control Hold Pedal Switch) For each part, you can specify whether control messages from a pedal connected to the HOLD PEDAL jacks will be transmitted (ON), or not (OFF).
Value: OFF, ON
Control Pedal 1, 2 (Control Pedal 1, 2 Switch) For each part, you can specify whether control messages from a pedal connected to the CONTROL PEDAL 1, 2 jacks will be transmitted (ON), or not (OFF).
Value: OFF, ON
When using patches in Live/Studio Mode, some settings such as effects settings will be affected by Live/Studio Set settings. If you wish to edit a patch while hearing how it will sound in the Live/ Studio Set, use this procedure:
* Here we explain how to change the setting of a patch assigned to a
part. The procedure for changing the settings of rhythm sets or sample
sets is the same. Substitute rhythm set or sample set wherever
patch appears in a sentence.
1. Make sure the Live Mode (or the Studio Mode) is selected.
2. Press [PATCH] twice.
The patch assigned to the part is displayed in the Patch Pro Edit screen.
fig.09-020_50
3. The rest of the procedure is the same as when making changes in Single mode (p. 84).
Ctrl Switch
F-key Explanation F3 Internal Internal (internal sound generator) F4 EXP 1 Expansion board 1 F5 EXP 2 Expansion board 2 F6 External External MIDI output
Changing the Settings of the Patch Assigned to a Part
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Initialize means to return the settings of the currently selected sound to a standard set of values.
The Initialize operation will affect only the currently selected sound; the sounds that are stored in user memory will not be affected. If you wish to restore all of the Fantom-Gs settings to their factory values, perform a Factory Reset (p. 280).
1. Select the Live/Studio Set that you wish to initialize.
2. Press [F2 (Utility)].
3. Press [F6 (Initialize)].
The Live/Studio Set Initialize Menu window will appear.
4. Press or to select the initialization type.
Default: Resets the currently selected Live/Studio set in the Temporary memory to the standard values. Use this setting when you wish to create a sound from scratch.
Sound Control: Initializes the values of the following part parameters. Cutoff Offset, Resonance Offset, Attack Time Offset, Release Time Offset, Decay Time Offset, Vibrato Rate, Vibrato, Depth, Vibrato Delay
5. Press [F8 (Select)].
A message will ask you for confirmation.
6. Press [F7 (OK)] to execute.
To cancel, press [F8 (EXIT)].
The settings you edit are temporary, and will be lost if you turn off the power, switch the sound generator mode, or select a different sound. If you want to keep the modified sound, you must save it in the User bank.
When you modify the settings of a Live/Studio Set, the Live/Studio
Play screen will indicate . Once you save the Live/Studio Set
into user area, the indication goes away.
When you perform the save procedure, the data that previously occupied the save destination will be lost.
1. Make sure that the live/studio set you wish to save is selected.
2. Press [WRITE].
The WRITE MENU window appears.
3. Select Live Set / Studio Set.
Alternatively, you can use CURSOR or to select Live Set / Studio Set and then press [F8 (Select)].
The Live Set/Studio Set Name window appears. fig.09-022_50
4. Assign a name to the live/studio set.
For details on assigning names, refer to Assigning a Name (p. 42)
Initializing Live/Studio Set Settings (Init)
Saving a Live/Studio Set Youve Created (Write)
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5. When you have finished inputting the name, press [F8 (OK)].
A screen will appear, allowing you to select the write- destination live/studio set.
6. Turn the VALUE dial or use [INC] [DEC] to select the live/ studio set number.
7. Press [F8 (Write)].
A message will ask you for confirmation.
Never switch off the Fantom-G while data is being saved.
8. Press [F7 (OK)] to execute the save operation.
To cancel the operation, press [F8 (EXIT)].
When Changing the Settings for the patch, rhythm set or sample set assigned to a Part in a Live/Studio Set If youve edited a patch, rhythm set or sample set assigned to a part in a live/studio set and then try to save the live/studio set without first saving the edited patch, rhythm set or sample set, the following message appears.
Edited patch, rhythm set or sample set will be discard,
Are you sure?
In such cases, first save the patches and rhythm sets, and then save the live/studio set.
149
15
Fantom-G_r_e.book 150
Adding Effects
For details of the Fantom-Gs onboard effects, refer to About
the Internal Effects (p. 36).
Effect settings are saved in the locations shown in the illustration below. If you want to save your effect settings, press the [WRITE] button and save them in the patch, live set, studio set, or system.
The Fantom-Gs onboard effects can be turned on/off. Turn these settings OFF when you wish to listen to the unprocessed sound as you create a sound, or when you wish to use external effects processors instead of the built-in effects.
1. Press [EFFECTS (ROUTING)] to access the Effects screen. fig.22-001_50
2. Use [CURSOR] to move the cursor to the switch for each effect, and turn the VALUE dial or use [INC] [DEC] to turn the switch on/off.
fig.22-002_50
Specifying the effect applied to the external audio input or an audio track You can change the routing diagram by turning the VALUE dial or using [INC] [DEC] in the Part Group field.
Where Effect Settings are Saved
Keyboard part
Live Set
Studio Set
System
System
Sample Pad part
Rhythm Pad part
Patch
PFX Chorus Reverb
Chorus Reverb
MFX 1
Mastering
Input Fx
MFX 1
Mastering
Input Fx
MFX 1
MFX 2
Chorus
Reverb
Mastering
Input Fx
PFX
PFX
Sample Set
Rhythm Set
Part 1
Patch
PFX
Part 1
Patch
PFX
Single Mode
Live Mode
Studio Mode
Turning Effects On and Off
Part Group Explanation Internal Internal (internal sound generator) EXP 1 Expansion board 1 EXP 2 Expansion board 2 Audio Trk Audio tracks Input Audio input
0
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Using the pads to switch effects on/off You can use the pads to directly switch each effect on/off. For the procedure, refer to the following pages.
11 EFFECT SW (Using the Pads to Switch the Effects) (p. 199)
12 PATCH MFX SW (Using the Pads to Switch Patch Multi-
effects) (p. 199)
1. In the appropriate mode, select the sound to which you want to apply effects.
2. Press [EFFECTS (ROUTING)] to access the Effects screen.
3. Press one of the [F1 (Routing)][F7 (Mastering)] tabs to select the effect that you want to edit.
fig.22-001_50
4. Use [CURSOR] to move the cursor to the parameter you wish to modify.
5. Turn the VALUE dial or press [INC] [DEC] to get the value you want.
6. Press [EXIT] to return to the previous screen.
F-key operations in the effect screen
Single mode allows you to use patch FX (PFX), chorus, and reverb. These effects will operate according to the effect settings of the patch, rhythm set, or sample set thats assigned to the keyboard part.
Specifying How the Sound will be Output (Routing) (p. 151)
In addition, you can apply a multi-effect (MFX1) to the external audio input or audio tracks.
Specifying the effect applied to the external audio input or
an audio track (p. 150)
Live mode allows you to use patch FX (PFX), chorus, and reverb. These effects will operate according to the effect settings of the live set.
Specifying How the Sound will be Output (Routing) (p. 151)
In addition, you can apply a multi-effect (MFX1) to the external audio input or audio tracks.
Specifying the effect applied to the external audio input or
an audio track (p. 150)
Here you can make overall settings for effects, and the output destination and level of each signal.
For details on these settings, refer to Making Effect Settings (p. 151).
In this screen, the name of the parameter selected by the cursor
is shown in the area in the lower left of the
screen. The current value of the parameter is also shown here.
Making Effect Settings
F-key Explanation Page
F1 Routing
Routing edit screen p. 151 p. 154
F2 PFX
Patch multi-effect edit screen p. 157
F3 MFX 1
MFX 1 edit screen p. 158
F4 MFX 2
MFX 2 edit screen p. 158
F5 Chorus
Chorus edit screen p. 159
F6 Reverb
Reverb edit screen p. 159
F7 Mastering
Mastering edit screen p. 160
F8 Exit
Returns to the previous screen
Applying Effects in Single Mode
Applying Effects in Live Mode
Specifying How the Sound will be Output (Routing)
151
Adding Effects
Fantom-G_r_e.book 152
fig.22-005
In Single mode and Live mode, MFX 1 (multi-effect) will apply only to the external input or to audio tracks, and therefore is now shown in the internal routing diagram.
Tone Select Select the tone for which you want to make settings.
Value: ALL, 14
This parameter is Rhythm Key Select when a rhythm set is being selected. You can select the rhythm tone (A0C8) for which you want to make settings.
Tone Output Level Set the level of the signal that is sent to the output destination specified by Output Assign.
Value: 0127
Tone Chorus Send Level Sets the level of the signal sent to chorus for each tone.
Value: 0127
Tone Reverb Send Level Sets the level of the signal sent to reverb for each tone.
Value: 0127
Tone Output Assign Specifies how the direct sound of each tone will be output.
Value:
PFX: Output through patch multi-effects (PFX).
DRY: Output without passing through patch multi-effects (PFX).
PFX Sw Switches the patch multi-effect on/off.
Value: ON, OFF
PFX Type (Patch Multi-Effects Type) Use this parameter to select from among the 76 available patch multi-effects. For details on patch multi-effects parameters, refer to MFX/PFX Parameter (p. 161).
Value: 0 (Through)76
PFX Output Level (Patch Multi-Effects Output Level) Adjusts the volume of the sound that has passed through the patch multi-effects.
Value: 0127
PFX Chorus Send Level (Patch Multi-Effects Chorus Send Level) Adjusts the amount of chorus for the sound that passes through patch multi-effects. If you dont want to add the Chorus effect, set it to 0.
Value: 0127
PFX Reverb Send Level (Patch Multi-Effects Reverb Send Level) Adjusts the amount of reverb for the sound that passes through patch multi-effects. If you dont want to add the Reverb effect, set it to 0.
Value: 0127
Patch Level Adjusts the volume of the patch.
Value: 0127
Part Level Adjusts the volume of the part.
Value: 0127
Part Output Level Sets the level of the signal sent to the output destination chosen by Part Output Assign.
Value: 0127
Part Chorus Send Level Sets the level of the signal sent to chorus for each part. If you dont want to add the Chorus effect, set it to 0.
Value: 0127
Part Reverb Send Level Sets the level of the signal sent to reverb for each part. If you dont want to add the Reverb effect, set it to 0.
Value: 0127
Signal Flow Diagram and Parameters
1 2
5 6
7
8
9
10
11 12 13
14
15
16
17 18
22 23
19
24 25
20 21 3
4
1
2
3
4
5
16
7
8
9
10
11
12
13
14
15
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Part Output Assign Specifies for each part how the direct sound will be output.
Value:
A, B: Output to the OUTPUT A (MIX) jack or OUTPUT B jack in stereo without passing through multi-effects.
14: Output to the INDIVIDUAL 14 jacks in mono without passing through multi-effects.
If youve made settings so that sounds are separately routed to the INDIVIDUAL 1 jack and INDIVIDUAL 2 jack, but no plug is actually inserted in the INDIVIDUAL 2 jack, the sounds routed to INDIVIDUAL 1 and INDIVIDUAL 2 will be mixed and output from the INDIVIDUAL 1 jack.
If the Mix/Parallel parameter is set to MIX, all sounds are output from the OUTPUT A (MIX) jacks in stereo (p. 294).
Chorus Sw Switches the chorus on/off.
Value: ON, OFF
Chorus Type Selects either chorus or delay. For details on chorus parameters, refer to Chorus Parameters (p. 184).
Value: 0 (Off)3 (GM2 Chorus)
Chorus Level Adjusts the volume of the sound that has passed through chorus.
Value: 0127
Chorus Output Select Specifies how the sound routed through chorus will be output.
Value
MAIN: Output to the OUTPUT jacks in stereo.
REV: Output to reverb in mono.
M+R: Output to the OUTPUT jacks in stereo, and to reverb in mono.
When set to MAIN or M+R, the OUTPUT jack from which the sound is output is set in Chorus Output Assign.
Chorus Output Assign Selects the pair of OUTPUT jacks to which the chorus sound is routed when Chorus Output Select is set to MAIN or M+R.
Value
A: Output to the OUTPUT A (MIX) jacks in stereo.
B: Output to the OUTPUT B jacks in stereo.
When Chorus Output Select is set to REV, this setting will have no effect.
If the Mix/Parallel parameter is set to MIX, all sounds are output from the OUTPUT A (MIX) jacks in stereo (p. 294).
Reverb Sw Switches the reverb on/off.
Value: ON, OFF
Reverb Type Selects the type of reverb. For details on reverb parameters, refer to Reverb Parameters (p. 185).
Value: 0 (Off)10 (CHURCH)
Reverb Level Adjusts the volume of the sound that has passed through reverb.
Value: 0127
Reverb Output Assign Specifies how the sound routed through reverb will be output.
Value
A: Output to the OUTPUT A (MIX) jacks in stereo.
B: Output to the OUTPUT B jacks in stereo.
If the Mix/Parallel parameter is set to MIX, all sounds are output from the OUTPUT A (MIX) jacks in stereo (p. 294).
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Studio mode allows you to use two multi-effects (MFX1, MFX2), one chorus, and one reverb.
These effects will operate according to the effect settings of the studio set.
Here you can make overall settings for effects, and the output destination and level of each signal. fig.22-006.eps_50
For details on these settings, refer to Making Effect Settings (p. 151).
In this screen, the name of the parameter selected by the cursor
is shown in the area in the lower left of the
screen. The current value of the parameter is also shown here.
fig.22-007
Tone Select Select the tone for which you want to make settings.
Value: ALL, 14
This parameter is Rhythm Key Select when a rhythm set is being selected. You can select the rhythm tone (A0C8) for which you want to make settings.
Tone Output Level Set the level of the signal that is sent to the output destination specified by Output Assign.
Value: 0127
Tone Chorus Send Level Sets the level of the signal sent to chorus for each tone.
Value: 0127
Tone Reverb Send Level Sets the level of the signal sent to reverb for each tone.
Value: 0127
Tone Output Assign Specifies how the direct sound of each tone will be output.
Value:
PFX: Output through patch multi-effects (PFX).
DRY: Output without passing through patch multi-effects (PFX).
PFX Sw (Patch Multi-Effects Switch) Switches the patch multi-effect on/off.
Value: ON, OFF
PFX Type (Patch Multi-Effects Type) Use this parameter to select from among the 76 available patch multi-effects. For details on patch multi-effects parameters, refer to MFX/PFX Parameter (p. 161).
Value: 0 (Through)76
Applying Effects in Studio Mode
Specifying How the Sound Will Be Output (Routing)
Signal Flow Diagram and Parameters
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PFX Output Level (Patch Multi-Effects Output Level) Adjusts the volume of the sound that has passed through the patch multi-effects.
Value: 0127
PFX Chorus Send Level (Patch Multi-Effects Chorus Send Level) Adjusts the amount of chorus for the sound that passes through patch multi-effects. If you dont want to add the Chorus effect, set it to 0.
Value: 0127
PFX Reverb Send Level (Patch Multi-Effects Reverb Send Level) Adjusts the amount of reverb for the sound that passes through patch multi-effects. If you dont want to add the Reverb effect, set it to 0.
Value: 0127
Patch Level Adjusts the volume of the patch.
Value: 0127
Part Level Adjusts the volume of the part.
Value: 0127
Part Output Level Sets the level of the signal sent to the output destination chosen by Part Output Assign.
Value: 0127
Part Chorus Send Level Sets the level of the signal sent to chorus for each part. If you dont want to add the Chorus effect, set it to 0.
Value: 0127
Part Reverb Send Level Sets the level of the signal sent to reverb for each part. If you dont want to add the Reverb effect, set it to 0.
Value: 0127
Part MFX Select Specifies whether MFX will not be used, or which of the two multi-effects will be used.
Value: DRY, MFX-1MFX-2
Part Output Assign Specifies how the original sound will be output for each part. This is available only if Part MFX Select is set to DRY.
Value:
A, B: Output to the OUTPUT A (MIX) jack or OUTPUT B jack in stereo without passing through multi-effects.
14: Output to the INDIVIDUAL 14 jacks in mono without passing through multi-effects.
If youve made settings so that sounds are separately routed to the INDIVIDUAL 1 jack and INDIVIDUAL 2 jack, but no plug is actually inserted in the INDIVIDUAL 2 jack, the sounds routed to INDIVIDUAL 1 and INDIVIDUAL 2 will be mixed and output from the INDIVIDUAL 1 jack.
If the Mix/Parallel parameter is set to MIX, all sounds are output from the OUTPUT A (MIX) jacks in stereo (p. 294).
MFX Sw (Multi-Effects Switch) Switches the multi-effect on/off.
Value: ON, OFF
MFX Type (Multi-Effects Type) Use this parameter to select from among the 78 available multi- effects. For details on multi-effects parameters, refer to MFX/
PFX Parameter (p. 161).
Value: 0 (Through)78
MFX Output Level (Multi-Effects Output Level) Adjusts the volume of the sound that has passed through the multi-effects.
Value: 0127
MFX Chorus Send Level (Multi-Effects Chorus Send Level) Adjusts the amount of chorus for the sound that passes through multi-effects. If you dont want to add the Chorus effect, set it to 0.
Value: 0127
MFX Reverb Send Level (Multi-Effects Reverb Send Level) Adjusts the amount of reverb for the sound that passes through multi-effects. If you dont want to add the Reverb effect, set it to 0.
Value: 0127
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MFX Output Assign (Multi-Effects Output Assign) Adjusts the output destination of the sound that has passed through the multi-effects.
Value
A: Output to the OUTPUT A (MIX) jacks in stereo.
B: Output to the OUTPUT B jacks in stereo.
If the Mix/Parallel parameter is set to MIX, all sounds are output from the OUTPUT A (MIX) jacks in stereo (p. 294).
Chorus Sw Switches the chorus on/off.
Value: ON, OFF
Chorus Type Selects either chorus or delay. For details on chorus parameters, refer to Chorus Parameters (p. 184).
Value: 0 (Off)3 (GM2 Chorus)
Chorus Level Adjusts the volume of the sound that has passed through chorus.
Value: 0127
Chorus Output Select Specifies how the sound routed through chorus will be output.
Value
MAIN: Output to the OUTPUT jacks in stereo.
REV: Output to reverb in mono.
M+R: Output to the OUTPUT jacks in stereo, and to reverb in mono.
When set to MAIN or M+R, the OUTPUT jack from which the sound is output is set in Chorus Output Assign.
Chorus Output Assign Selects the pair of OUTPUT jacks to which the chorus sound is routed when Chorus Output Select is set to MAIN or M+R.
Value
A: Output to the OUTPUT A (MIX) jacks in stereo.
B: Output to the OUTPUT B jacks in stereo.
When Chorus Output Select is set to REV, this setting will have no effect.
If the Mix/Parallel parameter is set to MIX, all sounds are output from the OUTPUT A (MIX) jacks in stereo (p. 294).
Reverb Sw Switches the reverb on/off.
Value: ON, OFF
Reverb Type Selects the type of reverb. For details on reverb parameters, refer to Reverb Parameters (p. 185).
Value: 0 (Off)10 (CHURCH)
Reverb Level Adjusts the volume of the sound that has passed through reverb.
Value: 0127
Reverb Output Assign Specifies how the sound routed through reverb will be output.
Value
A: Output to the OUTPUT A (MIX) jacks in stereo.
B: Output to the OUTPUT B jacks in stereo.
If the Mix/Parallel parameter is set to MIX, all sounds are output from the OUTPUT A (MIX) jacks in stereo (p. 294).
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fig.22-008_50
For details on these settings, refer to Making Effect Settings (p. 151)
PFX (Patch Multi-Effects)
Type (Patch Multi-Effects Type) Use this parameter to select from among the 76 available patch multi-effects. For details on patch multi-effects parameters, refer to MFX/PFX Parameter (p. 161).
Value: 00: Thru76
In this setting screen, you can edit the parameters of the patch multi- effects that is selected by the Patch Multi-effects Type setting. For details on the parameters that can be edited, refer to MFX/PFX
Parameter (p. 161).
Patch multi-effect settings allow you to use the Realtime Control knobs to edit up to four pre-specified parameters for each type of patch multi-effect.
Parameters marked by can be selected as a patch multi- effect control destination parameter (p. 157).
PFX Control
Source 14 (Multi-Effects Control Source 14) Sets the MIDI message used to change the multi-effects parameter with the multi-effects control.
Value
OFF: Multi-effects control will not be used.
CC0131, CC32(OFF), 3395: Control Change
PITCH BEND: Pitch Bend
AFTERTOUCH: Aftertouch
SYS CTRL1SYS CTRL4: MIDI messages used as common multi- effects controls.
If you want to use common controllers for the entire Fantom-G, select SYS CTRL 1SYS CTRL 4. MIDI messages used as System Control 14 are set with the Sys Ctrl 14 Source parameters (p. 297).
In patch/rhythm set/sample set, there are parameters that determine, for each tone/rhythm tone, whether or not Pitch Bend, Controller Number 11 (Expression) and Controller Number 64 (Hold 1) are received (p. 108). When these settings are ON, and the MIDI messages are received, then when any change is made in the settings of the desired parameter, the Pitch Bend, Expression, and Hold1 settings also change simultaneously. If you want to change the targeted parameters only, then set these to OFF.
Live mode and Studio mode provide parameters that let you specify whether specific MIDI messages will be received for each MIDI channel. When using multi-effect control, make sure that reception is enabled for the MIDI messages youre using. If MIDI message reception is disabled, multi-effect control wont work.
Destination 14 (Multi-Effects Control Destination 14) Sets the multi-effects parameters to be controlled with the multi- effects control. The multi-effects parameters available for control will depend on the multi-effects type. For details, refer to MFX/PFX
Parameter (p. 161).
Making Patch Multi-Effects Settings (PFX)
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Sens 14 (Multi-Effects Control Sensitivity 14) Sets the amount of the multi-effects controls effect that is applied. To make an increase in the currently selected value (to get higher values, move to the right, increase rates, and so on), select a positive value; to make a decrease in the currently selected value (to get lower values, move to the left, decrease rates, and so on), select a negative value. For either positive or negative settings, greater absolute values will allow greater amounts of change. Set this to 0 if you dont want to apply the effect.
Value: -63 +63
fig.22-008_50
For details on these settings, refer to Making Effect Settings (p. 151)
Type (Multi-Effects Type) Use this parameter to select from among the 78 available multi- effects. For details on multi-effects parameters, refer to MFX/PFX
Parameter (p. 161).
Value: 00: Thru78
In this setting screen, you can edit the parameters of the multi-effects that is selected by the Multi-effects Type setting. For details on the parameters that can be edited, refer to MFX/PFX Parameter (p. 161).
Multi-effect settings allow you to use the Realtime Control knobs to edit up to four pre-specified parameters for each multi- effect type.
Parameters marked by can be selected as a multi-effect control destination parameter (p. 157).
Multi-Effects Control If you wanted to change the volume of multi-effects sounds, the delay time of Delay, and the like, using an external MIDI device, you would need to send System Exclusive messages-MIDI messages designed exclusively for the Fantom-G. However, System Exclusive messages tend to be complicated, and the amount of data that needs to be transmitted can get quite large.
For that reason, a number of the more typical of the Fantom-Gs multi-effects parameters have been designed so they accept the use of Control Change (or other) MIDI messages for the purpose of making changes in their values. For example, you can use the Pitch Bend lever to change the amount of distortion, or use the keyboards touch to change the delay time of Delay. The parameters that can be changed are predetermined for each type of multi-effect; among the parameters described in MFX/
PFX Parameter (p. 161), these are indicated by a #.
In the multi-effect setting screen, a c symbol will be shown at the left of the parameter.
The function that allows you use MIDI messages to make these changes in realtime to the multi-effects parameters is called the Multi-effects Control. Up to four multi-effects controls can be used in a single patch/rhythm set/sample set/live set/studio set.
When the multi-effects control is used, you can select the amount of control (Sens parameter) applied, the parameter selected (Destination parameter), and the MIDI message used (Source parameter).
By using the Matrix Control instead of the Multi-effects Control, you can also change the parameters of some popular multi-effects in realtime (p. 109).
Making Multi-Effects Settings (MFX12)
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fig.22-011_50
For details on these settings, refer to Making Effect Settings (p. 151)
Type (Chorus Type) Selects either chorus or delay. For details on chorus parameters, refer to Chorus Parameters (p. 184).
Value: 00: OFF03: GM2 Chorus
* In this setting screen, you can edit the parameters of the chorus/delay
that is selected by the Chorus Type setting. For details on the
parameters that can be edited, refer to Chorus Parameters (p.
184).
If a number ( ) is shown for a parameter in the screen, you can use the corresponding Realtime Control knob (far left knob
is far right knob is ) to adjust the value of that parameter.
fig.22-012_50
For details on these settings, refer to Making Effect Settings (p. 151)
Type (Reverb Type) Selects the type of reverb. For details on reverb parameters, refer to Reverb Parameters (p. 185).
Value: 00: OFF10: Church
* In this setting screen, you can edit the parameters of the reverb that is
selected by the Reverb Type setting. For details on the parameters that
can be edited, refer to Reverb Parameters (p. 185).
If a number ( ) is shown for a parameter in the screen, you can use the corresponding Realtime Control knob (far left knob
is far right knob is ) to adjust the value of that parameter.
Making Chorus Settings (Chorus)
Making Reverb Settings (Reverb)
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Fantom-G_r_e.book 160
This is a stereo compressor (limiter) that is applied to the final output of the Fantom-G. It has independent high, mid, and low ranges. Independently for the high-frequency, mid-frequency, and low-frequency regions, this compresses any sounds that exceed the specified level, making the volume more consistent. When mixing down to MD, or DAT, or when you procedure your own original audio CD, this lets you master at an optimized level.
* Mastering effect settings apply to the entire Fantom-G. These settings
are not for individual patches or performances.
* The mastering effect is applied to the sound that is output from the
OUTPUT A (MIX) jacks. It will not be applied to the sound that is
output from the OUTPUT B jacks. fig.22-013_50
For details on these settings, refer to Making Effect Settings (p. 151)
Setting This recalls settings for the mastering effect.
Value: System (other than Studio Mode), Studio (only in Studio Mode), User, Hard Comp, Soft Comp. Low Boost, Mid Boost, High Boost
To save settings for the mastering effect, press the panel [WRITE] button. The settings are saved in the Setting parameter System (Studio in the case of Studio mode). The mastering effect settings you save here are saved as system settings in the case of Single mode or Live mode. In the case of Studio mode, they are saved in the studio set.
Attack Time from when the volume goes up the threshold level until the compressor effect applies
Value: 0100 ms
Release Time from when the volume falls below the threshold level until the compressor effect no longer applies
Value: 505000 ms
Threshold Volume level at which compression begins
Value: -360 dB
Ratio Compression ratio
Value: 1.00:1INF:1 (INF: infinity)
Level Output volume
Value: 024 dB
Split Frequency High Frequency at which the high-frequency (HI) and mid-frequency (MID) bands are split
Value: 20008000 Hz
Split Frequency Low Frequency at which the low-frequency (LO) and mid-frequency (MID) bands are split
Value: 200800 Hz
Mastering Effect
About Threshold and Ratio As shown in the diagram below, these parameters determine how the volume is to be compressed. fig.22-014.e
1:1
2:1
4:1
INF:1
THRESHOLD
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The MFX (multi-effects) feature 78 different kinds of effects (the PFX: 76 types). Some of the effects consist of two or more different effects connected in series.
Parameters marked with a sharp # can be controlled using a specified controller (Two setting items will change simultaneously for #1 and #2).
About Note Some effect parameters (such as Rate or Delay Time) can be set in terms of a note value.
Such parameters have a num/note switch that lets you specify whether you will set the value as a note value or as a numerical value.
If you want to set Rate (Delay Time) as a numerical value, set the num/note switch to Hz (msec). If you want to set it as a note value, set the num/note switch to NOTE.
If a parameter whose num/note switch is set to NOTE is specified as a destination for multi-effect control, you will not be able to use multi-effect control to control that parameter.
MFX/PFX Parameter
FILTER (10 types) 01 EQUALIZER p. 162 02 SPECTRUM p. 162 03 ISOLATOR p. 162 04 LOW BOOST p. 162 05 SUPER FILTER p. 163 06 STEP FILTER p. 163 07 ENHANCER p. 163 08 AUTO WAH p. 164 09 HUMANIZER p. 164 10 SPEAKER SIMULATOR p. 164
MODULATION (12 types) 11 PHASER p. 165 12 STEP PHASER p. 165 13 MULTI STAGE PHASER p. 165 14 INFINITE PHASER p. 165 15 RING MODULATOR p. 166 16 STEP RING MODULATOR p. 166 17 TREMOLO p. 166 18 AUTO PAN p. 166 19 STEP PAN p. 166 20 SLICER p. 167 21 ROTARY p. 167 22 VK ROTARY p. 167
CHORUS (12 types) 23 CHORUS p. 168 24 FLANGER p. 168 25 STEP FLANGER p. 168 26 HEXA-CHORUS p. 169 27 TREMOLO CHORUS p. 169 28 SPACE-D p. 169 29 3D CHORUS p. 169 30 3D FLANGER p. 170 31 3D STEP FLANGER p. 170 32 2BAND CHORUS p. 170 33 2BAND FLANGER p. 171 34 2BAND STEP FLANGER p. 171
DYNAMICS (8 types) 35 OVERDRIVE p. 172 36 DISTORTION p. 172 37 VS OVERDRIVE p. 172 38 VS DISTORTION p. 172 39 GUITAR AMP SIMULATOR p. 172 40 COMPRESSOR p. 173 41 LIMITER p. 173 42 GATE p. 173
DELAY (13 types) 43 DELAY p. 173 44 LONG DELAY p. 174 45 SERIAL DELAY p. 174 46 MODULATION DELAY p. 174 47 3TAP PAN DELAY p. 175 48 4TAP PAN DELAY p. 175 49 MULTI TAP DELAY p. 175 50 REVERSE DELAY p. 175
51 SHUFFLE DELAY p. 176 52 3D DELAY p. 176 53 TIME CTRL DELAY p. 176 54 LONG TIME CTRL DELAY p. 177 55 TAPE ECHO p. 177
LO-FI (5 types) 56 LOFI NOISE p. 177 57 LOFI COMPRESS p. 178 58 LOFI RADIO p. 178 59 TELEPHONE p. 178 60 PHONOGRAPH p. 178
PITCH (3 types) 61 PITCH SHIFTER p. 179 62 2VOICE PITCH SHIFTER p. 179 63 STEP PITCH SHIFTER p. 179
COMBINATION (12 types) 64 OVERDRIVE CHORUS p. 179 65 OVERDRIVE FLANGER p. 180 66 OVERDRIVE DELAY p. 180 67 DISTORTION CHORUS p. 180 68 DISTORTION FLANGER p. 180 69 DISTORTION DELAY p. 180 70 ENHANCER CHORUS p. 181 71 ENHANCER FLANGER p. 181 72 ENHANCER DELAY p. 181 73 CHORUS DELAY p. 181 74 FLANGER DELAY p. 182 75 CHORUS FLANGER p. 182
PIANO (1 type) 76 SYMPATHETIC RESONANCE p. 182
REVERB (2 types) *MFX only 77 REVERB p. 183 78 GATED REVERB p. 183
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01: EQUALIZER This is a four-band stereo equalizer (low, mid x 2, high). fig.MFX-01
02: SPECTRUM This is a stereo spectrum. Spectrum is a type of filter which modifies the timbre by boosting or cutting the level at specific frequencies. fig.MFX-02
03: ISOLATOR This is an equalizer which cuts the volume greatly, allowing you to add a special effect to the sound by cutting the volume in varying ranges. fig.MFX-03
04: LOW BOOST Boosts the volume of the lower range, creating powerful lows. fig.MFX-04
Parameter Value Description Low Freq 200, 400 Hz Frequency of the low range Low Gain # -15 +15 dB Gain of the low range Mid1 Freq 2008000 Hz Frequency of the middle
range 1 Mid1 Gain -15 +15 dB Gain of the middle range 1 Mid1 Q 0.5, 1.0, 2.0, 4.0, 8.0 Width of the middle range 1
Set a higher value for Q to narrow the range to be af- fected.
Mid2 Freq 2008000 Hz Frequency of the middle range 2
Mid2 Gain -15 +15 dB Gain of the middle range 2 Mid2 Q 0.5, 1.0, 2.0, 4.0, 8.0 Width of the middle range 2
Set a higher value for Q to narrow the range to be af- fected.
High Freq 2000, 4000, 8000 Hz Frequency of the high range High Gain # -15 +15 dB Gain of the high range Level # 0127 Output Level
Parameter Value Description Band1 (250Hz) -15 +15 dB Gain of each frequency band Band2 (500Hz) Band3 (1000Hz) Band4 (1250Hz) Band5 (2000Hz) Band6 (3150Hz) Band7 (4000Hz) Band8 (8000Hz) Q 0.5, 1.0, 2.0, 4.0, 8.0 Simultaneously adjusts the
width of the adjusted ranges for all the frequency bands.
Level # 0127 Output Level
L in
R in
L out
R out
4-Band EQ
4-Band EQ
L in
R in
L out
R out
Spectrum
Spectrum
Parameter Value Description Boost/ Cut Low #
-60 +4 dB These boost and cut each of the High, Middle, and Low frequency ranges.
At -60 dB, the sound becomes in- audible. 0 dB is equivalent to the input level of the sound.
Boost/ Cut Mid # Boost/ Cut High # Anti Phase Low Sw
OFF, ON Turns the Anti-Phase function on and off for the Low frequency ranges.
When turned on, the counter- channel of stereo sound is inverted and added to the signal.
Anti Phase Low Level
0127 Adjusts the level settings for the Low frequency ranges.
Adjusting this level for certain fre- quencies allows you to lend em- phasis to specific parts. (This is effective only for stereo source.)
Anti Phase Mid Sw
OFF, ON Settings of the Anti-Phase function for the Middle frequency ranges
The parameters are the same as for the Low frequency ranges.
Anti Phase Mid Level
0127
Low Boost Sw OFF, ON Turns Low Booster on/off. This emphasizes the bottom to cre- ate a heavy bass sound.
Low Boost Level
0127 Increasing this value gives you a heavier low end. * Depending on the Isolator and fil-
ter settings this effect may be hard to distinguish.
Level 0127 Output Level
Parameter Value Description Boost Frequency #
50125 Hz Center frequency at which the lower range will be boosted
Boost Gain # 0 +12 dB Amount by which the lower range will be boosted
Boost Width WIDE, MID, NARROW
Width of the lower range that will be boosted
Low Gain -15 +15 dB Gain of the low frequency range High Gain -15 +15 dB Gain of the high frequency range Level 0127 Output level
L in
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L out
R out
Isolator
Low Boost
Low Boost
Isolator
L in
R in
L out
R out
Low Boost
2-Band EQ
2-Band EQ
Low Boost
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05: SUPER FILTER This is a filter with an extremely sharp slope. The cutoff frequency can be varied cyclically. fig.MFX-05
06: STEP FILTER This is a filter whose cutoff frequency can be modulated in steps. You can specify the pattern by which the cutoff frequency will change. fig.MFX-06
07: ENHANCER Controls the overtone structure of the high frequencies, adding sparkle and tightness to the sound. fig.MFX-07
Parameter Value Description Filter Type LPF, BPF,
HPF, NOTCH Filter type
Frequency range that will pass through each filter LPF: frequencies below the cutoff BPF: frequencies in the region of the cutoff HPF: frequencies above the cutoff NOTCH: frequencies other than the region of the cutoff
Filter Slope -12, -24, -36 dB Amount of attenuation per octave -36 dB: extremely steep -24 dB: steep -12 dB: gentle
Filter Cutoff #
0127 Cutoff frequency of the filter Increasing this value will raise the cutoff frequency.
Filter Resonance #
0127 Filter resonance level Increasing this value will emphasize the region near the cutoff frequency.
Filter Gain 0 +12 dB Amount of boost for the filter output Modulation Sw
OFF,ON On/off switch for cyclic change
Modulation Wave
TRI, SQR, SIN, SAW1, SAW2
How the cutoff frequency will be mod- ulated
TRI: triangle wave SQR: square wave SIN: sine wave SAW1: sawtooth wave (upward) SAW2: sawtooth wave (downward)
Rate # 0.0510.00 Hz, note
Rate of modulation
Depth 0127 Depth of modulation Attack # 0127 Speed at which the cutoff frequency
will change This is effective if Modulation Wave is SQR, SAW1, or SAW2.
Level 0127 Output level
L in
R in
L out
R out
Super Filter
Super Filter
SAW1 SAW2
Parameter Value Description Step 0116 0127 Cutoff frequency at each step Rate # 0.0510.00 Hz,
note Rate of modulation
Attack # 0127 Speed at which the cutoff frequency changes between steps
Filter Type LPF, BPF, HPF, NOTCH
Filter type Frequency range that will pass through each filter LPF: frequencies below the cutoff BPF: frequencies in the region of the cutoff HPF: frequencies above the cutoff NOTCH: frequencies other than the region of the cutoff
Filter Slope -12, -24, -36 dB Amount of attenuation per octave -12 dB: gentle -24 dB: steep -36 dB: extremely steep
Filter Resonance #
0127 Filter resonance level Increasing this value will emphasize the region near the cutoff frequency.
Filter Gain 0 +12 dB Amount of boost for the filter output Level 0127 Output level
Parameter Value Description Sens # 0127 Sensitivity of the enhancer Mix # 0127 Level of the overtones gen-
erated by the enhancer Low Gain -15 +15 dB Gain of the low range High Gain -15 +15 dB Gain of the high range Level 0127 Output Level
L in
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L out
R out
Step Filter
Step Filter
L in
R in
L out
R out Mix
Mix Enhancer
Enhancer 2-Band
EQ
2-Band EQ
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08: AUTO WAH Cyclically controls a filter to create cyclic change in timbre. fig.MFX-08
09: HUMANIZER Adds a vowel character to the sound, making it similar to a human voice. fig.MFX-09
10: SPEAKER SIMULATOR Simulates the speaker type and mic settings used to record the speaker sound. fig.MFX-10
Specifications of each Speaker Type
The speaker column indicates the diameter of each speaker unit (in inches) and the number of units.
Parameter Value Description Filter Type LPF, BPF Type of filter
LPF: The wah effect will be applied over a wide frequency range. BPF: The wah effect will be applied over a narrow frequency range.
Manual # 0127 Adjusts the center frequency at which the effect is applied.
Peak 0127 Adjusts the amount of the wah effect that will occur in the range of the center frequency.
Set a higher value for Q to narrow the range to be affected.
Sens # 0127 Adjusts the sensitivity with which the filter is controlled.
Polarity UP, DOWN Sets the direction in which the frequen- cy will change when the auto-wah filter is modulated.
UP: The filter will change toward a higher frequency. DOWN: The filter will change to- ward a lower frequency.
Rate # 0.0510.00 Hz, note
Frequency of modulation
Depth # 0127 Depth of modulation Phase # 0180 deg Adjusts the degree of phase shift of the
left and right sounds when the wah ef- fect is applied.
Low Gain -15 +15 dB Gain of the low range High Gain -15 +15 dB Gain of the high range Level 0127 Output Level
Parameter Value Description Drive Sw OFF, ON Turns Drive on/off. Drive # 0127 Degree of distortion
Also changes the volume. Vowel1 a, e, i, o, u Selects the vowel. Vowel2 a, e, i, o, u Rate # 0.0510.00 Hz,
note Frequency at which the two vowels switch
Depth # 0127 Effect depth Input Sync Sw
OFF, ON Determines whether the LFO for switching the vowels is reset by the in- put signal (ON) or not (OFF).
Input Sync Threshold
0127 Volume level at which reset is applied
Manual # 0100 Point at which Vowel 1/2 switch 49 or less: Vowel 1 will have a long- er duration. 50: Vowel 1 and 2 will be of equal duration. 51 or more: Vowel 2 will have a longer duration.
Low Gain -15 +15 dB Gain of the low frequency range High Gain -15 +15 dB Gain of the high frequency range Pan # L6463R Stereo location of the output Level 0127 Output level
L in
R in
L out
R out
Auto Wah
2-Band EQ
2-Band EQ
Auto Wah
Formant 2-Band EQ
L in
R in
Overdrive
L out
R out Pan R
Pan L
Parameter Value Description Speaker Type (See Specifications
of each Speaker Type)
Type of speaker
Mic Setting 1, 2, 3 Adjusts the location of the mic that is recording the sound of the speaker.
This can be adjusted in three steps, with the mic becoming more distant in the order of 1, 2, and 3.
Mic Level # 0127 Volume of the microphone Direct Level # 0127 Volume of the direct sound Level # 0127 Output Level
Type Cabinet Speaker Micro- phone
SMALL 1 small open-back enclosure 10 dynamic SMALL 2 small open-back enclosure 10 dynamic MIDDLE open back enclosure 12 x 1 dynamic JC-120 open back enclosure 12 x 2 dynamic BUILT-IN 1 open back enclosure 12 x 2 dynamic BUILT-IN 2 open back enclosure 12 x 2 condenser BUILT-IN 3 open back enclosure 12 x 2 condenser BUILT-IN 4 open back enclosure 12 x 2 condenser BUILT-IN 5 open back enclosure 12 x 2 condenser BG STACK 1 sealed enclosure 12 x 2 condenser BG STACK 2 large sealed enclosure 12 x 2 condenser MS STACK 1 large sealed enclosure 12 x 4 condenser MS STACK 2 large sealed enclosure 12 x 4 condenser METAL STACK large double stack 12 x 4 condenser 2-STACK large double stack 12 x 4 condenser 3-STACK large triple stack 12 x 4 condenser
L in
R in
L out
R out
Speaker
Speaker
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11: PHASER A phase-shifted sound is added to the original sound and modulated. fig.MFX-11
12: STEP PHASER The phaser effect will be varied gradually. fig.MFX-12
13: MULTI STAGE PHASER Extremely high settings of the phase difference produce a deep phaser effect. fig.MFX-13
14: INFINITE PHASER A phaser that continues raising/lowering the frequency at which the sound is modulated. fig.MFX-14
Parameter Value Description Mode 4-STAGE, 8-
STAGE, 12-STAGE Number of stages in the phaser
Manual # 0127 Adjusts the basic frequency from which the sound will be modu- lated.
Rate # 0.0510.00 Hz, note Frequency of modulation Depth 0127 Depth of modulation Polarity INVERSE,
SYNCHRO Selects whether the left and right phase of the modulation will be the same or the opposite.
INVERSE: The left and right phase will be opposite. When using a mono source, this spreads the sound. SYNCHRO: The left and right phase will be the same. Select this when inputting a stereo source.
Resonance # 0127 Amount of feedback Cross Feedback
-98 +98 % Adjusts the proportion of the phaser sound that is fed back into the effect. Negative (-) set- tings will invert the phase.
Mix # 0127 Level of the phase-shifted sound Low Gain -15 +15 dB Gain of the low range High Gain -15 +15 dB Gain of the high range Level 0127 Output Level
Parameter Value Description Mode 4-STAGE, 8-
STAGE, 12-STAGE Number of stages in the phaser
Manual # 0127 Adjusts the basic frequency from which the sound will be modu- lated.
Rate # 0.0510.00 Hz, note Frequency of modulation Depth 0127 Depth of modulation Polarity INVERSE,
SYNCHRO Selects whether the left and right phase of the modulation will be the same or the opposite.
INVERSE: The left and right phase will be opposite. When using a mono source, this spreads the sound. SYNCHRO: The left and right phase will be the same. Select this when inputting a stereo source.
Resonance # 0127 Amount of feedback
R in R out
L in L outPhaser Mix
2-Band EQ
Phaser 2-Band EQ
Mix
R in R out
L in L outStep Phaser Mix
2-Band EQ
Step Phaser 2-Band EQ
Mix
Cross Feedback
-98 +98 % Adjusts the proportion of the phaser sound that is fed back into the effect. Negative (-) set- tings will invert the phase.
Step Rate # 0.1020.00 Hz, note Rate of the step-wise change in the phaser effect
Mix # 0127 Level of the phase-shifted sound Low Gain -15 +15 dB Gain of the low range High Gain -15 +15 dB Gain of the high range Level 0127 Output Level
Parameter Value Description Mode 4-STAGE, 8-
STAGE, 12-STAGE, 16- STAGE, 20- STAGE, 24-STAGE
Number of phaser stages
Manual # 0127 Adjusts the basic frequency from which the sound will be modu- lated.
Rate # 0.0510.00 Hz, note Frequency of modulation Depth 0127 Depth of modulation Resonance # 0127 Amount of feedback Mix # 0127 Level of the phase-shifted sound Pan # L6463R Stereo location of the output
sound Low Gain -15 +15 dB Gain of the low range High Gain -15 +15 dB Gain of the high range Level 0127 Output Level
Parameter Range Explanation Mode 1, 2, 3, 4 Higher values will produce a
deeper phaser effect. Speed # -100 +100 Speed at which to raise or lower
the frequency at which the sound is modulated (+: upward / -: downward)
Resonance # 0127 Amount of feedback Mix # 0127 Volume of the phase-shifted
sound Pan # L6463R Panning of the output sound Low Gain -15 +15 dB Amount of boost/cut for the
low-frequency range High Gain -15 +15 dB Amount of boost/cut for the
high-frequency range Level 0127 Output volume
Parameter Value Description
Resonance
Mix
L in
R in
L out
R out Pan R
Pan L2-Band EQ
Multi Stage Phaser
Infinite Phaser 2-Band EQ
L in
R in
L out
R out Pan R
Pan L
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15: RING MODULATOR This is an effect that applies amplitude modulation (AM) to the input signal, producing bell-like sounds. You can also change the modulation frequency in response to changes in the volume of the sound sent into the effect. fig.MFX-15
16: STEP RING MODULATOR This is a ring modulator that uses a 16-step sequence to vary the frequency at which modulation is applied. fig.MFX-16
17: TREMOLO Cyclically modulates the volume to add tremolo effect to the sound. fig.MFX-17a
18: AUTO PAN Cyclically modulates the stereo location of the sound. fig.MFX-18a
19: STEP PAN This uses a 16-step sequence to vary the panning of the sound. fig.MFX-19
Parameter Value Description Frequency # 0127 Adjusts the frequency at which modula-
tion is applied. Sens # 0127 Adjusts the amount of frequency modu-
lation applied. Polarity UP, DOWN Determines whether the frequency mod-
ulation moves towards higher frequen- cies (UP) or lower frequencies (DOWN).
Low Gain -15 +15 dB Gain of the low frequency range High Gain -15 +15 dB Gain of the high frequency range Balance # D100:0W
D0:100W Volume balance between the direct sound (D) and the effect sound (W)
Level 0127 Output level
Parameter Range Explanation Step 0116 0127 Frequency of ring modulation at
each step Rate # 0.0510.00 Hz, note Rate at which the 16-step se-
quence will cycle Attack # 0127 Speed at which the modulation
frequency changes between steps
Low Gain -15 +15 dB Amount of boost/cut for the low-frequency range
High Gain -15 +15 dB Amount of boost/cut for the high-frequency range
Balance # D100:0W D0:100W
Volume balance of the original sound (D) and effect sound (W)
Level 0127 Output volume
L in
R in
L out
R out
Ring Mod
2-Band EQ
2-Band EQ
Ring Mod
L in
R in
L out
R out
Step Ring Mod
2-Band EQ
2-Band EQ
Step Ring Mod
L in
R in
L out
R out
Tremolo
2-Band EQ
2-Band EQ
Tremolo
Parame- ter
Value Description
Mod Wave TRI, SQR, SIN, SAW1, SAW2
Modulation Wave TRI: triangle wave SQR: square wave SIN: sine wave SAW1/2: sawtooth wave
Rate # 0.0510.00 Hz, note Frequency of the change Depth # 0127 Depth to which the effect is applied Low Gain -15 +15 dB Gain of the low range High Gain -15 +15 dB Gain of the high range Level 0127 Output Level
Parame- ter
Value Description
Mod Wave TRI, SQR, SIN, SAW1, SAW2
Modulation Wave TRI: triangle wave SQR: square wave SIN: sine wave SAW1/2: sawtooth wave
Rate # 0.0510.00 Hz, note Frequency of the change Depth # 0127 Depth to which the effect is applied Low Gain -15 +15 dB Gain of the low range High Gain -15 +15 dB Gain of the high range Level 0127 Output Level
Parameter Range Explanation Step 0116 L6463R Pan at each step Rate # 0.0510.00 Hz, note Rate at which the 16-step se-
quence will cycle Attack # 0127 Speed at which the pan changes
between steps Input Sync Sw
OFF, ON Specifies whether an input note will cause the sequence to re- sume from the first step of the se- quence (ON) or not (OFF)
Input Sync Threshold
0127 Volume at which an input note will be detected
Level 0127 Output volume
SAW1 SAW2
L in
R in
L out
R out
Auto Pan
2-Band EQ
2-Band EQ
Auto Pan
SAW1 SAW2
L
R
L
R
L in
R in
L out
R out
Step Pan
Step Pan
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20: SLICER By applying successive cuts to the sound, this effect turns a conventional sound into a sound that appears to be played as a backing phrase. This is especially effective when applied to sustain- type sounds. fig.MFX-20
21: ROTARY The Rotary effect simulates the sound of the rotary speakers often used with the electric organs of the past. Since the movement of the high range and low range rotors can be set independently, the unique type of modulation characteristic of these speakers can be simulated quite closely. This effect is most suitable for electric organ Patches. fig.MFX-21
22: VK ROTARY This type provides modified response for the rotary speaker, with the low end boosted further.
This effect features the same specifications as the VK-7s built-in rotary speaker. fig.MFX-22
Parameter Value Description Step 0116 L6463R Level at each step Rate # 0.0510.00
Hz, note Rate at which the 16-step sequence will cycle
Attack # 0127 Speed at which the level changes be- tween steps
Input Sync Sw
OFF, ON Specifies whether an input note will cause the sequence to resume from the first step of the sequence (ON) or not (OFF)
Input Sync Threshold
0127 Volume at which an input note will be detected
Mode LEGATO, SLASH
Sets the manner in which the volume changes as one step progresses to the next.
LEGATO: The change in volume from one steps level to the next remains unaltered. If the level of a following step is the same as the one preceding it, there is no change in volume. SLASH: The level is momentarily set to 0 before progressing to the level of the next step. This change in volume occurs even if the level of the follow- ing step is the same as the preceding step.
Shuffle # 0127 Timing of volume changes in levels for even-numbered steps (step 2, step 4, step 6...).
The higher the value, the later the beat progresses.
Level 0127 Output level
Parameter Value Description Speed # SLOW, FAST Simultaneously switch the rota-
tional speed of the low frequency rotor and high frequency rotor.
SLOW: Slows down the rota- tion to the Slow Rate. FAST: Speeds up the rotation to the Fast Rate.
Woofer Slow Speed
0.0510.00 Hz Slow speed (SLOW) of the low frequency rotor
Woofer Fast Speed
0.0510.00 Hz Fast speed (FAST) of the low fre- quency rotor
L in
R in
L out
R out
Slicer
Slicer
Rotary
L out
R out
L in
R in
Woofer Acceleration
015 Adjusts the time it takes the low frequency rotor to reach the new- ly selected speed when switch- ing from fast to slow (or slow to fast) speed. Lower values will re- quire longer times.
Woofer Level 0127 Volume of the low frequency ro- tor
Tweeter Slow Speed
0.0510.00 Hz Settings of the high frequency ro- tor
The parameters are the same as for the low frequency rotor
Tweeter Fast Speed
0.0510.00 Hz
Tweeter Acceleration
015
Tweeter Level 0127 Separation 0127 Spatial dispersion of the sound Level # 0127 Output Level
Parameter Value Description Speed # SLOW, FAST Rotational speed of the rotat-
ing speaker Brake # OFF, ON Switches the rotation of the
rotary speaker. When this is turned on, the rotation will gradually stop. When it is turned off, the rotation will gradually resume.
Woofer Slow Speed
0.0510.00 Hz Low-speed rotation speed of the woofer
Woofer Fast Speed
0.0510.00 Hz High-speed rotation speed of the woofer
Woofer Trans Up
0127 Adjusts the rate at which the woofer rotation speeds up when the rotation is switched from Slow to Fast.
Woofer Trans Down
0127 Adjusts the rate at which the woofer rotation speeds up when the rotation is switched from Fast to Slow.
Woofer Level 0127 Volume of the woofer Tweeter Slow Speed
0.0510.00 Hz Settings of the tweeter The parameters are the same as for the woofer.Tweeter Fast
Speed 0.0510.00 Hz
Tweeter Trans Up
0127
Tweeter Trans Down
0127
Tweeter Level 0127 Spread 010 Sets the rotary speaker stereo
image. The higher the value set, the wider the sound is spread out.
Low Gain -15 +15 dB Gain of the low range High Gain -15 +15 dB Gain of the high range Level # 0127 Output Level
Parameter Value Description
L out
R out
L in
R in
Rotary
2-Band EQ
2-Band EQ
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23: CHORUS This is a stereo chorus. A filter is provided so that you can adjust the timbre of the chorus sound. fig.MFX-23
24: FLANGER This is a stereo flanger. (The LFO has the same phase for left and right.) It produces a metallic resonance that rises and falls like a jet airplane taking off or landing. A filter is provided so that you can adjust the timbre of the flanged sound. fig.MFX-24
25: STEP FLANGER This is a flanger in which the flanger pitch changes in steps. The speed at which the pitch changes can also be specified in terms of a note-value of a specified tempo. fig.MFX-25
Parameter Value Description Filter Type OFF, LPF, HPF Type of filter
OFF: no filter is used LPF: cuts the frequency range above the Cutoff Freq HPF: cuts the frequency range below the Cutoff Freq
Cutoff Freq 2008000 Hz Basic frequency of the filter Pre Delay 0.0100.0 ms Adjusts the delay time from the
direct sound until the chorus sound is heard.
Rate # 0.0510.00 Hz, note Frequency of modulation Depth 0127 Depth of modulation Phase 0180 deg Spatial spread of the sound Low Gain -15 +15 dB Gain of the low range High Gain -15 +15 dB Gain of the high range Balance # D100:0W
D0:100W Volume balance between the di- rect sound (D) and the chorus sound (W)
Level 0127 Output Level
Parameter Value Description Filter Type OFF, LPF, HPF Type of filter
OFF: no filter is used LPF: cuts the frequency range above the Cutoff Freq HPF: cuts the frequency range below the Cutoff Freq
Cutoff Freq 2008000 Hz Basic frequency of the filter Pre Delay 0.0100.0 ms Adjusts the delay time from
when the direct sound begins until the flanger sound is heard.
Rate # 0.0510.00 Hz, note Frequency of modulation Depth 0127 Depth of modulation Phase 0180 deg Spatial spread of the sound Feedback # -98 +98 % Adjusts the proportion of the
flanger sound that is fed back into the effect. Negative (-) set- tings will invert the phase.
Low Gain -15 +15 dB Gain of the low range
L in
R in
Chorus
Chorus
L out
R out
2-Band EQ
2-Band EQ
Balance W
Balance W
Balance D
Balance D
R in R out
L in L out
Flanger
Feedback Feedback
Flanger
Balance W
Balance D
Balance W
Balance D
2-Band EQ
2-Band EQ
High Gain -15 +15 dB Gain of the high range Balance # D100:0W
D0:100W Volume balance between the di- rect sound (D) and the flanger sound (W)
Level 0127 Output Level
Parameter Value Description Filter Type OFF, LPF, HPF Type of filter
OFF: no filter is used LPF: cuts the frequency range above the Cutoff Freq HPF: cuts the frequency range below the Cutoff Freq
Cutoff Freq 2008000 Hz Basic frequency of the filter Pre Delay 0.0100.0 ms Adjusts the delay time from
when the direct sound begins until the flanger sound is heard.
Rate # 0.0510.00 Hz, note Frequency of modulation Depth 0127 Depth of modulation Phase 0180 deg Spatial spread of the sound Feedback # -98 +98 % Adjusts the proportion of the
flanger sound that is fed back into the effect. Negative (-) set- tings will invert the phase.
Step Rate # 0.1020.00 Hz, note Rate (period) of pitch change Low Gain -15 +15 dB Gain of the low range High Gain -15 +15 dB Gain of the high range Balance # D100:0WD0:100W Volume balance between the
direct sound (D) and the flanger sound (W)
Level 0127 Output Level
Parameter Value Description
R in R out
L in L out
Feedback Feedback
Balance W
Balance D
Balance W
Balance D
2-Band EQ
2-Band EQ
Step Flanger
Step Flanger
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26: HEXA-CHORUS Uses a six-phase chorus (six layers of chorused sound) to give richness and spatial spread to the sound. fig.MFX-26
27: TREMOLO CHORUS This is a chorus effect with added Tremolo (cyclic modulation of volume). fig.MFX-27
28: SPACE-D This is a multiple chorus that applies two-phase modulation in stereo. It gives no impression of modulation, but produces a transparent chorus effect. fig.MFX-28
29: 3D CHORUS This applies a 3D effect to the chorus sound. The chorus sound will be positioned 90 degrees left and 90 degrees right. fig.MFX-29
Parameter Value Description Pre Delay 0.0100.0 ms Adjusts the delay time from the
direct sound until the chorus sound is heard.
Rate # 0.0510.00 Hz, note Frequency of modulation Depth 0127 Depth of modulation Pre Delay Deviation
020 Adjusts the differences in Pre Delay between each chorus sound.
Depth Deviation
-20 +20 Adjusts the difference in modu- lation depth between each cho- rus sound.
Pan Deviation 020 Adjusts the difference in stereo location between each chorus sound.
0: All chorus sounds will be in the center. 20: Each chorus sound will be spaced at 60 degree intervals relative to the center.
Balance # D100:0WD0:100W Volume balance between the di- rect sound (D) and the chorus sound (W)
Level 0127 Output Level
Parameter Value Description Pre Delay 0.0100.0 ms Adjusts the delay time from
the direct sound until the cho- rus sound is heard.
Chorus Rate # 0.0510.00 Hz, note Modulation frequency of the chorus effect
Chorus Depth 0127 Modulation depth of the cho- rus effect
Tremolo Rate # 0.0510.00 Hz, note Modulation frequency of the tremolo effect
Tremolo Separation
0127 Spread of the tremolo effect
Tremolo Phase 0180 deg Spread of the tremolo effect Balance # D100:0WD0:100W Volume balance between the
direct sound (D) and the trem- olo chorus sound (W)
Level 0127 Output Level
Balance W
Balance W
L in
R in
L out
R out
Hexa Chorus
Balance D
Balance D
Tremolo Chorus
L in
R in
L out
R out Balance D
Balance D
Balance W
Balance W
Parameter Value Description Pre Delay 0.0100.0 ms Adjusts the delay time from
the direct sound until the chorus sound is heard.
Rate # 0.0510.00 Hz, note Frequency of modulation Depth 0127 Depth of modulation Phase 0180 deg Spatial spread of the sound Low Gain -15 +15 dB Gain of the low range High Gain -15 +15 dB Gain of the high range Balance # D100:0WD0:100W Volume balance between
the direct sound (D) and the chorus sound (W)
Level 0127 Output Level
Parameter Value Description Filter Type OFF, LPF, HPF Type of filter
OFF: no filter is used LPF: cuts the frequency range above the Cutoff Freq HPF: cuts the frequency range below the Cutoff Freq
Cutoff Freq 2008000 Hz Basic frequency of the filter Pre Delay 0.0100.0 ms Adjusts the delay time from the
direct sound until the chorus sound is heard.
Rate # 0.0510.00 Hz, note Frequency of modulation Depth 0127 Modulation depth of the chorus
effect Phase 0180 deg Spatial spread of the sound Output Mode SPEAKER, PHONES Adjusts the method that will be
used to hear the sound that is output to the OUTPUT jacks. The optimal 3D effect will be achieved if you select SPEAK- ER when using speakers, or PHONES when using head- phones.
Low Gain -15 +15 dB Gain of the low range High Gain -15 +15 dB Gain of the high range Balance # D100:0WD0:100W Volume balance between the
direct sound (D) and the chorus sound (W)
Level 0127 Output Level
L in
R in
Space D
Space D
L out
R out
2-Band EQ
2-Band EQ
Balance W
Balance W
Balance D
Balance D
L
R
3D Chorus
2-Band EQ
2-Band EQ
R out
L out
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30: 3D FLANGER This applies a 3D effect to the flanger sound. The flanger sound will be positioned 90 degrees left and 90 degrees right. fig.MFX-30
31: 3D STEP FLANGER This applies a 3D effect to the step flanger sound. The flanger sound will be positioned 90 degrees left and 90 degrees right. fig.MFX-31
32: 2BAND CHORUS A chorus effect that lets you apply an effect independently to the low-frequency and high-frequency ranges. fig.MFX-32
Parameter Value Description Filter Type OFF, LPF, HPF Type of filter
OFF: no filter is used LPF: cuts the frequency range above the Cutoff Freq HPF: cuts the frequency range below the Cutoff Freq
Cutoff Freq 2008000 Hz Basic frequency of the filter Pre Delay 0.0100.0 ms Adjusts the delay time from
when the direct sound begins until the flanger sound is heard.
Rate # 0.0510.00 Hz, note Frequency of modulation Depth 0127 Depth of modulation Phase 0180 deg Spatial spread of the sound Feedback # -98 +98 % Adjusts the proportion of the
flanger sound that is fed back into the effect. Negative (-) set- tings will invert the phase.
Output Mode SPEAKER, PHONES Adjusts the method that will be used to hear the sound that is output to the OUTPUT jacks. The optimal 3D effect will be achieved if you select SPEAK- ER when using speakers, or PHONES when using head- phones.
Low Gain -15 +15 dB Gain of the low range High Gain -15 +15 dB Gain of the high range Balance # D100:0WD0:100W Volume balance between the
direct sound (D) and the flanger sound (W)
Level 0127 Output Level
Parameter Value Description Filter Type OFF, LPF, HPF Type of filter
OFF: no filter is used LPF: cuts the frequency range above the Cutoff Freq HPF: cuts the frequency range below the Cutoff Freq
Cutoff Freq 2008000 Hz Basic frequency of the filter Pre Delay 0.0100.0 ms Adjusts the delay time from
when the direct sound begins until the flanger sound is heard.
Rate # 0.0510.00 Hz, note Frequency of modulation Depth 0127 Depth of modulation Phase 0180 deg Spatial spread of the sound
L
R
3D Flanger
2-Band EQ
2-Band EQ
R out
L out
L
R
3D Step Flanger
2-Band EQ
2-Band EQ
R out
L out
Feedback # -98 +98 % Adjusts the proportion of the flanger sound that is fed back into the effect. Negative (-) set- tings will invert the phase.
Step Rate # 0.1020.00 Hz, note Rate (period) of pitch change Output Mode SPEAKER, PHONES Adjusts the method that will be
used to hear the sound that is output to the OUTPUT jacks. The optimal 3D effect will be achieved if you select SPEAK- ER when using speakers, or PHONES when using head- phones.
Low Gain -15 +15 dB Gain of the low range High Gain -15 +15 dB Gain of the high range Balance # D100:0WD0:100W Volume balance between the
direct sound (D) and the flanger sound (W)
Level 0127 Output Level
Parameter Range Explanation Split Freq 2008000 Hz Frequency at which the low
and high ranges will be divid- ed
Low Pre Delay 0.0100.0 ms Delay time from when the original sound is heard to when the low-range chorus sound is heard
Low Rate # 0.0510.00 Hz, note Rate at which the low-range chorus sound is modulated
Low Depth 0127 Modulation depth for the low- range chorus sound
Low Phase 0180 deg Spaciousness of the low-range chorus sound
High Pre Delay 0.0100.0 ms Delay time from when the original sound is heard to when the high-range chorus sound is heard
High Rate # 0.0510.00 Hz, note Rate at which the low-range chorus sound is modulated
High Depth 0127 Modulation depth for the high-range chorus sound
High Phase 0180 deg Spaciousness of the high- range chorus sound
Balance # D100:0WD0:100W Volume balance of the origi- nal sound (D) and chorus sound (W)
Level 0127 Output volume
Parameter Value Description
R in R out
L in L out
Split High Band Chorus
Low Band Chorus
High Band Chorus
Low Band Chorus Split
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33: 2BAND FLANGER A flanger that lets you apply an effect independently to the low- frequency and high-frequency ranges. fig.MFX-33
34: 2BAND STEP FLANGER A step flanger that lets you apply an effect independently to the low- frequency and high-frequency ranges. fig.MFX-34
Parameter Range Explanation Split Freq 2008000 Hz Frequency at which the low
and high ranges will be divid- ed
Low Pre Delay 0.0100.0 ms Delay time from when the original sound is heard to when the low-range flanger sound is heard
Low Rate # 0.0510.00 Hz, note Rate at which the low-range flanger sound is modulated
Low Depth 0127 Modulation depth for the low- range flanger sound
Low Phase 0180 deg Spaciousness of the low-range flanger sound
Low Feedback #
-98 +98% Proportion of the low-range flanger sound that is to be re- turned to the input (negative values invert the phase)
High Pre Delay 0.0100.0 ms Delay time from when the original sound is heard to when the high-range flanger sound is heard
High Rate # 0.0510.00 Hz, note Rate at which the high-range flanger sound is modulated
High Depth 0127 Modulation depth for the high-range flanger sound
High Phase 0180 deg Spaciousness of the high- range flanger sound
High Feedback #
-98 +98% Proportion of the high-range flanger sound that is to be re- turned to the input (negative values invert the phase)
Balance # D100:0WD0:100W Volume balance of the origi- nal sound (D) and flanger sound (W)
Level 0127 Output volume
R in R out
L in L out
Split
High Band Flanger
Low Band Flanger
High Band Flanger
Low Band Flanger
Split
Low Band Feedback
High Band Feedback
High Band Feedback
Low Band Feedback
Parameter Range Explanation Split Freq 2008000 Hz Frequency at which the low
and high ranges will be divid- ed
Low Pre Delay 0.0100.0 ms Delay time from when the original sound is heard to when the low-range flanger sound is heard
Low Rate # 0.0510.00 Hz, note Rate at which the low-range flanger sound is modulated
Low Depth 0127 Modulation depth for the low- range flanger sound
Low Phase 0180 deg Spaciousness of the low-range flanger sound
Low Feedback #
-98 +98% Proportion of the low-range flanger sound that is to be re- turned to the input (negative values invert the phase)
Low Step Rate #
0.1020.00 Hz, note Rate at which the steps will cycle for the low-range flanger sound
High Pre Delay 0.0100.0 ms Delay time from when the original sound is heard to when the high-range flanger sound is heard
High Rate # 0.0510.00 Hz, note Rate at which the high-range flanger sound is modulated
High Depth 0127 Modulation depth for the high-range flanger sound
High Phase 0180 deg Spaciousness of the high- range flanger sound
High Feedback #
-98 +98% Proportion of the high-range flanger sound that is to be re- turned to the input (negative values invert the phase)
High Step Rate #
0.1020.00 Hz, note Rate at which the steps will cycle for the high-range flanger sound
Balance # D100:0WD0:100W Volume balance of the origi- nal sound (D) and flanger sound (W)
Level 0127 Output volume
R in R out
L in L out
Split
High Band Step Flanger
Split
Low Band Feedback
High Band Feedback
High Band Feedback
Low Band Feedback
Low Band Step Flanger
High Band Step Flanger
Low Band Step Flanger
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35: OVERDRIVE Creates a soft distortion similar to that produced by vacuum tube amplifiers. fig.MFX-35
36: DISTORTION Produces a more intense distortion than Overdrive. The parameters are the same as for 35: OVERDRIVE. fig.MFX-36
37: VS OVERDRIVE This is an overdrive that provides heavy distortion. fig.MFX-37
38: VS DISTORTION This is a distortion effect that provides heavy distortion. The parameters are the same as for 37: VS OVERDRIVE. fig.MFX-38
39: GUITAR AMP SIMULATOR This is an effect that simulates the sound of a guitar amplifier. fig.MFX-39
Specifications for each Speaker Type The speaker column indicates the diameter of each speaker unit (in inches) and the number of units.
Parameter Value Description Drive # 0127 Degree of distortion
Also changes the volume. Amp Type SMALL,
BUILT-IN, 2-STACK, 3-STACK
Type of guitar amp SMALL: small amp BUILT-IN: single-unit type amp 2-STACK: large double stack amp 3-STACK: large triple stack amp
Low Gain -15 +15 dB Gain of the low range High Gain -15 +15 dB Gain of the high range Pan # L6463R Stereo location of the output sound Level 0127 Output Level
Parameter Value Description Drive # 0127 Degree of distortion
Also changes the volume. Tone # 0127 Sound quality of the Overdrive effect Amp Sw OFF, ON Turns the Amp Simulator on/off. Amp Type SMALL,
BUILT-IN, 2-STACK, 3-STACK
Type of guitar amp SMALL: small amp BUILT-IN: single-unit type amp 2-STACK: large double stack amp 3-STACK: large triple stack amp
Low Gain -15 +15 dB Gain of the low range High Gain -15 +15 dB Gain of the high range Pan # L6463R Stereo location of the output sound Level 0127 Output Level
Amp Simulator
2-Band EQ
L in
R in
Over drive
L out
R out Pan R
Pan L
L in
R in
L out
R out Pan R
Pan LAmp Simulator
2-Band EQ
Distortion
L in
R in
L out
R out Pan R
Pan LAmp Simulator
2-Band EQ
Overdrive
L in
R in
L out
R out Pan R
Pan LAmp Simulator
2-Band EQ
Distortion
Parameter Value Description Pre Amp Sw OFF, ON Turns the amp switch on/off. Pre Amp Type
JC-120, CLEAN TWIN, MATCH DRIVE, BG LEAD, MS1959I, MS1959II, MS1959I+II, SLDN LEAD, METAL5150, METAL LEAD, OD-1, OD-2 TURBO, DISTORTION, FUZZ
Type of guitar amp
Pre Amp Volume #
0127 Volume and amount of distor- tion of the amp
Pre Amp Master #
0127 Volume of the entire pre-amp
Pre Amp Gain
LOW, MIDDLE, HIGH Amount of pre-amp distortion
Pre Amp Bass
0127 Tone of the bass/mid/treble frequency range * Middle cannot be set if
Match Drive is selected as the Pre Amp Type.
Pre Amp Middle Pre Amp Treble Pre Amp Presence
0127 (MATCH DRIVE: -127 - 0)
Tone for the ultra-high fre- quency range
Pre Amp Bright
OFF, ON Turning this On produces a sharper and brighter sound. * This parameter applies to
the JC-120, Clean Twin, and BG Lead Pre Amp Types.
Speaker Sw OFF, ON Determines whether the signal passes through the speaker (ON), or not (OFF).
Speaker Type
(See the table below.) Type of speaker
Mic Setting 1, 2, 3 Adjusts the location of the mic thats capturing the sound of the speaker.
This can be adjusted in three steps, from 1 to 3, with the mic becoming more distant as the value increases.
Mic Level 0127 Volume of the microphone Direct Level 0127 Volume of the direct sound Pan # L6463R Stereo location of the output Level # 0127 Output level
Type Cabinet Speaker Microphone SMALL 1 small open-back enclosure 10 dynamic SMALL 2 small open-back enclosure 10 dynamic MIDDLE open back enclosure 12 x 1 dynamic JC-120 open back enclosure 12 x 2 dynamic BUILT-IN 1 open back enclosure 12 x 2 dynamic BUILT-IN 2 open back enclosure 12 x 2 condenser BUILT-IN 3 open back enclosure 12 x 2 condenser BUILT-IN 4 open back enclosure 12 x 2 condenser BUILT-IN 5 open back enclosure 12 x 2 condenser BG STACK 1 sealed enclosure 12 x 2 condenser BG STACK 2 large sealed enclosure 12 x 2 condenser MS STACK 1 large sealed enclosure 12 x 4 condenser MS STACK 2 large sealed enclosure 12 x 4 condenser METAL STACK
large double stack 12 x 4 condenser
2-STACK large double stack 12 x 4 condenser 3-STACK large triple stack 12 x 4 condenser
L in
R in
L out
R out Pan R
Pan L Pre Amp Speaker
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40: COMPRESSOR Flattens out high levels and boosts low levels, smoothing out fluctuations in volume. fig.MFX-40
41: LIMITER Compresses signals that exceed a specified volume level, preventing distortion from occurring. fig.MFX-41
42: GATE Cuts the reverbs delay according to the volume of the sound sent into the effect. Use this when you want to create an artificial- sounding decrease in the reverbs decay. fig.MFX-42
43: DELAY This is a stereo delay.
When Feedback Mode is NORMAL: fig.MFX-43a
When Feedback Mode is CROSS: fig.MFX-43b
Parameter Value Description Attack # 0127 Sets the speed at which compression
starts Threshold # 0127 Adjusts the volume at which compres-
sion begins Post Gain 0 +18 dB Adjusts the output gain. Low Gain -15 +15 dB Gain of the low frequency range High Gain -15 +15 dB Gain of the high frequency range Level # 0127 Output level
Parameter Value Description Release # 0127 Adjusts the time after the signal volume
falls below the Threshold Level until compression is no longer applied.
Threshold # 0127 Adjusts the volume at which compres- sion begins
Ratio 1.5:1, 2:1, 4:1, 100:1
Compression ratio
Post Gain 0 +18 dB Adjusts the output gain. Low Gain -15 +15 dB Gain of the low frequency range High Gain -15 +15 dB Gain of the high frequency range Level # 0127 Output level
Parameter Value Description Threshold # 0127 Volume level at which the gate begins to
close Mode GATE,
DUCK Type of gate
GATE: The gate will close when the volume of the original sound decreas- es, cutting the original sound. DUCK (Ducking): The gate will close when the volume of the original sound increases, cutting the original sound.
Attack 0127 Adjusts the time it takes for the gate to fully open after being triggered.
L in
R in
L out
R out
Compressor
2-Band EQ
2-Band EQ
Compressor
L in
R in
L out
R out
Limiter
2-Band EQ
2-Band EQ
Limiter
L in
R in
L out
R out
Gate
Gate
Hold 0127 Adjusts the time it takes for the gate to start closing after the source sound falls beneath the Threshold.
Release 0127 Adjusts the time it takes the gate to fully close after the hold time.
Balance # D100:0W D0:100W
Volume balance between the direct sound (D) and the effect sound (W)
Level 0127 Output level
Parameter Value Description Delay Left 01300 ms,
note Adjusts the time until the delay sound is heard.Delay Right
Phase Left NORMAL, INVERSE
Phase of the delay sound Phase Right Feedback Mode
NORMAL, CROSS
Selects the way in which delay sound is fed back into the effect. (See the figures above.)
Feedback # -98 +98 % Adjusts the amount of the delay sound thats fed back into the effect. Negative (-) settings invert the phase.
HF Damp 2008000 Hz, BYPASS
Adjusts the frequency above which sound fed back to the effect is filtered out. If you dont want to filter out any high frequen- cies, set this parameter to BYPASS.
Low Gain -15 +15 dB Gain of the low frequency range High Gain -15 +15 dB Gain of the high frequency range Balance # D100:0W
D0:100W Volume balance between the direct sound (D) and the delay sound (W)
Level 0127 Output level
Parameter Value Description
R in R out
L in L out
Feedback Feedback
Balance W
Balance D
Balance W
Balance D
2-Band EQ
2-Band EQ
Delay
Delay
R in R out
L in L out
Feedback Feedback
Balance W
Balance D
Balance W
Balance D
2-Band EQ
2-Band EQ
Delay
Delay
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44: LONG DELAY A delay that provides a long delay time. fig.MFX-44
45: SERIAL DELAY This delay connects two delay units in series. Feedback can be applied independently to each delay unit, allowing you to produce complex delay sounds. fig.MFX-45
46: MODULATION DELAY Adds modulation to the delayed sound.
When Feedback Mode is NORMAL: fig.MFX-46a
When Feedback Mode is CROSS: fig.MFX-46b
Parameter Range Explanation Delay Time 02600 ms, note Delay time from when the
original sound is heard to when the delay sound is heard
Phase NORMAL, INVERSE Phase of the delay (NORMAL: non-inverted, INVERT: in- verted)
Feedback # -98 +98% Proportion of the delay sound that is to be returned to the in- put (negative values invert the phase)
HF Damp 2008000 Hz, BYPASS
Frequency at which the high- frequency content of the de- layed sound will be cut (BY- PASS: no cut)
Pan # L6463R Panning of the delay sound Low Gain -15 +15 dB Amount of boost/cut for the
high-frequency range High Gain -15 +15 dB Amount of boost/cut for the
high-frequency range Balance # D100:0WD0:100W Volume balance of the origi-
nal sound (D) and delay sound (W)
Level 0127 Output volume
Parameter Range Explanation Delay1 Time 01300 ms, note Delay time from when sound
is input to delay 1 until the de- lay sound is heard
Delay1 Feedback #
-98 +98% Proportion of the delay sound that is to be returned to the in- put of delay 1 (negative values invert the phase)
Delay1 HF Damp
2008000 Hz, BYPASS
Frequency at which the high- frequency content of the de- layed sound of delay 1 will be cut (BYPASS: no cut)
Delay2 Time 01300 ms, note Delay time from when sound is input to delay 2 until the de- lay sound is heard
Delay2 Feedback #
-98 +98% Proportion of the delay sound that is to be returned to the in- put of delay 2 (negative values invert the phase)
L in
R in
L out
R out2-Band EQ
Pan R
Pan L
2-Band EQ
Feedback
Long Delay
R in R out
L in L out
Feedback 1
Pan L
Pan R
Delay 1
Feedback 2
Delay 2
Delay2 HF Damp
2008000 Hz, BYPASS
Frequency at which the high- frequency content of the de- layed sound of delay 2 will be cut (BYPASS: no cut)
Pan # L6463R Panning of the delay sound Low Gain -15 +15 dB Amount of boost/cut for the
low-frequency range High Gain -15 +15 dB Amount of boost/cut for the
high-frequency range Balance # D100:0WD0:100W Volume balance of the origi-
nal sound (D) and delay sound (W)
Level 0127 Output volume
Parameter Value Description Delay Left 01300 ms,
note Adjusts the time until the delay sound is heard.Delay Right
Feedback Mode
NORMAL, CROSS
Selects the way in which delay sound is fed back into the effect (See the figures above.)
Feedback # -98 +98 % Adjusts the amount of the delay sound thats fed back into the effect. Negative (-) settings invert the phase.
HF Damp 2008000 Hz, BYPASS
Adjusts the frequency above which sound fed back to the effect is filtered out. If you dont want to filter out any high frequencies, set this parameter to BYPASS.
Rate # 0.0510.00 Hz, note
Frequency of modulation
Depth 0127 Depth of modulation Phase 0-180 deg Spatial spread of the sound Low Gain -15 +15 dB Gain of the low frequency range High Gain -15 +15 dB Gain of the high frequency range Balance # D100:0W
D0:100W Volume balance between the direct sound (D) and the delay sound (W)
Level 0127 Output level
Parameter Range Explanation
R in R out
L in L out
Feedback Feedback
Balance W
Balance D
Balance W
Balance D
2-Band EQ
2-Band EQ
Delay
Delay
Modulation
Modulation
R in R out
L in L out
Feedback Feedback
Balance W
Balance D
Balance W
Balance D
2-Band EQ
2-Band EQ
Delay
Delay
Modulation
Modulation
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47: 3TAP PAN DELAY Produces three delay sounds; center, left and right. fig.MFX-47
48: 4TAP PAN DELAY This effect has four delays. fig.MFX-48a
fig.MFX-48b
Stereo location of each delay
49: MULTI TAP DELAY This effect provides four delays. Each of the Delay Time parameters can be set to a note length based on the selected tempo. You can also set the panning and level of each delay sound. fig.MFX-49
50: REVERSE DELAY This is a reverse delay that adds a reversed and delayed sound to the input sound. A tap delay is connected immediately after the reverse delay. fig.MFX-50
Parameter Value Description Delay Left/ Right/Center
02600 ms, note
Adjusts the time until the delay sound is heard.
Center Feedback #
-98 +98 % Adjusts the amount of the delay sound thats fed back into the effect. Negative (-) settings invert the phase.
HF Damp 2008000 Hz, BYPASS
Adjusts the frequency above which sound fed back to the effect is filtered out. If you do not want to filter out any high frequencies, set this parameter to BYPASS.
Left/Right/ Center Level
0127 Volume of each delay
Low Gain -15 +15 dB Gain of the low frequency range High Gain -15 +15 dB Gain of the high frequency range Balance # D100:0W
D0:100W Volume balance between the direct sound (D) and the delay sound (W)
Level 0127 Output level
Parameter Value Description Delay 14 Time
02600 ms, note
Adjusts the time until the delay sound is heard.
Delay 1 Feedback #
-98 +98 % Adjusts the amount of the delay sound thats fed back into the effect. Negative (-) settings invert the phase.
HF Damp 2008000 Hz, BYPASS
Adjusts the frequency above which sound fed back to the effect is filtered out. If you do not want to filter out any high frequencies, set this parameter to BYPASS.
Delay 14 Level
0127 Volume of each delay
Low Gain -15 +15 dB Gain of the low frequency range High Gain -15 +15 dB Gain of the high frequency range Balance # D100:0W
D0:100W Volume balance between the direct sound (D) and the delay sound (W)
Level 0127 Output level
L in
R in
L out
R out
Left Tap
Right Tap
Triple Tap Delay
2-Band EQ
2-Band EQ
Balance W
Balance D
Balance W
Balance D
Feedback
Center Tap
L in
R in
L out
R out
Quadruple Tap Delay
Balance W
Balance D
Balance W
Balance D
Delay 1
Delay 2
Delay 3
Delay 4
Feedback
1
2 3
4
L R
Parameter Value Description Delay 14 Time
02600 ms, note
Adjusts the time until Delays 14 are heard.
Delay 1 Feedback #
-98 +98 % Adjusts the amount of the delay sound thats fed back into the effect. Negative (-) settings invert the phase.
HF Damp 2008000 Hz, BYPASS
Adjusts the frequency above which sound fed back to the effect is filtered out. If you dont want to filter out any the high frequencies, set this parameter to BYPASS.
Delay 14 Pan
L6463R Stereo location of Delays 14
Delay 14 Level
0127 Output level of Delays 14
Low Gain -15 +15 dB Gain of the low frequency range High Gain -15 +15 dB Gain of the high frequency range Balance # D100:0W
D0:100W Volume balance between the direct sound (D) and the effect sound (W)
Level 0127 Output level
Parameter Range Explanation Threshold 0127 Volume at which the reverse
delay will begin to be applied Rev Delay Time
01300 ms, note Delay time from when sound is input into the reverse delay until the delay sound is heard
Rev Delay Feedback #
-98 +98% Proportion of the delay sound that is to be returned to the in- put of the reverse delay (nega- tive values invert the phase)
Rev Delay HF Damp
2008000 Hz, BYPASS
Frequency at which the high- frequency content of the re- verse-delayed sound will be cut (BYPASS: no cut)
Rev Delay Pan L6463R Panning of the reverse delay sound
Rev Delay Level
0127 Volume of the reverse delay sound
Delay 1 3 Time
01300 ms, note Delay time from when sound is input into the tap delay un- til the delay sound is heard
L in
R in
L out
R out
Multi Tap Delay
Balance W
Balance D
Balance W
Balance D
Delay 1
Delay 3
Delay 4
Delay 2
Feed back
2-Band EQ
2-Band EQ
Feedback L in
R in
Rev. Delay
L out
R out2-Band EQ
2-Band EQ
Rev
Delay D2
D1
D3
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51: SHUFFLE DELAY Adds a shuffle to the delay sound, giving the sound a bouncy delay effect with a swing feel. fig.MFX-51
52: 3D DELAY This applies a 3D effect to the delay sound. The delay sound will be positioned 90 degrees left and 90 degrees right. fig.MFX-52
53: TIME CTRL DELAY A stereo delay in which the delay time can be varied smoothly. fig.MFX-53
Delay 3 Feed- back #
-98 +98% Proportion of the delay sound that is to be returned to the in- put of the tap delay (negative values invert the phase)
Delay HF Damp
2008000 Hz, BY- PASS
Frequency at which the low- frequency content of the tap delay sound will be cut (BY- PASS: no cut)
Delay 1 Pan, Delay 2 Pan
L6463R Panning of the tap delay sounds
Delay 1 Level, Delay 2 Level
0127 Volume of the tap delay sounds
Low Gain -15 +15 dB Amount of boost/cut for the low-frequency range
High Gain -15 +15 dB Amount of boost/cut for the high-frequency range
Balance # D100:0WD0:100W Volume balance of the origi- nal sound (D) and delay sound (W)
Level 0127 Output volume
Parameter Value Description Delay Time # 02600 ms,
note Adjusts the time until the delay sound is heard.
Shuffle Rate #
0100 % Adjusts the ratio (as a percentage) of the time that elapses before Delay B sounds relative to the time that elapses before the Delay A sounds.
When set to 100%, the delay times are the same.
Acceleration 015 Adjusts the time over which the Delay Time changes from the current setting to its specified new setting.
Feedback # -98 +98 % Adjusts the amount of the delay thats fed back into the effect. Negative (-) set- tings invert the phase.
HF Damp 2008000 Hz, BYPASS
Adjusts the frequency above which sound fed back to the effect is filtered out. If you dont want to filter out any high frequencies, set this parameter to BYPASS.
Pan A/B 0127 Stereo location of Delay A/B Level A/B 0127 Volume of delay A/B Low Gain -15 +15 dB Gain of the low frequency range High Gain -15 +15 dB Gain of the high frequency range Balance # D100:0W
D0:100W Volume balance between the direct sound (D) and the effect sound (W)
Level 0127 Output level
Parameter Range Explanation
Feedback L in
R in
Delay
L out
R out2-Band EQ
2-Band EQ
A
B
Delay A
Delay B
L
R
3D Delay L
3D Delay R
3D Delay C
Level
Feedback
2-Band EQ
2-Band EQ
L out
R out
Parameter Value Description Delay Left 02600 ms, note Adjusts the delay time from
the direct sound until the de- lay sound is heard.
Delay Right Delay Center Center Feedback #
-98 +98 % Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.
HF Damp 2008000 Hz, BYPASS Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequen- cies, set this parameter to BY- PASS.
Left Level 0127 Output level of the delay soundRight Level
Center Level Output Mode SPEAKER, PHONES Adjusts the method that will
be used to hear the sound that is output to the OUTPUT jacks. The optimal 3D effect will be achieved if you select SPEAKER when using speak- ers, or PHONES when using headphones.
Low Gain -15 +15 dB Gain of the low range High Gain -15 +15 dB Gain of the high range Balance # D100:0WD0:100W Volume balance between the
direct sound (D) and the effect sound (W)
Level 0127 Output Level
Parameter Value Description Delay Time # 01300 ms, note Adjusts the time until the delay
is heard. Acceleration 015 Adjusts the time over which the
Delay Time changes from the current setting to a specified new setting. The rate of change for the Delay Time directly affects the rate of pitch change.
Feedback # -98 +98 % Adjusts the amount of the delay thats fed back into the effect. Negative (-) settings invert the phase.
HF Damp 2008000 Hz, BYPASS
Adjusts the frequency above which sound fed back to the ef- fect is filtered out. If you do not want to filter out any high fre- quencies, set this parameter to BYPASS.
Low Gain -15 +15 dB Gain of the low frequency range High Gain -15 +15 dB Gain of the high frequency range Balance # D100:0W
D0:100W Volume balance between the di- rect sound (D) and the delay sound (W)
Level 0127 Output level
R in R out
L in L out
Feedback Feedback
Pan L
Pan R
Time Ctrl Delay
Time Ctrl Delay
2-Band EQ
2-Band EQ
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54: LONG TIME CTRL DELAY A delay in which the delay time can be varied smoothly, and allowing an extended delay to be produced. fig.MFX-54
55: TAPE ECHO A virtual tape echo that produces a realistic tape delay sound. This simulates the tape echo section of a Roland RE-201 Space Echo. fig.MFX-55
56: LOFI NOISE In addition to a lo-fi effect, this adds various types of noise such as white noise and disc noise. fig.MFX-56
Parameter Value Description Delay Time # 02600 ms,
note Adjusts the time until the delay is heard.
Acceleration 015 Adjusts the time over which the Delay Time changes from the current setting to a specified new setting.
The rate of change for the Delay Time directly affects the rate of pitch change.
Feedback # -98 +98 % Adjusts the amount of the delay thats fed back into the effect. Negative (-) set- tings invert the phase.
HF Damp 2008000 Hz, BYPASS
Adjusts the frequency above which sound fed back to the effect is filtered out. If you do not want to filter out any high frequencies, set this parameter to BYPASS.
Pan # L6463R Stereo location of the delay Low Gain -15 +15 dB Gain of the low frequency range High Gain -15 +15 dB Gain of the high frequency range Balance # D100:0W
D0:100W Volume balance between the direct sound (D) and the delay sound (W)
Level 0127 Output level
Parameter Value Description Mode S, M, L,
S+M, S+L, M+L, S+M+L
Combination of playback heads to use Select from three different heads with different delay times. S: short M: middle L: long
Repeat Rate # 0127 Tape speed Increasing this value will shorten the spacing of the delayed sounds.
Intensity # 0127 Amount of delay repeats Bass -15 +15 dB Boost/cut for the lower range of the echo
sound Treble -15 +15 dB Boost/cut for the upper range of the echo
sound Head S Pan L6463R Independent panning for the short, mid-
dle, and long playback headsHead M Pan Head L Pan Tape Distor- tion
05 Amount of tape-dependent distortion to be added
This simulates the slight tonal changes that can be detected by signal-analysis equipment. Increasing this value will increase the distortion.
L in
R in
L out
R out2-Band EQ
Balance W
Balance W
Balance D
Balance D
2-Band EQ
Feedback
Time Control Delay
Echo Level
Echo Level
L in
R in
L out
R out
Tape Echo
Direct Level
Direct Level
Wow/Flutter Rate
0127 Speed of wow/flutter (complex variation in pitch caused by tape wear and rota- tional irregularity)
Wow/Flutter Depth
0127 Depth of wow/flutter
Echo Level # 0127 Volume of the echo sound Direct Level # 0127 Volume of the original sound Level 0127 Output level
Parameter Value Description LoFi Type 19 Degrades the sound quality. The sound
quality grows poorer as this value is in- creased.
Post Filter Type
OFF, LPF, HPF
Type of filter OFF: no filter is used LPF: cuts the frequency range above the Cutoff HPF: cuts the frequency range below the Cutoff
Post Filter Cutoff
2008000 Hz Center frequency of the filter
W/P Noise Type
WHITE, PINK
Switch between white noise and pink noise.
W/P Noise LPF
2008000 Hz, BYPASS
Center frequency of the low pass filter applied to the white/pink noise (BY- PASS: no cut)
W/P Noise Level #
0127 Volume of the white/pink noise
Disc Noise Type
LP, EP, SP, RND
Type of record noise The frequency at which the noise is heard depends on the selected type.
Disc Noise LPF
2008000 Hz, BYPASS
Adjusts the cutoff frequency of the low pass filter applied to the record noise. If you dont want to filter out any high fre- quencies, set this parameter to BYPASS.
Disc Noise Level #
0127 Volume of the record noise
Hum Noise Type
50 Hz, 60 Hz Frequency of the hum noise
Hum Noise LPF
2008000 Hz, BYPASS
Center frequency of the low pass filter applied to the hum noise (BYPASS: no cut)
Hum Noise Level #
0127 Volume of the hum noise
Low Gain -15 +15 dB Gain of the low range High Gain -15 +15 dB Gain of the high range Balance # D100:0W
D0:100W Volume balance between the direct sound (D) and the effect sound (W)
Level 0127 Output level
Parameter Value Description
R in R out
L in L out
Lo-Fi
Lo-Fi
Noise Gen.
2-Band EQ
2-Band EQ
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57: LOFI COMPRESS This is an effect that intentionally degrades the sound quality for creative purposes. fig.MFX-57
58: LOFI RADIO In addition to a Lo-Fi effect, this effect also generates radio noise. fig.MFX-58
59: TELEPHONE fig.MFX-59
60: PHONOGRAPH Simulates a sound recorded on an analog record and played back on a record player. This effect also simulates the various types of noise that are typical of a record, and even the rotational irregularities of an old turntable. fig.MFX-60
Parameter Value Description Pre Filter Type
16 Selects the type of filter applied to the sound before it passes through the Lo-Fi effect.
LoFi Type 19 Degrades the sound quality. The sound quality grows poorer as this value is in- creased.
Post Filter Type
OFF, LPF, HPF
Type of filter OFF: no filter is used LPF: cuts the frequency range above the Cutoff HPF: cuts the frequency range below the Cutoff
Post Filter Cutoff
2008000 Hz Basic frequency of the Post Filter
Low Gain -15 +15 dB Gain of the low range High Gain -15 +15 dB Gain of the high range Balance # D100:0W
D0:100W Volume balance between the direct sound (D) and the effect sound (W)
Level # 0127 Output level
Parameter Value Description LoFi Type 19 Degrades the sound quality. The sound
quality grows poorer as this value is in- creased.
Post Filter Type
OFF, LPF, HPF
Type of filter OFF: no filter is used LPF: cuts the frequency range above the Cutoff HPF: cuts the frequency range below the Cutoff
Post Filter Cutoff
2008000 Hz Basic frequency of the Post Filter
Radio Detune #
0127 Simulates the tuning noise of a radio. As this value is raised, the tuning drifts fur- ther.
Radio Noise Level #
0127 Volume of the radio noise
Balance # D100:0W D0:100W
Volume balance between the direct sound (D) and the effect sound (W)
Level 0127 Output level
L in
R in
L out
R out
Compressor
Lo-Fi
Lo-Fi
Compressor
2-Band EQ
2-Band EQ
R in R out
L in L out
Lo-Fi
Lo-Fi
Radio
2-Band EQ
2-Band EQ
Parameter Value Description Voice Quality #
015 Audio quality of the telephone voice
Treble -15 +15 dB Bandwidth of the telephone voice Balance # D100:0
D0:100W Volume balance between the direct sound (D) and the effect sound (W)
Level 0127 Output level
Parameter Value Description Signal Distortion
0127 Depth of distortion
Frequency Range
0127 Frequency response of the playback sys- tem
Decreasing this value will produce the impression of an old system with a poor frequency response.
Disc Type LP, EP, SP Rotational speed of the turntable This will affect the frequency of the scratch noise.
Scratch Noise Level
0127 Amount of noise due to scratches on the record
Dust Noise Level
0127 Volume of noise due to dust on the record
Hiss Noise Level
0127 Volume of continuous hiss
Total Noise Level #
0127 Volume of overall noise
Wow 0127 Depth of long-cycle rotational irregulari- ty
Flutter 0127 Depth of short-cycle rotational irregular- ity
Random 0127 Depth of indefinite-cycle rotational irreg- ularity
Total Wow/ Flutter #
0127 Depth of overall rotational irregularity
Balance # D100:0W D0:100W
Volume balance between the direct sound (D) and the effect sound (W)
Level 0127 Output level
L in
R in
L out
R out
Telephone
Telephone
L in
R in
Phonograph
Phonograph
L out
R out
Balance W
Balance W
Balance D
Balance D
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61: PITCH SHIFTER (Feedback Pitch Shifter) A stereo pitch shifter. fig.MFX-61
62: 2VOICE PITCH SHIFTER Shifts the pitch of the original sound. This 2-voice pitch shifter has two pitch shifters, and can add two pitch shifted sounds to the original sound. fig.MFX-62
63: STEP PITCH SHIFTER A pitch shifter in which the amount of pitch shift is varied by a 16- step sequence. fig.MFX-63
64: OVERDRIVE CHORUS fig.MFX-66
Parameter Value Description Coarse #1 -24 +12 semi Adjusts the pitch of the pitch
shifted sound in semitone steps. Fine #1 -100 +100 cent Adjusts the pitch of the pitch
shifted sound in 2-cent steps. Delay Time 01300 ms, note Adjusts the delay time from the
direct sound until the pitch shift- ed sound is heard.
Feedback # -98 +98 % Adjusts the proportion of the pitch shifted sound that is fed back into the effect. Negative (-) settings will invert the phase.
Low Gain -15 +15 dB Gain of the low range High Gain -15 +15 dB Gain of the high range Balance # D100:0W
D0:100W Volume balance between the di- rect sound (D) and the pitch shifted sound (W)
Level 0127 Output Level
Parameter Value Description Pitch 1: Coarse #1
-24-+12 semi Adjusts the pitch of Pitch Shift 1 in semitone steps.
Pitch 1:Fine #1 -100-+100 cent Adjusts the pitch of Pitch Shift Pitch 1 in 2-cent steps.
Pitch 1:Delay 01300 ms, note Adjusts the delay time from the direct sound until the Pitch Shift 1 sound is heard.
Pitch 1:Feed- back #
-98 +98 % Adjusts the proportion of the pitch shifted sound that is fed back into the effect. Negative (-) settings will invert the phase.
Pitch 1:Pan # L64-63R Stereo location of the Pitch Shift 1 sound
Pitch 1:Level 0127 Volume of the Pitch Shift1 sound Pitch 2: Coarse #2
-24-+12 semi Settings of the Pitch Shift 2 sound. The parameters are the same as for the Pitch Shift 1 sound.
Pitch 2:Fine #2 -100-+100 cent Pitch 2:Delay 01300 ms, note Pitch 2:Feed- back #
-98 +98 %
Pitch 2:Pan # L64-63R Pitch 2:Level 0127 Low Gain -15 +15 dB Gain of the low range
L in
R in
Pitch Shifter
Pitch Shifter
L out
R out
2-Band EQ
2-Band EQ
L in
R in
L out
R out
2Voice Pitch Shifter
Level 1 Balance W
Balance D
Balance W
Balance D
Level 1 Pan 2 R
Pan 1 L
Pan 1 R
Pan 2 L
High Gain -15 +15 dB Gain of the high range Level Balance A100:0B-A0:100B Volume balance between the
Pitch Shift 1 and Pitch Shift 2 sounds
Balance D100:0W-D0:100W Volume balance between the di- rect sound (D) and the pitch shifted sound (W)
Level 0-127 Output Level
Parameter Range Explanation Step 0116 -24 +12 semi Amount of pitch shift at each
step (semitone units) Rate # 0.0510.00 Hz, note Rate at which the 16-step se-
quence will cycle Attack # 0127 Speed at which the amount of
pitch shift changes between steps
Gate Time # 0127 Duration of the pitch shifted sound at each step
Fine -100 +100 cent Pitch shift adjustment for all steps (2-cent units)
Delay Time 01300 ms, note Delay time from the original sound until the pitch-shifted sound is heard
Feedback # -98 +98% Proportion of the pitch-shift- ed sound that is to be returned to the input (negative values invert the phase)
Low Gain -15 +15 dB Amount of boost/cut for the low-frequency range
High Gain -15 +15 dB Amount of boost/cut for the high-frequency range
Balance # D100:0WD0:100W Volume balance of the origi- nal sound (D) and pitch-shift- ed sound (W)
Level 0127 Output volume
Parameter Value Description Overdrive Drive #
0127 Degree of distortion Also changes the volume.
Overdrive Pan #
L6463R Stereo location of the overdrive sound
Chorus Pre Delay
0.0100.0 ms Adjusts the delay time from the direct sound until the chorus sound is heard.
Chorus Rate # 0.0510.00 Hz, note Frequency of modulation Chorus Depth 0127 Depth of modulation
Parameter Value Description
L in
R in
Step Pitch Shifter
Step Pitch Shifter
L out
R out
2-Band EQ
2-Band EQ
L in
R in
ChorusOverdrive
L out
R out
Balance W
Balance W
Balance D
Balance D
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65: OVERDRIVE FLANGER fig.MFX-67
66: OVERDRIVE DELAY fig.MFX-68
67: DISTORTION CHORUS The parameters are essentially the same as in 64: OVERDRIVE CHORUS, with the exception of the following two.
Overdrive Drive Distortion Drive, Overdrive Pan Distortion Pan fig.MFX-69
68: DISTORTION FLANGER The parameters are essentially the same as in 65: OVERDRIVE FLANGER, with the exception of the following two.
Overdrive Drive Distortion Drive, Overdrive Pan Distortion Pan fig.MFX-70
69: DISTORTION DELAY The parameters are essentially the same as in 66: OVERDRIVE DELAY, with the exception of the following two.
Overdrive Drive Distortion Drive, Overdrive Pan Distortion Pan fig.MFX-71
Chorus Balance #
D100:0WD0:100W Adjusts the volume balance be- tween the sound that is sent through the chorus (W) and the sound that is not sent through the chorus (D).
Level 0127 Output Level
Parameter Value Description Overdrive Drive #
0127 Degree of distortion Also changes the volume.
Overdrive Pan #
L6463R Stereo location of the overdrive sound
Flanger Pre Delay
0.0100.0 ms Adjusts the delay time from when the direct sound begins until the flanger sound is heard.
Flanger Rate # 0.0510.00 Hz, note Frequency of modulation Flanger Depth 0127 Depth of modulation Flanger Feedback #
-98 +98 % Adjusts the proportion of the flanger sound that is fed back into the effect. Negative (-) set- tings will invert the phase.
Flanger Balance #
D100:0WD0:100W Adjusts the volume balance be- tween the sound that is sent through the flanger (W) and the sound that is not sent through the flanger (D).
Level 0127 Output Level
Parameter Value Description Overdrive Drive #
0127 Degree of distortion Also changes the volume.
Overdrive Pan # L6463R Stereo location of the over- drive sound
Delay Time 02600 ms, note Adjusts the delay time from the direct sound until the de- lay sound is heard.
Delay Feedback #
-98 +98 % Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.
Delay HF Damp 2008000 Hz, BYPASS
Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequen- cies, set this parameter to BY- PASS.
Delay Balance # D100:0WD0:100W Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).
Parameter Value Description
L in
R in
FlangerOverdrive
L out
R out
Balance W
Balance W
Balance D
Balance D
Feedback
L in
R in
DelayOverdrive
L out
R out
Balance W
Balance W
Balance D
Balance D
Feedback
Level 0127 Output Level Parameter Value Description
L in
R in
ChorusDistortion
L out
R out
Balance W
Balance W
Balance D
Balance D
L in
R in
FlangerDistortion
L out
R out
Balance W
Balance W
Balance D
Balance D
Feedback
L in
R in
DelayDistortion
L out
R out
Balance W
Balance W
Balance D
Balance D
Feedback
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70: ENHANCER CHORUS fig.MFX-72
71: ENHANCER FLANGER fig.MFX-73
72: ENHANCER DELAY fig.MFX-74
73: CHORUS DELAY fig.MFX-75
Parameter Value Description Enhancer Sens # 0127 Sensitivity of the enhancer Enhancer Mix # 0127 Level of the overtones generat-
ed by the enhancer Chorus Pre Delay
0.0100.0 ms Adjusts the delay time from the direct sound until the chorus sound is heard.
Chorus Rate # 0.0510.00 Hz, note Frequency of modulation Chorus Depth 0127 Depth of modulation Chorus Balance #
D100:0W D0:100W
Adjusts the volume balance be- tween the sound that is sent through the chorus (W) and the sound that is not sent through the chorus (D).
Level 0127 Output Level
Parameter Value Description Enhancer Sens # 0127 Sensitivity of the enhancer Enhancer Mix # 0127 Level of the overtones generat-
ed by the enhancer Flanger Pre Delay
0.0100.0 ms Adjusts the delay time from when the direct sound begins until the flanger sound is heard.
Flanger Rate # 0.0510.00 Hz, note Frequency of modulation Flanger Depth 0127 Depth of modulation Flanger Feedback #
-98 +98 % Adjusts the proportion of the flanger sound that is fed back into the effect. Negative (-) set- tings will invert the phase.
Flanger Balance #
D100:0W D0:100W
Adjusts the volume balance be- tween the sound that is sent through the flanger (W) and the sound that is not sent through the flanger (D).
Level 0127 Output Level
Parameter Value Description Enhancer Sens # 0127 Sensitivity of the enhancer
Chorus
L in
R in
L out
R out
Mix
Mix
Enhancer
Enhancer
Balance W
Balance W
Balance D
Balance D
Feedback
Flanger
L in
R in
L out
R out
Mix
Mix
Enhancer
Enhancer
Balance W
Balance W
Balance D
Balance D
Feedback
Delay
L in
R in
L out
R out
Mix
Mix
Enhancer
Enhancer
Balance W
Balance W
Balance D
Balance D
Enhancer Mix # 0127 Level of the overtones gener- ated by the enhancer
Delay Time 02600 ms, note Adjusts the delay time from the direct sound until the de- lay sound is heard.
Delay Feedback #
-98 +98 % Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.
Delay HF Damp 2008000 Hz, BYPASS
Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequen- cies, set this parameter to BY- PASS.
Delay Balance # D100:0WD0:100W Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).
Level 0127 Output Level
Parameter Value Description Chorus Pre Delay
0.0100.0 ms Adjusts the delay time from the direct sound until the chorus sound is heard.
Chorus Rate # 0.0510.00 Hz, note Frequency of modulation Chorus Depth 0127 Depth of modulation Chorus Balance #
D100:0WD0:100W Volume balance between the di- rect sound (D) and the chorus sound (W)
Delay Time 02600 ms, note Adjusts the delay time from the direct sound until the delay sound is heard.
Delay Feedback #
-98 +98 % Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.
Delay HF Damp
2008000 Hz, BYPASS
Adjusts the frequency above which sound fed back to the ef- fect will be cut. If you do not want to cut the high frequen- cies, set this parameter to BY- PASS.
Delay Balance #
D100:0WD0:100W Adjusts the volume balance be- tween the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).
Level 0127 Output Level
Parameter Value Description
Feedback
Delay
L in
R in
L out
R out
Balance W
Balance W
Balance D
Balance D
Chorus Balance W
Balance W
Balance D
Balance D
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74: FLANGER DELAY * MFX only
fig.MFX-76
75: CHORUS FLANGER * MFX only
fig.MFX-77
76: SYMPATHETIC RESONANCE On an acoustic piano, holding down the damper pedal allows other strings to resonate in sympathy with the notes you play, creating rich and spacious resonances. This effect simulates these sympathetic resonances. fig.MFX-78
Parameter Value Description Flanger Pre Delay
0.0100.0 ms Adjusts the delay time from when the direct sound begins until the flanger sound is heard.
Flanger Rate # 0.0510.00 Hz, note Frequency of modulation Flanger Depth 0127 Depth of modulation Flanger Feedback #
-98 +98 % Adjusts the proportion of the flanger sound that is fed back into the effect. Negative (-) set- tings will invert the phase.
Flanger Balance #
D100:0WD0:100W Volume balance between the direct sound (D) and the flanger sound (W)
Delay Time 02600 ms, note Adjusts the delay time from the direct sound until the delay sound is heard.
Delay Feedback #
-98 +98 % Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) set- tings will invert the phase.
Delay HF Damp
2008000 Hz, BYPASS
Adjusts the frequency above which sound fed back to the ef- fect will be cut. If you do not want to cut the high frequen- cies, set this parameter to BY- PASS.
Delay Balance #
D100:0WD0:100W Adjusts the volume balance be- tween the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).
Level 0127 Output Level
Parameter Value Description Chorus Pre Delay
0.0100.0 ms Adjusts the delay time from the direct sound until the chorus sound is heard.
Chorus Rate # 0.0510.00 Hz, note Modulation frequency of the chorus effect
Chorus Depth 0127 Modulation depth of the chorus effect
Chorus Balance #
D100:0WD0:100W Volume balance between the di- rect sound (D) and the chorus sound (W)
Flanger Pre Delay
0.0100.0 ms Adjusts the delay time from when the direct sound begins until the flanger sound is heard.
Flanger Rate # 0.0510.00 Hz, note Modulation frequency of the flanger effect
Feedback
Delay
L in
R in
L out
R out
Balance W
Balance W
Balance D
Balance D
Flanger
Balance W
Balance W
Balance D
Balance D
Feedback
Feedback
Flanger
L in
R in
L out
R out
Balance W
Balance W
Balance D
Balance D
Chorus Balance W
Balance W
Balance D
Balance D
Flanger Depth 0127 Modulation depth of the flanger effect
Flanger Feedback #
-98 +98 % Adjusts the proportion of the flanger sound that is fed back into the effect. Negative (-) set- tings will invert the phase.
Flanger Balance #
D100:0WD0:100W Adjusts the volume balance be- tween the sound that is sent through the flanger (W) and the sound that is not sent through the flanger (D).
Level 0127 Output Level
Parameter Range Explanation Damper # 0127 Depth to which damper pedal is
pressed (controls the sympathet- ic resonance)
Depth # 0127 Depth of the effect Octave -3 +3 oct Octave shift amount for the sym-
pathetic resonance Detune -50 +50 cent Pitch shift amount for the sym-
pathetic resonance Phase NORMAL,
INVERSE Phase at which the sympathetic resonance is generated
Low Damp Freq
201000 Hz Frequency at which the low range of the sympathetic reso- nance is cut
Low Damp 1100 % Amount of attenuation by which the low range of the sympathetic resonance is cut (100%: no effect)
High Damp Freq
100010000 Hz Frequency at which the high range of the sympathetic reso- nance is cut
High Damp 1100 % Amount of attenuation by which the high range of the sympathet- ic resonance is cut (100%: no ef- fect)
Time 105000 ms Time over which the sympathet- ic resonance will decay (lower- ing the Octave setting will make this more noticeable)
Level 0127 Output Level
Parameter Value Description
L in
R in
L out
R out
Sym. Resonance
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77: REVERB Adds reverberation to the sound, simulating an acoustic space. fig.MFX-64
78: GATED REVERB This is a special type of reverb in which the reverberant sound is cut off before its natural length. fig.MFX-65
Parameter Value Description Type ROOM1,
ROOM2, STAGE1, STAGE2, HALL1, HALL2
Type of reverb ROOM1: dense reverb with short decay ROOM2: sparse reverb with short decay STAGE1: reverb with greater late reverberation STAGE2: reverb with strong early reflections HALL1: reverb with clear rever- berance HALL2: reverb with rich rever- berance
Pre Delay 0.0100.0 ms Adjusts the delay time from the di- rect sound until the reverb sound is heard.
Time # 0127 Time length of reverberation HF Damp 2008000 Hz,
BYPASS Adjusts the frequency above which the reverberant sound will be cut.
As the frequency is set lower, more of the high frequencies will be cut, resulting in a softer and more muted reverberance. If you do not want to cut the high frequencies, set this pa- rameter to BYPASS.
Low Gain -15 +15 dB Gain of the low range High Gain -15 +15 dB Gain of the high range Balance # D100:0W
D0:100W Volume balance between the direct sound (D) and the reverb sound (W)
Level 0127 Output Level
Parameter Value Description Type NORMAL, REVERSE,
SWEEP1, SWEEP2 Type of reverb
NORMAL: conventional gated reverb REVERSE: backwards re- verb SWEEP1: the reverberant sound moves from right to left SWEEP2: the reverberant sound moves from left to right
Pre Delay 0.0100.0 ms Adjusts the delay time from the direct sound until the re- verb sound is heard.
L in
R in
L out
R out
Reverb
2-Band EQ
Balance W
Balance W
Balance D
Balance D
2-Band EQ
L in
R in
L out
R out
Gated Reverb
2-Band EQ
Balance W
Balance W
Balance D
Balance D
2-Band EQ
Gate Time 5500 ms Adjusts the time from when the reverb is heard until it disappears.
Low Gain -15 +15 dB Gain of the low range High Gain -15 +15 dB Gain of the high range Balance # D100:0WD0:100W Volume balance between the
direct sound (D) and the re- verb sound (W)
Level # 0127 Output Level
Parameter Value Description
When Using 3D Effects The following 3D effects utilize RSS (Roland Sound Space) technology to create a spaciousness that cannot be produced by delay, reverb, chorus, etc.
52: 3D DELAY
29: 3D CHORUS
30: 3D FLANGER
31: 3D STEP FLANGER
When using these effects, we recommend that you place your speakers as follows. Also, make sure that the speakers are at a sufficient distance from the walls on either side. fig.33-002
If the left and right speakers are too far apart, or if there is too much reverberation, the full 3D effect may not appear.
Each of these effects has an Output Mode parameter. If the sound from the OUTPUT jacks is to be heard through speakers, set this parameter to SPEAKER. If the sound is to be heard through headphones, set it to PHONES. This will ensure that the optimal 3D effect will be heard. If this parameter is not set correctly, the full 3D effect may not appear.
30 30
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Fantom-G_r_e.book 184
note: fig.MFX-note2.e_88
The Fantom-Gs Chorus effect unit can also be used as a stereo delay unit.
These settings allow you to select chorus or delay, and the characteristics of the selected effect type.
note: fig.MFX-note2.e
About the STEP RESET function 06: STEP FILTER
16: STEP RING MODULATOR
19: STEP PAN
20: SLICER
63: STEP PITCH SHIFTER
The above five types contain a sixteen-step sequencer.
For these types, you can use a multi-effect control to reset the sequence to play from the first step.
To do this, set the multi-effect control Destination to Step Reset.
For example if you are using the modulation lever to control the effect, you would make the following settings.
Source: CC01: MODULATION
Destination: Step Reset
Sens: +63
With these settings, the sequence will play back from the first step whenever you operate the modulation lever.
(Double note)(Dotted whole note),
(Dotted half note),
(Dotted thirty-second note),
(Whole note),
(Double-note triplet),
(Sixteenth-note triplet),(Thirty-second note),
(Sixty-fourth-note triplet), (Sixty-fourth note), (Thirty-second-note triplet),
(Dotted eighth note),(Quarter-note triplet),(Eighth note),
(Half-note triplet),(Quarter note), (Dotted quarter note),
(Whole-note triplet),
(Half note),
(Sixteenth note), (Eighth-note triplet), (Dotted sixteenth note),
Chorus Parameters
Parameter Value Description Chorus Type
00 (OFF), 01 (CHORUS), 02 (DELAY), 03 (GM2 CHO- RUS)
Selects either Chorus or Delay. 0 (OFF): Neither Chorus or Delay is used. 1 (CHORUS): Chorus is used. 2 (DELAY): Delay is used. 3 (GM2 CHORUS): GM2 Chorus is used.
Type: 01 (CHORUS) Rate 0.0510.00 Hz, note Frequency of modulation Depth 0127 Depth of modulation Pre Delay 0.0100.0 ms Adjusts the delay time from the direct
sound until the chorus sound is heard. Feedback 0127 Adjusts the amount of the chorus
sound that is fed back into the effect. Filter Type OFF, LPF, HPF Type of filter
OFF: no filter is used LPF: cuts the frequency range above the Cutoff Freq HPF: cuts the frequency range below the Cutoff Freq
Cutoff Freq 2008000 Hz Basic frequency of the filter Phase 0180 Spatial spread of the sound Type: 02 (DELAY) Delay Left 01000 ms, note Adjusts the delay time from the di-
rect sound until the delay sound is heard.
Delay Right Delay Center Center Feedback
-98 +98 % Adjusts the proportion of the delay sound that is fed back into the ef- fect. Negative (-) settings will invert the phase.
HF Damp 2008000 Hz, BYPASS
Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BYPASS.
Left Level 0127 Volume of each delay sound Right Level Center Level Type: 03 (GM2 CHORUS) Pre-LPF 07 Cuts the high frequency range of
the sound coming into the chorus. Higher values will cut more of the high frequencies.
Level 0127 Volume of the chorus sound Feedback 0127 Adjusts the amount of the chorus
sound that is fed back into the effect. Delay 0127 Adjusts the delay time from the di-
rect sound until the chorus sound is heard.
Rate 0127 Frequency of modulation Depth 0127 Depth of modulation Send Level To Reverb
0127 Adjusts the amount of chorus sound that will be sent to the reverb.
(Double note)(Dotted whole note),
(Dotted half note),
(Dotted thirty-second note),
(Whole note),
(Double-note triplet),
(Sixteenth-note triplet),(Thirty-second note),
(Sixty-fourth-note triplet), (Sixty-fourth note), (Thirty-second-note triplet),
(Dotted eighth note),(Quarter-note triplet),(Eighth note),
(Half-note triplet),(Quarter note), (Dotted quarter note),
(Whole-note triplet),
(Half note),
(Sixteenth note), (Eighth-note triplet), (Dotted sixteenth note),
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These settings allow you to select the desired type of reverb, and its characteristics.
Reverb Parameters
Parameter Value Description Reverb Type
00 (OFF), 01 (REVERB), 02 (SRV ROOM), 03 (SRV HALL), 04 (SRV PLATE), 05 (GM2 RE- VERB), 06 (ROOM), 07 (HALL), 08 (PLATE), 09 (STUDIO), 10 (CHURCH)
Type of reverb
Type: 01 (REVERB) Type ROOM1,
ROOM2, STAGE1, STAGE2, HALL1, HALL2, DELAY, PAN-DELAY
Type of reverb/delay ROOM1: short reverb with high density ROOM2: short reverb with low density STAGE1: reverb with greater late rever- beration STAGE2: reverb with strong early reflections HALL1: very clear-sounding reverb HALL2: rich reverb DELAY: conventional delay effect PAN-DELAY: delay effect with echoes that pan left and right
Time 0127 Time length of reverberation (Type: ROOM1HALL2) Delay time (Type: DELAY, PAN-DELAY)
HF Damp 2008000 Hz, BYPASS
Adjusts the frequency above which the high- frequency content of the reverb sound will be cut, or damped. If you do not want to cut the high frequencies, set this parameter to BYPASS.
Delay Feedback
0127 Adjusts the amount of delay feedback when the Type setting is DELAY or PAN-DELAY.
Type: 02 (SRV ROOM)/03 (SRV HALL)/04 (SRV PLATE) Pre Delay
0.0100.0 ms Adjusts the delay time from the direct sound until the reverb sound is heard.
Time 0127 Time length of reverberation Size 18 Size of the simulated room or hall High Cut 160 Hz12.5 kHz,
BYPASS Adjusts the frequency above which the high- frequency content of the reverb will be re- duced. If you do not want to reduce the high frequencies, set this parameter to BYPASS.
Density 0127 Density of reverb Diffusion 0127 Adjusts the change in the density of the reverb
over time. The higher the value, the more the den- sity increases with time. (The effect of this setting is most pronounced with long reverb times.)
LF Damp Freq
504000 Hz Adjusts the frequency below which the low- frequency content of the reverb sound will be reduced, or damped.
LF Damp Gain
-360 dB Adjusts the amount of damping applied to the frequency range selected with LF Damp. With a setting of 0, there will be no reduc- tion of the reverbs low-frequency content.
HF Damp Freq
4000 Hz12.5 kHz Adjusts the frequency above which the high- frequency content of the reverb sound will be reduced, or damped.
HF Damp Gain
-360 dB Adjusts the amount of damping applied to the frequency range selected with HF Damp. With a setting of 0, there will be no reduc- tion of the reverbs high-frequency content.
Type: 05 (GM2 REVERB) Character 07 Type of reverb
05: reverb 6, 7: delay
Pre-LPF 07 Cuts the high frequency range of the sound coming into the reverb.
Higher values will cut more of the high frequencies.
Level 0127 Output level of reverbration Time 0127 Time length of reverberation Delay Feedback
0127 Adjusts the amount of the delay sound that is fed back into the effect when the Reverb Character setting is 6 or 7.
Type: 06 (ROOM)/09 (STUDIO) Pre Delay 0127 Adjusts the delay time from the direct sound
until the reverb sound is heard. Time 0.13.0 sec Time length of reverberation Low Damp Freq
201000 Hz Adjusts the frequency below which the low- frequency content of the reverb sound will be reduced, or damped.
Low Damp
1100 % Adjusts the amount of damping applied to the frequency range selected with LF Damp. With a setting of 100%, there will be no re- duction of the reverbs low-frequency con- tent.
Hi Damp Freq
100010000 Hz Adjusts the frequency above which the high- frequency content of the reverb sound will be reduced, or damped.
High Damp
1100 % Adjusts the amount of damping applied to the frequency range selected with HF Damp. With a setting of 100%, there will be no re- duction of the reverbs high-frequency con- tent.
High Cut 100010000 Hz Adjusts the frequency above which the high- frequency content of the reverb will be re- duced.
Type: 07 (HALL)/08 (PLATE)/10 (CHURCH) Pre Delay 0127 Adjusts the delay time from the direct sound
until the reverb sound is heard. Time 0.16.0 sec Time length of reverberation Low Damp Freq
201000 Hz Adjusts the frequency below which the low- frequency content of the reverb sound will be reduced, or damped.
Low Damp
1100 % Adjusts the amount of damping applied to the frequency range selected with LF Damp. With a setting of 100%, there will be no re- duction of the reverbs low-frequency con- tent.
Hi Damp Freq
100010000 Hz Adjusts the frequency above which the high- frequency content of the reverb sound will be reduced, or damped.
High Damp
1100 % Adjusts the amount of damping applied to the frequency range selected with HF Damp. With a setting of 100%, there will be no re- duction of the reverbs high-frequency con- tent.
High Cut 100010000 Hz Adjusts the frequency above which the high- frequency content of the reverb will be re- duced.
Parameter Value Description
185
Effects List
Fantom-G_r_e.book 186
Selects the type of effect that will be applied to the external input source.
01: EQUALIZER Adjusts the tone of the low-frequency and high-frequency ranges.
02: ENHANCER Modifies the harmonic content of the high-frequency range to add sparkle to the sound.
03: COMPRESSOR Restrains high levels and boosts low levels to make the overall volume more consistent.
04: LIMITER Compresses the sound when it exceeds a specified volume, to keep distortion from occurring.
05: NOISE SUPPRESSOR Suppresses noise during periods of silence.
06: CENTER CANCELER Removes the sounds that are localized at the center of the stereo input. This is a convenient way to eliminate a vocal.
Input Effect Parameters
Parameter Range Explanation Low Freq 200, 400 Hz Center frequency of the low-fre-
quency range Low Gain -15 +15 dB Amount of low-frequency
boost/cut High Freq 2000, 4000, 8000 Hz Center frequency of the high-
frequency range High Gain -15 +15 dB Amount of high-frequency
boost/cut
Parameter Range Explanation Sens 0127 Depth of the enhancer effect Mix 0127 Volume of the harmonics that
are generated
Parameter Range Explanation Attack 0127 Time from when the input ex-
ceeds the Threshold until the volume begins to be com- pressed
Threshold 0127 Volume level at which compres- sion will begin
Post Gain 0 +18 dB Level of the output sound
Parameter Range Explanation Release 0127 Time from when the input falls
below the Threshold until com- pression ceases
Threshold 0127 Volume level at which compres- sion will begin
Post Gain 0 +18 dB Level of the output sound
Parameter Range Explanation Threshold 0127 Volume at which noise suppres-
sion will begin Release 0127 Time from when noise suppres-
sion begins until the volume reaches zero.
Parameter Range Explanation Ch Balance -50 +50 Volume balance of the L (left)
and R (right) channels for re- moving the sound
Range Low 1615000 Hz Lower frequency limit of the band to be removed
Range High 1615000 Hz1 Upper frequency limit of the band to be removed
186
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05: Pads (Using the Pads)
18
Fantom-G_r_e.book 188
Using the Pads
You can strike the Fantom-Gs pads to play samples, rhythms, or phrases, or you can use the pads as sixteen switches to turn various parameters on/off. The pads can operate in one of sixteen modes. Press [PAD MODE] to switch the pad mode.
1. Press [PAD MODE].
The pad mode window will appear in the screen.
[PAD MODE] will blink, and the currently selected pad mode (pad [1][16]) will blink.
If you decide not to switch the pad mode, press [PAD MODE] once again. [PAD MODE] will go dark, and youll return to the previous state.
2. Press a pad [1][16].
The pad mode will be switched. For details about operation in each pad mode, refer to the table below and the corresponding reference pages.
If you press the pad [NUMERIC] button to make it light, the pads will act as numeric keys. Using the pad for numeric
input (p. 41)
By using the Hold function, you can make the sound continue even after you take your finger off the pad. This is convenient when you want a sound to continue, such as a phrase that you want to loop (play repeatedly).
The Hold function is available only if the pad mode is 1 SAMPLE PAD or 2 RHYTHM.
Sustaining a sound while you play other sounds 1. While holding down a pad,
press [HOLD].
[HOLD] and the pad will blink.
That pad will be held, and will continue sounding even after you release your finger from it. If you press another pad in this state, it will sound only as long as you continue holding it.
2. The pad that was being held will stop sounding when you press the blinking pad or [HOLD] once again.
Sustaining multiple sounds 1. Press [HOLD] to make the
pad light.
2. Press a pad.
The pad will blink, and will continue sounding. If you press other pads in this state, they will also continue sounding.
3. The sound will stop when you once again press a blinking pad. If you press [HOLD], all pads will stop sounding.
The Hold function wont work in the following situations.
For a rhythm set in which Tone Env Mode (p. 108) is set to NO-SUS
For a sample set in which One Shot Mode (p. 118) is turned on
For a sample set in which Trigger Mode (p. 129) is set to DRUM
Common Operations for Pads
Switching the Pad Mode (PAD MODE)
Pad number Pad mode Explanation Page
1 SAMPLE PAD The pads play a sample set p. 191 2 RHYTHM The pads play a rhythm set p. 192 3 CHORD MEMORY The pads switch chord form for
the Chord Memory function (p. 80)
p. 193
4 ARPEGGIO The pads switch styles for the Arpeggio function (p. 78)
p. 193
5 RPS The pads play phrases p. 194 6 RHYTHM PTN The pads play rhythm patterns p. 196 7 TONE SEL/SW The pads act as tone select and
on/off switches p. 197
8 TRACK MUTE The pads switch muting on/off for sequencer tracks
p. 197
9 BOOKMARK The pads recall frequency-used screens that youve registered
p. 198
10 MIDI TX SW The pads act as on/off switches for external MIDI transmit chan- nels (116)
p. 198
11 EFFECT SW The pads switch the effects (oth- er than the patch multi-effects)
p. 199
12 PATCH MFX SW The pads switch the patch multi- effect for each part
p. 199
13 PART SELECT The pads select parts (116) and banks (INT/EXP1/EXP2/EXT)
p. 200
14 PART MUTE The pads switch muting on/off for parts (116) and banks (INT/ EXP1/EXP2)
p. 200
15 USER GROUP The pads register/recall patch- es, live sets, or studio sets from the user group
p. 201
16 FAVORITE The pads register/recall Favor- ite settings
p. 202
Using the Pads as Numeric Keys (NUMERIC)
Using the Hold Function to Sustain the Sounds (HOLD)
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The Roll function lets you play the sound repeatedly (as if you are playing a drum roll) as long as you continue holding down the pad.
The Roll function is available only if the pad mode is 1 SAMPLE PAD or 2 RHYTHM.
1. Hold down [ROLL] and press a pad (116).
* If you press only [ROLL], the
Roll function will be enabled
for all sixteen pads.
In this state, the sound will continue repeating as long as you hold down a pad.
2. When you release the pad, it will stop sounding.
* You cant use this to switch images with the V-Link function (p. 301).
Settings for the Roll function Press [PAD SETTING] [F1 (System)] to access the System Setup screen, and use the Pad Roll Resolution field to specify the speed at which repeated strikes occur when using the Roll function.
Editing systems common to all pads (System settings) (p. 190)
Pad Roll Resolution (p. 288)
You can use the pad [ROLL] (BANK) button to switch banks in the following pad modes.
1. Press [ROLL] (BANK).
[ROLL] (BANK) will blink, and pads that correspond to selectable banks will blink. The pad corresponding to the currently selected bank will be lit.
2. Press the bank (a blinking number pad) for the desired bank.
The selected pad will light.
3. Press [ROLL] (BANK) once again.
[ROLL] (BANK) will go dark, and the pads will return to their normal indication.
Using the Roll Function (ROLL) Switching Banks (BANK)
Pad number Pad mode Number of banks
9 BOOKMARK 8 13 PART SELECT 4 (INT/EXP1/EXP2/EXT) 14 PART MUTE 3 (INT/EXP1/EXP2) 15 USER GROUP 4 16 FAVORITE 16
189
Using the Pads
Fantom-G_r_e.book 190
Press [PAD SETTING] to access the pad settings/information screen.
1. Press [PAD SETTING].
The Pad Setting screen will appear. The content shown in the screen will depend on the pad mode.
2. Use [CURSOR] to move the cursor to a parameter.
3. Turn the VALUE dial or use [INC] [DEC] to edit the pad settings.
4. To save the settings, press [F7 Write].
The location in which the settings are saved will depend on the sound generator mode, the pad mode, and the settings of Pad
Assign Source (p. 288).
5. Press [F8 Exit] to return to the previous screen.
F-key operations in the Pad Setting screen
Editing systems common to all pads (System settings) In the Pad Setting screen, press [F1 System] to access the system setting screen where you can edit settings that are common to all pads. Here you can edit the following parameters.
Pad Assign Source (p. 288)
Pad Velocity (p. 288)
Pad Sens (Pad Sensitivity) (p. 288)
Pad Aftertouch Sens (Pad Aftertouch Sensitivity) (p. 288)
Pad Roll Resolution (p. 288)
Pad Mode (p. 288)
1. Press [PAD SETTING].
The Pad Setting screen will appear.
2. Press [F1 System].
The pad-related items of the System Setup screen will appear.
For details on each parameter, refer to Dynamic Pad (p. 288).
3. To save the settings, press [F7 Sys Write].
4. Press [F8 Exit] to return to the Pad Setting screen.
Heres how to exchange two selected pads.
This function is available only if the pad mode is 2 RHYTHM, 3 CHORUD MEMORY, 4 ARPEGGIO, 5 RPS, 6 RHYTHM PTN, or 9 BOOKMARK.
1. Press [PAD SETTING].
2. Press [F2 (Pad Exchg)].
3. Select the two pads you want to exchange.
Use the VALUE dial or [INC] [DEC], or press the pads directly.
4. Press [F8 (Execute)] to execute the exchange.
Editing the Pad Settings (PAD SETTING)
F-key Explanation Display mode
F1 System
Pad settings for Sys- tem (p. 190)
All modes * Except for 15 USER GROUP
and 16 FAVORITE
F2 Pad Exchg
Pad Exchange func- tion (p. 190)
2 RHYTHM, 3 CHORD MEMORY, 4 ARPEGGIO, 5 RPS, 6 RHYTHM PTN, 9 BOOKMARK only
F3 Quick Setup
Quick Setup function (p. 192)
2 RHYTHM only
F7 Write
Saves the settings of the Pad Setting screen
1 SAMPLE PAD, 2 RHYTHM, 3 CHORD MEMORY, 4 ARPEGGIO, 5 RPS, 6 RHYTHM PTN only
F8 Exit
Exits the Pad Setting screen
All modes * Except for 15 USER GROUP
and 16 FAVORITE
Exchanging Pads (Pad Exchange)
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This pad mode allows you to play samples by striking the pads. You can assign a sample to each of the sixteen pads. (The sixteen samples assigned to the pads are collectively called a sample set.)
1. Press [PAD MODE], and then press pad [1] (SAMPLE PAD).
2. Press the pads [1][16] to play the assigned samples.
Pads that can play samples will be lit. Currently-playing pads will blink.
You can press [HOLD] to sustain the sound p. 188
You can press [ROLL] to play a roll p. 189
You can add samples in either of the following ways.
Sampling (p. 258) You can use the Sampling function to record audio. The recorded samples will be added to the sample list.
Import from your computer (p. 283) You can import WAV or AIFF files from your computer. The imported WAV or AIFF files will be added to the sample list as samples.
You can press [PAD SETTING] to edit the following settings.
For details on editing and saving, refer to Editing the Pad
Settings (PAD SETTING) (p. 190).
Number/Name (Sample set number) Selects the sample set played by the pads.
Value: 001128
If you want to create a new sample set or perform more detailed editing, refer to Creating a Sample Set (p. 126).
Sample Number Selects the sample. The screen will show the sample name together with the sample number.
Value: OFF, 00012000
Level (Sample tone level) Sets the volume of the sample. Youll use this mainly to adjust the volume balance between samples.
Value: 0127
Pan (Sample tone pan) Sets the panning of the sample tone. L64 is far left, 0 is center, and 63R is far right.
Value: L64063R
Direction Specifies the playback direction of the sample.
Value
FWD: Play forward.
REV: Play in reverse.
Trigger Mode Specifies how the sample will play when you press a pad (or a key).
Value
GATE: The sample will stop playing when you release the pad (or key).
DRUM: The sample will continue playing even if you release the pad (or key).
The sample will begin playing when you press the pad, and will stop automatically when the end of the sample is reached. If you select the DRUM setting, the Loop setting is ignored; the sample will play only once. Note that if you select DRUM, you will not be able to interrupt the sound, so use this setting with caution if the sample is extremely long.
Mute Group In an acoustic drum set, it is impossible for the open hi-hat and closed hi-hat sounds to occur simultaneously. You can use the Mute Group setting to simulate such restrictions.
Mute Group is a function that prevents sample tones belonging to the same mute group from sounding simultaneously. There are sixteen mute groups. Choose the OFF setting for sample tones that you dont want to associate with any mute group.
Value: OFF, 116
Pad Velocity Specifies the strength of the sound produced when you strike the pad. If this is set to SYSTEM, the System setting of Pad Velocity (p. 288) will be used. If you set this to a value of 1127, that velocity value will be used to play the sound generator.
Value: SYSTEM, 1127
You can save the pad settings by pressing [F7 (Write)].
1 SAMPLE PAD (Using the Pads to Play Samples)
About Samples
Editing the Pad Settings
191
Using the Pads
Fantom-G_r_e.book 192
This pad mode allows you to play a rhythm set by striking the pads. You can use the sixteen pads to play rhythm tones. (A set of rhythm tones is called a rhythm set.)
1. Press [PAD MODE], and then press pad [2] (RHYTHM).
2. Press the pads [1][16] to play rhythm tones.
Pads that can play rhythm tones will light.
You can press [HOLD] to sustain the sound p. 188
You can press [ROLL] to play a roll p. 189
You can press [PAD SETTING] to edit the following settings.
For details on editing and saving, refer to Editing the
Pad Settings (PAD
SETTING) (p. 190).
In the Pad Setting screen, you can press [F2 (Pad Exchg)] to exchange two pads (Pad Exchange, p. 190).
Bank (Rhythm set bank) Selects the bank of the rhythm set that will be played by the pads.
Value: USER, PRST, GM
Number / Name Selects the rhythm set that will be played by the pads.
Value: 001128
If you want to create a new sample set or perform more detailed editing, refer to Creating a Rhythm Set (p. 112).
Pad Note Number Specifies the note number transmitted by each pad (116). The rhythm tone name will be displayed together with the note number.
Value: 0 (C-1)127 (G9)
Pad Velocity Specifies the strength of the sound produced when you strike the pad. If this is set to SYSTEM, the System setting of Pad Velocity (p. 288) will be used. If you set this to a value of 1127, that velocity value will be used to play the sound generator.
Value: SYSTEM, 1127
Quick Setup When the pad mode is 2 RHYTHM, you can use this function to make basic settings. For efficient work-flow, choose the quick setup that is closest to your needs, and then make detailed settings for each pad as desired.
1. In the Pad Setting screen, press [F3 (Quick Setup)].
The Quick Setup window will appear.
* This operation is not possible unless the pad mode is 2 RHYTHM.
2. Move the cursor and make the desired settings.
Template Set
Value
Note: The sixteen consecutive notes starting with the note number you specify as the base note will be automatically assigned to the pads.
Rhythm: The note numbers will be arranged optimally for playing a rhythm set.
Multi Velo: Multi Velocity is a special setting that assigns all sixteen pads to the same number, with only the velocities differing between the pads. This is a good choice when you need precise control of the velocity for your performance.
Base Note
Set this parameter if youve selected Note or Multi Velo as the Template Set.
If youve selected Note, the Base Note specifies the starting (lowest) note number.
If youve selected Multi Vel, the Base Note specifies the note number used by all of the pads.
Value: 0 (C-1)127 (G9)
3. Press [F8 (Execute)].
You can save the pad settings by pressing [F7 (Write)].
2 RHYTHM (Using the Pads to Play a Rhythm Set)
Editing the Pad Settings
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This pad mode allows you to use the pads to switch chord forms for the Chord Memory function (p. 80).
1. Press [PAD MODE], and then press pad [3] (CHORD MEMORY).
2. Press pads [1][16] to switch between different chord forms for the Chord Memory function (p. 80).
Pads that can be selected will light.
You can press [PAD SETTING] to edit the following settings.
For details on editing and saving, refer to Editing the
Pad Settings (PAD
SETTING) (p. 190).
In the Pad Setting screen, you can press [F2 (Pad Exchg)] to exchange two pads (Pad Exchange, p. 190).
Number / Name (Chord memory set number) Selects the chord memory set that will be played by the pads.
Value: 001128
For details on Chord Memory, refer to Using the Chord
Memory Function (Chord Memory) (p. 80).
Chord Form Selects the chord form number that will be played by each pad (116).
Value: 001128
You can save the pad settings by pressing [F7 (Write)].
This pad mode allows you to use the pads to switch styles for the Arpeggio function (p. 78).
1. Press [PAD MODE], and then press pad [4] (ARPEGGIO).
2. Use the Arpeggio function as described in Playing Arpeggios (p. 78).
3. Press pads [1][16] to switch between different styles for the Arpeggio function.
Pads that can be selected will light.
You can press [PAD SETTING] to edit the following settings.
For details on editing and saving, refer to Editing the
Pad Settings (PAD
SETTING) (p. 190).
In the Pad Setting screen, you can press [F2 (Pad Exchg)] to exchange two pads (Pad Exchange, p. 190).
Number / Name (Arpeggio set number) Selects the arpeggio set.
Value: 001128
For details on arpeggios, refer to Playing Arpeggios (p. 78).
Arpeggio Number Specifies the arpeggio number selected by each pad (116).
Value: 001128
You can save the pad settings by pressing [F7 (Write)].
3 CHORD MEMORY (Using the Pads to Switch Chord Forms)
Editing the Pad Settings
4 ARPEGGIO (Using the Pads to Switch Arpeggio Styles)
Editing the Pad Settings
193
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Fantom-G_r_e.book 194
This pad mode allows you to use the pads to trigger phrases generated by the RPS (Realtime Phrase Sequence) function.
For example, complex phrases that would be difficult to play manually in a live performance can be assigned to the pads, and then triggered by a single finger at the appropriate moment.
You can also create phrases for individual instruments such as drums, bass, or keyboard, and combine these to create a new song. In addition, you can record this performance, allowing you to use this function in a way similar to phrase sampling.
1. Press [PAD MODE], and then press pad [5] (RPS).
2. Press the pads [1][16] to trigger the phrase assigned to each pad.
Pads that can play phrases will light. Currently-playing pads will blink.
You must play back the song if you want to play phrases in synchronization with the song, or if you want to play multiple phrases in synchronization.
If the song is not playing, the phrase will begin playing as soon as you press the pad, regardless of how the Trigger Quantize parameter is set.
Phrases will play in synchronization with the songs time signature (beat track). This means that if no performance data has been recorded, the song will not play, and therefore the phrases cannot play back in synchronization. In this case, youll have to insert several empty measures into the phrase track, and then play it as a loop.
The phrase playback tempo will be the same as the song playback tempo.
1. Press [TEMPO].
2. The Tempo window will appear, indicating the current tempo.
3. Turn the VALUE dial or use [INC] [DEC] to specify the tempo value (5.00300.00). If you hold down [SHIFT] and turn the VALUE dial youll be able to adjust the value below the decimal point. You can also specify the tempo by repeatedly pressing [F6 (Tap Tempo)] at the desired tempo (Tap Tempo function).
If you press [F7 (Click)] to turn it on, the click will sound.
4. When youve finished making settings, press [F8 (Close)].
You can press [PAD SETTING] to edit the following settings.
For details on editing and saving, refer to Editing the
Pad Settings (PAD
SETTING) (p. 190).
In the Pad Setting screen, you can press [F2 (Pad Exchg)] to exchange two pads (Pad Exchange, p. 190).
RPS Set Number Selects the RPS set.
Value: 0132
Phrase Number Selects the phrase that is assigned to each pad 116. The name of the selected phrase is shown along with the phrase number.
Choose OFF for keys or pads to which you dont want to assign a phrase. If you assign STOP to a pad, that pad will act as the stop trigger that stops the currently-playing phrases.
Value: STOP, OFF, 00012000
5 RPS (Using the Pads to Play Phrases)
Recording a phrase Before you use the RPS function, youll need to record some phrases.
For details on the recording procedure, refer to Recording
into a Phrase (p. 220).
If large amounts of MIDI messages were recorded, playing back a phrase via RPS may cause notes to be delayed.
Specifying the Tempo for Phrase Playback
Editing the Pad Settings
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Play Mode Specifies how the phrase will be played.
Value
LOOP1: The phrase will play repeatedly while you hold down the key.
LOOP2: The phrase will play repeatedly. To stop playback, press the stop trigger key, or press the same key once again.
ONCE: The phrase will play only once.
Mute Group This function prevents phrases of the same mute group from playing simultaneously. For example in an actual performance, a fill-in will not be played at the same time as a bridge. To simulate this type of situation, assign the fill-in and bridge to the same mute group number. You can specify 31 different mute groups. If you dont want to assign a mute group, choose the OFF setting.
Value: OFF, 131
Trigger Quantize Specifies how the phrase will begin playing when you press a key to trigger it while the song is playing or being recorded.
Value
REAL: The phrase will play immediately when you press the trigger key.
BEAT: If you press the trigger key while the song is playing or recording, the phrase will begin playing at the beginning of the next beat.
MEASURE: If you press the trigger key while the song is playing or recording, the phrase will begin playing at the beginning of the next measure.
The Trigger Quantize parameter is a setting maintained within each song.
Velocity Sens (Velocity sensitivity) Turn this OFF if you want the phrase to play with the velocities at which it was recorded.
If you want the velocity of the phrase to vary according to how strongly you pressed the key, choose LOW, MID, or HIGH.
Value: OFF, LOW, MID, HIGH
You can save the pad settings by pressing [F7 (Write)].
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Fantom-G_r_e.book 196
This pad mode allows you to use the pads to play phrases (Phrase0001Phrase2000) generated by the Rhythm Pattern function.
With the factory settings, sixteen phrases (rhythm patterns) are assigned to the pads. You can create your own rhythm patterns and assign them to the pads, and use the pads as a rhythm machine.
A set of these sixteen phrases is called a rhythm pattern set.
1. Press [PAD MODE], and then press pad [6] (RHYTHM PTN).
2. Press the pads [1][16] to start the rhythm patterns assigned to each pad.
Pads that can play rhythm patterns will light. The currently- playing pad will blink.
To stop playback, press the blinking pad.
The rhythm pattern playback tempo will be the same as the song playback tempo.
1. Press [TEMPO].
2. The Tempo window will appear, indicating the current tempo.
3. Turn the VALUE dial or use [INC] [DEC] to specify the tempo value (5.00300.00). If you hold down [SHIFT] and turn the VALUE dial youll be able to adjust the value below the decimal point. You can also specify the tempo by repeatedly pressing [F6 (Tap Tempo)] at the desired tempo (Tap Tempo function).
If you press [F7 (Click)] to turn it on, the click will sound.
4. When youve finished making settings, press [F8 (Close)].
You can press [PAD SETTING] to edit the following settings.
For details on editing and saving, refer to Editing the
Pad Settings (PAD
SETTING) (p. 190).
In the Pad Setting screen, you can press [F2 (Pad Exchg)] to exchange two pads (Pad Exchange, p. 190).
Rhythm Pattern Set Number Selects the rhythm pattern set that the pads will play.
Value: 0132
Rhythm Pattern Specifies the phrase that is assigned to each pad 116.
Value: OFF, 00012000
Trigger Quantize Specifies how the phrase will begin playing when you press a key to trigger it while the song is playing or being recorded.
Value
REAL: The phrase will play immediately when you press the trigger key.
BEAT: If you press the trigger key while the song is playing or recording, the phrase will begin playing at the beginning of the next beat.
MEASURE: If you press the trigger key while the song is playing or recording, the phrase will begin playing at the beginning of the next measure.
The Trigger Quantize parameter is a setting maintained within each song.
Velocity Sens (Velocity sensitivity) Turn this OFF if you want the phrase to play with the velocities at which it was recorded.
If you want the velocity of the phrase to vary according to how strongly you pressed the key, choose LOW, MID, or HIGH.
Value: OFF, LOW, MID, HIGH
You can save the pad settings by pressing [F7 (Write)].
6 RHYTHM PTN (Using the Pads to Play Rhythm Patterns)
Specifying the Tempo for Rhythm Pattern Playback
Recording a phrase Before you use the Rhythm Pattern function, youll need to record some phrases.
For details on the recording procedure, refer to Recording
into a Phrase (p. 220).
If large amounts of MIDI messages were recorded, playing back a phrase may cause notes to be delayed.
Editing the Pad Settings
196
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This pad mode allows you to use the pads to switch the four tones on/off, or to select the current tone.
1. Press [PAD MODE], and then press pad [7] (TONE SEL/SW).
2. Press pads [1][4] to turn tones 14 on/off.
3. Press pads [5][8] to select tones 14.
Pad [5] corresponds to tone 1, pad [6] to tone 2, pad [7] to tone 3, and pad [8] to tone 4.
This function is convenient when youre creating a patch (p. 84). A patch consists of up to four tones. You can use this function to turn off unused tones, or to turn off the other tones when you want to hear only the sound of a specific tone.
By pressing [PAD SETTING] you can check the current pad status.
This pad mode allows you to use the pads to directly mute (silence) up to sixteen tracks in the song screen.
1. Press [PAD MODE], and then press pad [8] (TRACK MUTE).
Pads [1][16] correspond to the first sixteen tracks at the top of the song screen.
Pressing a pad [1][16] will switch the corresponding track between muted/play status.
Each pad will be lit to indicate play status, or blinking to indicate muted.
You cant use the pads to mute the seventeenth and subsequent tracks. Use [CURSOR] or a USB mouse to switch the mute status of these tracks.
By pressing [PAD SETTING] you can check the current pad status.
7 TONE SEL/SW (Using the Pads to Select Tones or Switch Them On/Off)
Checking the Pad Status
8 TRACK MUTE (Using the Pads to Mute Tracks)
Checking the Pad Status
197
Using the Pads
Fantom-G_r_e.book 198
This pad mode lets you use the pads to register and recall frequently used screens. For example if you frequently move between the patch edit screen and effect screen, you can use this function to make the switch easier.
1. Press [PAD MODE], and then press pad [9] (BOOKMARK).
1. Access the screen that you want to register.
2. Hold down [PAD SETTING], and press the pad to which you want to register the current screen.
For example if you want to register the current screen to pad [3], the screen will indicate Bookmarked to #3.
3. Press [EXIT].
The setting will be stored.
* If you fail to press [EXIT], the setting will be lost when you turn off
the power.
1. Press [PAD SETTING].
The Bookmark screen will appear.
Pads to which screens have been registered will lit.
2. Press a lit pad, and the screen registered to that pad will be recalled.
* If you want to delete a
registered screen, hold down
[PAD SETTING] in the screen of step 1, and press the pad whose
registration you want to clear.
You can press [ROLL] (BANK) to switch banks (18). p. 189
In the Pad Setting screen, you can press [F2 (Pad Exchg)] to exchange two pads (Pad Exchange, p. 190).
This pad mode allows you to use the pads to turn external MIDI transmit channels (116) on/off.
1. Press [PAD MODE], and then press pad [10] (MIDI TX SW).
Pressing pads [1][16] will switch external MIDI transmit channels 116 on/off.
Each pad will be lit when transmission is on, or dark when it is off.
By pressing [PAD SETTING] you can check the current pad status.
If numerous MIDI channels are turned on, a large amount of MIDI messages will be transmitted, possibly causing notes to be delayed.
9 BOOKMARK (Using the Pads to Recall Frequently Used Screens)
Registering a Screen
Recalling a Screen
10 MIDI TX SW (Using the Pads to Turn External MIDI Transmit Channels (116) On/Off)
Checking the Pad Status
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This pad mode allows you to use the pads to switch the effects (other than the patch multi-effect) on/off.
1. Press [PAD MODE], and then press pad [11] (EFFECT SW).
Pressing pads [1][6] will switch the following effects on/off.
* If you want to turn PFX on/off, use pad mode 12 PATCH MFX
SW.
A pad will be lit when the corresponding effect is on, or blinking when it is off. Pads not used in this pad mode will be dark.
By pressing [PAD SETTING] you can check the current pad status.
This pad mode allows you to use the pads to individually switch the patch multi-effect of each part (116) on/off.
1. Press [PAD MODE], and then press pad [12] (PATCH MFX SW).
When you press a pad, the patch multi-effect of the corresponding part will be switched on/off. The number of parts will depend on the sound generator mode.
A pad will be lit when the corresponding effect is on, or blinking when it is off. Pads not used in this pad mode will be dark.
By pressing [PAD SETTING] you can check the current pad status.
11 EFFECT SW (Using the Pads to Switch the Effects)
Pad Effect
1 Input Effect 2 Chorus 3 Reverb 4 Mastering 5 MFX 1 6 MFX 2 (Studio mode only)
Checking the Pad Status
12 PATCH MFX SW (Using the Pads to Switch Patch Multi-effects)
Mode Number of parts
Single 1 Live 8 Studio 16
Checking the Pad Status
199
Using the Pads
Fantom-G_r_e.book 200
This pad mode allows you to use the pads to select parts (116) and banks (INT/EXP1/EXP2/EXT).
1. Press [PAD MODE], and then press pad [13] (PART SELECT).
Press a pad to select the current part. The number of parts will depend on the sound generator mode.
The pad corresponding to the current part will be blinking. The pads for other parts will light. Pads not used will be dark.
You can press [ROLL] (BANK) to switch banks (14). p. 189
* The number of parts on an expansion board will depend on the
expansion board.
By pressing [PAD SETTING] you can check the current pad status.
This pad mode lets you use the pads to mute (silence) parts (116) and banks (INT/EXP1/EXP2).
1. Press [PAD MODE], and then press pad [14] (PART MUTE).
You can press [ROLL] (BANK) to switch banks (13). p. 189
Press a pad to switch the corresponding part between muted/ play.
* The number of internal sound generator parts will depend on the
sound generator mode.
* The number of parts on an expansion board will depend on the
expansion board.
Pads whose corresponding part is muted will blink. The pads of other parts will be lit. Unused pads will be dark.
By pressing [PAD SETTING] you can check the current pad status.
13 PART SELECT (Using the Pads to Select Parts)
Mode Number of parts
Single 1 Live 8 Studio 16
Pad Bank name
1 INT (internal sound generator) 2 EXP1 (expansion board 1) 3 EXP2 (expansion board 2) 4 EXT (external MIDI output)
Checking the Pad Status
14 PART MUTE (Using the Pads to Mute Parts)
Pad Bank name
1 INT (internal sound generator) 2 EXP1 (expansion board 1) 3 EXP2 (expansion board 2)
Mode Number of parts
Single 3 Live 8 Studio 16
Checking the Pad Status
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You can register frequently-used sounds as a user group. This pad mode lets you instantly select these sounds by pressing a pad. You can register sixteen sounds (corresponding to the sixteen pads) in each of four banks, giving you a total of 64 sounds for quick recall.
You can register and recall the following user groups, depending on the sound generator mode.
How User Group differs from Favorite (p. 202)
User Group let you register sounds within the mode (single, live, or studio), while Favorite lets you register settings across modes (single, live, or studio).
1. Press [PAD MODE], and then press pad [15] (USER GROUP).
You can press a pad [1][16] to select the sound thats registered in that pad.
By pressing [ROLL] (BANK) you can switch banks (14). p. 189
If you want to use the pads to successively select live sets (or studio sets), set the system setting on Pad Assign Source (p. 288) to SYS. If this is set to TEMP, the pad mode will switch to the setting of the newly selected live set (or studio set) when you switch live sets (or studio sets).
1. Press [PAD SETTING].
2. The User Group screen will appear. Proceed to step 4 of Registering a sound in the User Group screen, below.
Registering a sound in the User Group screen
Heres how to register a patch in the patch list screen. Using the same procedure (steps 3 and following), you can use the live set list screen (p. 60) to register a live set in the user group, or the studio set list screen (p. 68) to register a studio set.
1. Press [SINGLE] to access the Single Play screen, and select the patch that you want to register (p. 46).
2. Press [F1 (Patch List)].
3. Press [F6 (User Group)].
The User Group screen will appear.
4. Use [F1 (Up)] and [F2 (Down)] to select the destination bank.
5. Use [CURSOR] to select the number.
6. Press [F5 (Regist)] to register the patch.
7. When youve finished registering patches, press [F6 (Exit)] to close the User Group List screen.
You can press [F8 (Select)] to select a patch and close the User Group screen.
Removing a registered patch Press [F4 (Remove)] to remove the patch thats selected in the User Group List screen.
15 USER GROUP (Using the Pads to Register/Recall User Groups)
Mode User group
Single Patch Live Live set Studio Studio set
Recalling a User Group Sound
Registering a Sound in a User Group
201
Using the Pads
Fantom-G_r_e.book 202
You can create a list of sounds (settings) that you frequently use in live performance, and recall them instantly. You can register patches, rhythm sets, sample sets, live sets, or studio sets, and recall the settings you need for your performance without regard to the mode you might be in.
Sixteen settings can be registered in one list (one bank), and you can create sixteen such banks.
For example you could use bank 1 for the sounds you use in the first song of your live performance, and register up to sixteen sounds in the order in which they are used in your song.
How Favorite differs from User Group (p. 201)
User Group let you register sounds within the mode (single, live, or studio), while Favorite lets you register settings across modes (single, live, or studio).
For details on the Favorite function, refer to Creating a List of
Frequently Used Sounds (Favorite) (p. 54).
1. Press [PAD MODE], and then press pad [16] (FAVORITE).
You can press a pad [1][16] to select the sound (setting) thats registered in that pad.
By pressing [ROLL] (BANK) you can switch banks (116). p. 189
If you want to use the pads to successively select live sets (or studio sets), set the system setting on Pad Assign
Source (p. 288) to SYS. If this is set to TEMP, the pad mode will switch to the setting of the newly selected live set (or studio set) when you switch live sets (or studio sets).
1. Press [PAD SETTING].
The Favorite screen (p. 54) will appear.
For details on operations in the Favorite screen, refer to Creating a List of Frequently Used Sounds (Favorite) (p. 54).
16 FAVORITE (Using the Pads to Register/Recall Favorite Settings)
Recalling a Favorite Sound (Setting)
Registering a Favorite Sound (Setting)
202
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06: Sequencer (Creating a Song)
This chapter explains how to use the sequencer to play, record, and edit songs. Playing Back a Song .................................................p. 204 Recording MIDI.........................................................p. 217 Recording Audio.......................................................p. 228 Editing Songs ...........................................................p. 232 Saving a Song..........................................................p. 254
20
Fantom-G_r_e.book 204
Playing Back a Song
We recommend that you put the sound generator in Studio
mode when creating or playing a song.
In Studio mode you can use up to sixteen sounds to play a different instrument for each part, so this is the ideal mode for playing a song that uses an ensemble of multiple instruments such as drums, bass, and piano.
There are three ways to play back: you can play Fantom-G songs, Standard MIDI Files (SMF), or phrases (MIDI Phrases).
Playing a song (p. 204) You can play Fantom-G songs.
Playing Standard MIDI Files (SMF) (p. 212) You can copy Standard MIDI Files (SMF) from your computer to the Fantom-G, and play them or import them into a song or phrase.
Playing phrases (MIDI Phrase) (p. 214) You can audition phrases from within a Fantom-G project.
Heres how to play a Fantom-G song.
Heres how to access the Song List and load a song from the project.
When you load a song, the temporary area (p. 35) of the sound generator will be in the state it was when you created the song. Before loading a song, you should save the patch or live set or studio set that you were editing.
1. Press [SONG].
The Song Play screen will appear.
2. Press [F1 (Song List)].
The Song List screen will appear.
F-key operations in the Song List screen
3. Turn the VALUE dial, or use [INC] [DEC], or use / to select a song.
4. Press [F8 (Load)].
A confirmation message will appear.
5. Press [F7 (OK)].
If you decide to cancel, press [F8 (Exit)].
Three Ways to Play Back
Playing a Song (Song Play)
Loading a Song (Song List)
F-key Explanation Page
F4 Delete Song
Deletes a song file from the project. p. 210
F7 Exit
Returns to the previous screen.
F8 Load
Loads the song file. p. 204
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Heres how to play the song you loaded in the Song Play screen (p. 204).
1. Press [SONG].
The Song Play screen will appear. fig.17-001
F-key operations in the Song Play screen
2. Press [PLAY] to start playback.
Playback will stop automatically when the song ends. If you want to stop before the end of the song, press [STOP].
fig.08-002.j
Playing a Song (Song Play)
F-key Explanation Page
F1 Song List
Displays the Song List, where you can load a song.
p. 204
F2 SMF List
Displays the SMF List, where you can play or import SMF data.
p. 212
F3 Phrase List
Displays the MIDI Phrase List, where you can audition or edit phrases.
p. 214
F5 Loop
Opens the Loop window, where you can specify the loop region.
p. 208
F6 Marker
Opens the Marker window, where you can set markers.
p. 208
F7 Song Util
Zoom/ Track Order
Zooms in/out on the track, and changes the order in which the tracks are displayed.
p. 209
Song Clear Erases the song. p. 211 Track Clear Erases the track. p. 235 Track Name Assigns a name to the
track. p. 235
Tempo Track Changes the tempo. p. 236 Beat Track Changes the time signa-
ture. p. 237
F8 Song Edit
Opens the Song Edit screen, where you can edit a song.
p. 232
Operations in the Song Play Screen
Number Explanation
Indicates the on/off status of each effect. PFX Patch multi-effect MFX1 Multi-effect 1 MFX2 Multi-effect 2 IFX Input effect CHO Chorus REV Reverb MAS Mastering effect
Indicates the current location of the song, and the status of the sequencer.
Indicates the number and name of the currently selected song, the current location, and the status of the sequencer.
Track zoom button (for a USB mouse).
Level meter for the Output jacks.
Indicates the songs time signature, tempo, and loop play on/off status.
Indicates markers and measures.
Indicates the track name and track information.
Track order change button (for USB mouse).
3 56
8
9
1 2
4
4
7
1
2
3
4
5
6
7
8
9
205
Playing Back a Song
Fantom-G_r_e.book 206
You can fast-forward, rewind, or jump within a song not only while the song is stopped, but also during playback. Perform the following actions.
Fast-forward: Press [ ]
Continue fast-forwarding: Hold down [ ]
Fast-forward rapidly: Press [ ] and then press [ ]
Rewind: Press [ ]
Continue rewinding: Hold down [ ]
Rewind rapidly: Press [ ] and then press [ ]
Jump to the preceding marker: Hold down [SHIFT] and press [ ]
Jump to the next marker: Hold down [SHIFT] and press [ ]
Jump to the beginning of the song: Press [ ]
Jump to the JUMP marker: Press [JUMP]
Song playback will pause if you jump to the beginning or end of the song while playing-back.
You can mute a track so that it will not produce sound during playback.
1. Press [SONG].
The Song Play screen will appear.
2. Turn the VALUE dial or use / to select the track that you want to mute.
3. Use / to move the cursor to PLAY. fig.17-001
4. Press [DEC] to select the MUTE setting.
You can also use the pads to switch the track muting. 8 TRACK MUTE (Using the Pads to Mute Tracks) (p. 197)
Fast-forwarding or Rewinding during Playback
Muting the Playback of a Track (MUTE)
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For a song youve created in Studio mode, you can use the Studio mode Studio Play screen to adjust the volume of each internal sound generator part and audio track.
For details on operation, refer to Displaying Studio Play
Screen (p. 66).
When a song plays back, its tempo is determined by the data in the tempo track, but you can also adjust the tempo of the overall song during playback. This adjustment is called the playback tempo.
The playback tempo is a temporary setting. It will be lost when you switch to a different song or turn off the power. If you want the song to always play at this tempo, you must re-save the song (p. 254).
1. Press [TEMPO].
The Tempo window will appear. fig.17-004_50
2. Turn the VALUE dial or use [INC] [DEC] to specify the playback tempo. By holding down [SHIFT] and turning the VALUE dial you can make fine adjustments below the decimal point.
If you press [F7 (Click)] to turn it on, a click will sound at the specified tempo. The click will turn on/off each time you press the button.
You can specify the tempo by pressing [F6 (Tap Tempo)] at the desired interval (Tap Tempo). Press the button at least three times at quarter-note intervals of the desired playback tempo.
3. When youve finished making settings, press [F8 (Close)].
Accessing the Mixer Screen Changing the Playback Tempo of the Song
207
Playing Back a Song
Fantom-G_r_e.book 208
You can make the song play repeatedly according to the loop points you specify.
You cant specify loop points for a phrase.
1. Press [SONG].
The Song Play screen will appear.
2. Press [F5 (Loop)].
The Loop window will appear. fig.19-006_50
3. Move the cursor to the desired parameter, and turn the VALUE dial or use [INC] [DEC] to set the value.
* Stop the sequencer before you make these settings. You can make these
settings if the sequencer is running.
Repeat Times
Specifies the number of times (199) that the specified region will repeat. If you want it to repeat until you press [STOP], choose INF.
Start Point
Specifies the starting point of the loop region.
If you press [F5 (Set Start)], the current location in the song will be specified as the loop start point.
End Point
Specifies the ending point of the loop region. The location you specify is not included in the loop region.
If you press [F6 (Set End)], the current location in the song will be specified as the loop end point.
4. To enable the loop settings, press [F7 (Loop)] to turn it on.
You can use the [LOOP] button on the panel to turn looping on/off.
You can open this screen by holding down [SHIFT] and pressing [LOOP].
5. Press [F8 (Close)] to close the window.
You can place up to sixteen markers in a song at units of one measure. This will make song editing easier, since it will be easier for you to see the structure of your song, or to move quickly to the location of a marker.
Heres how to view and edit a list of the markers in a song.
1. Press [SONG].
The Song Play screen will appear.
2. Press [F6 (Marker)].
The Marker window will appear.
The buttons perform the following operations.
VALUE dial, [INC] [DEC],
Select a marker within the list. The current location also will be jumped.
[F4 (Name)]
Assigns a name to the currently selected marker. Choose a name from the displayed list, and press [F8 (Select)] to finalize your choice.
[F5 (Set)]
Adds a marker at the beginning of the current measure.
[F6 (Clear)]
Deletes the selected marker.
[F7 (Jump)]
Specifies the marker to which you will move when you press the front panel [JUMP] button.
3. Press [F8 (Close)] to close the window.
When the Marker window is open, you can press a pad 116 to jump to the marker of the corresponding number.
You can open this screen by holding down [SHIFT] and pressing [JUMP].
Jumping to a marker Heres how to jump to markers within a song.
Jumping to the previous marker:
Hold down [SHIFT] and press [ ].
Jumping to the next marker:
Hold down [SHIFT] and press [ ].
Jumping to the beginning of the song:
Press [ ].
Jumping to the JUMP marker:
Press [JUMP].
Playing a Song Repeatedly (Loop) Placing Markers in a Song (Marker)
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Heres how to change the zoom ratio of the track display, and change the order in which tracks are displayed.
1. Press [SONG].
The Song Play screen will appear.
2. Press [F7 (Song Util)].
The Song Utility Menu window will appear.
3. Use / to choose Zoom/Track Order, and press [F8 (Select)].
To cancel, press [F7 (Cancel)].
The Zoom/Track Order window will appear.
Changing the track display zoom 4. Use [CURSOR] to change the zoom ratio.
Horizontal axis (time axis of the tracks)
Press to shrink the display.
Press to magnify the display.
Vertical axis (vertical axis of the tracks)
Press to magnify the display.
Press to shrink the display.
If youre using a USB mouse, you can change the zoom in the Song Play screen by clicking the buttons shown in the illustration.
Changing the track display order 5. By turning the VALUE dial or using [INC] [DEC] to change
the value in the Track Order field, you can change the order in which the currently selected track is displayed.
If youre using a USB mouse, you can also change the track display order from the Song Play screen by clicking the button shown in the illustration.
6. Press [F8 (Close)] to close the Zoom/Track Order window.
Heres how to assign a name of a track.
1. Press [SONG].
The Song Play screen will appear.
2. Turn the VALUE dial or use / to select the track you want to name.
3. Use / to move the cursor to the track name field. fig.17-001
4. Press [ENTER].
5. Assign the desired name.
For details on entering a name, refer to Assigning a Name (p. 42).
6. Press [F8 (Write)] to finalize the name.
Changing the Track Display Zoom and Display Order (Zoom/Track Order)
Even without accessing the zoom window, you can hold down [SHIFT] in the Song Play screen and zoom the horizontal axis
in/out by pressing or or zoom the vertical axis in/out by pressing [INC] or [DEC].
Naming a Track (Track Name)
209
Playing Back a Song
Fantom-G_r_e.book 210
Heres how to specify the output destination of each track.
1. Press [SONG].
The Song Play screen will appear.
2. Turn the VALUE dial or use / to select the track whose output destination you want to assign.
3. Use / to move the cursor to the location shown in the illustration.
fig.17-001
4. Use [INC] [DEC] to specify the output destination.
For a MIDI track PHRASE: Output according to the setting recorded in the
phrase. Normally you will choose this.
INT: Play the Fantom-Gs internal sound generator.
EXT: Play an external sound module connected to the MIDI OUT connector.
BOTH: Play the Fantom-Gs internal sound generator and an external sound module connected to the MIDI OUT connector.
EXP1: Play expansion board ARX1.
EXP2: Play expansion board ARX2.
OFF: Nothing will be played.
For an audio track OUT A, OUT B:
Output the sound in stereo from the OUTPUT A (MIX) jacks or OUTPUT B jacks without sending it through the multi-effect.
MFX12: Send the sound through the multi-effect, and output it in stereo. This also allows you to apply chorus or reverb to the sound that has passed through the multi-effect.
Heres how to delete a song file from the project.
1. Press [SONG].
The Song Play screen will appear.
2. Press [F1 (Song List)].
The Song List screen will appear.
3. Turn the VALUE dial or use [INC] [DEC] or / to select the song that you want to delete.
4. Press [F4 (Delete Song)].
A confirmation message will appear.
5. Press [F7 (OK)] to execute the operation.
If you decide to cancel, press [F8 (EXIT)].
When the Fantom-G is powered-on (when loading a project), song 001 (the top song in the Song List) will be loaded automatically.
If you dont want a song to be loaded automatically at power-on (when loading a project), delete song 001 as described in Deleting a Song File (Song Delete) (p. 210).
When you execute a Factory Reset (p. 280), the demo song will be written to song 001.
Specifying a Tracks Output Destination (Output Assign)
Deleting a Song File (Song Delete)
Song Automatically Loaded at Power-on (When Loading a Project)
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Heres how to erase the song thats currently opened in the Song Play screen. Use this function when you want to record a new song. This will not delete the actual song file thats saved in the project.
If a song youre editing is open, save the song before you continue (p. 254).
1. Press [SONG].
The Song Play screen will appear.
2. Press [F7 (Song Util)].
The Song Utility Menu window will appear.
3. Use / to choose Song Clear, and press [F8 (Select)].
To cancel, press [F7 (Cancel)].
A confirmation message will appear.
4. Press [F7 (OK)] to execute.
If you decide not to execute, press [F8 (EXIT)].
Erasing the Currently-open Song (Song Clear)
211
Playing Back a Song
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Standard MIDI File (SMF) data from your computer can be copied to the Fantom-G for listening, or imported into a song or phrase.
Heres how to copy a standard MIDI file from your computer to the Fantom-G.
1. Prepare a standard MIDI file (.MID) on your computer.
2. Use the USB Storage function (p. 281) to copy the standard MIDI file (.MID) to the following folder of the Fantom-Gs internal memory or of your USB memory.
FantomG.Prj/SEQ/SMF folder
FantomG.Prj will be the project folder name in the
Fantom-Gs internal memory. You can save more than one project in USB memory. By default, the project folders will be
named consecutively as FantomG001.Prj,
FantomG002.Prj, etc., and the portion of the name
preceding the file name extension will be the project name you assigned when saving the file.
You can access the SMF List and listen to a standard MIDI file (SMF) that you copied as described in Copying a Standard MIDI File
(SMF) from Your Computer to the Fantom-G (p. 212).
When playing SMF data, we recommend that you put the sound generator in Studio mode. The Fantom-G is GM/GM2 compatible, so if the music data is compatible with GM/GM2, it will automatically play back with the appropriate sounds.
1. Press [SONG].
The Song Play screen will appear.
2. Press [F2 (SMF List)].
The SMF List screen will appear.
F-key operations in the SMF List screen
3. Turn the VALUE dial or use [INC] [DEC] or / to select an SMF file.
4. Press [PLAY] or [F7 (Play)].
You will hear the selected SMF file.
Playing a Standard MIDI File (SMF)
Copying a Standard MIDI File (SMF) from Your Computer to the Fantom-G
Playing a Standard MIDI File (SMF) (SMF List)
F-key Explanation Page
F5 -> Phrase
Imports an SMF file into a phrase. p. 213
F6 -> Song
Imports an SMF file into a song. p. 213
F7 Play
Plays the SMF file selected in the list. p. 212
F8 EXIT
Returns to the previous screen.
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You can access the SMF List and import a standard MIDI file (SMF) from the project into a phrase. You can then use the imported SMF as a phrase.
1. Press [SONG].
The Song Play screen will appear.
2. Press [F2 (SMF List)].
The SMF List screen will appear.
3. Turn the VALUE dial or use [INC] [DEC] or / to select an SMF file.
4. Press [F5 (->Phrase)].
A confirmation message will appear.
5. Press [F7 (OK)] to execute.
If you decide to cancel, press [F8 (EXIT)].
When you execute, the selected SMF file will automatically be imported into a vacant number of the phrase list, and the Phrase Edit screen (p. 238) will appear.
The imported phrase is temporary, and will be lost if you turn off the power. If you want to keep the phrase, press [WRITE] to save it (p. 216).
You can access the SMF List and import a standard MIDI file (SMF) from the project into a song. You can then use the imported SMF as a Fantom-G song.
1. Press [SONG].
The Song Play screen will appear.
2. Press [F2 (SMF List)].
The SMF List screen will appear.
3. Turn the VALUE dial or use [INC] [DEC] or / to select an SMF file.
4. Press [F6 (->Song)].
A confirmation message will appear.
5. Press [F7 (OK)] to execute.
If you decide to cancel, press [F8 (EXIT)].
When you execute, the selected SMF file will automatically be imported into a vacant number of the song list, and the Song Play screen (p. 205) will appear.
The imported song is temporary, and will be lost if you turn off the power. If you want to keep the song, press [WRITE] to save it (p. 254).
Importing an SMF into a Phrase (Import Phrase)
Importing an SMF into a Song (Import Song)
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Playing Back a Song
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Phrases from within the Fantom-G project can be auditioned from a list.
Heres how to access the Phrase List and audition a phrase from the project.
1. Press [SONG].
The Song Play screen will appear.
2. Press [F3 (Phrase List)].
The MIDI Phrase List screen will appear.
F-key operations in the MIDI Phrase List screen
3. Turn the VALUE dial or use [INC] [DEC] or / to select a phrase.
4. Press and hold [F7 (Preview)].
Youll hear the selected phrase.
Heres how to load a phrase from the project into memory.
1. Press [SONG].
The Song Play screen will appear.
2. Press [F3 (Phrase List)].
The MIDI Phrase List screen will appear.
3. Turn the VALUE dial or use [INC] [DEC] or / to select a phrase.
4. Press [F1 (Load)].
A confirmation message will appear.
5. Press [F7 (OK)] to execute.
If you decide to cancel, press [F8 (EXIT)].
Playing Phrases (MIDI Phrase)
Auditioning a Phrase (MIDI Phrase List)
F-key Explanation Page
F1 Load
Loads a phrase from the project into memo- ry.
p. 214
F2 Save
Saves the selected phrase to the project. p. 216
F3 Util Menu
Save All Save all phrases p. 216 Delete Phrase Deletes the phrase file
from the project p. 215
Duplicate Duplicates the phrase p. 215 F6 Edit
Returns to the previous screen.
F7 Preview
Auditions the selected phrase. p. 214
F8 Phrase Edit
Displays the edit screen for the selected phrase.
p. 238
Loading a Phrase (Load)
The phrase list shows the current phrase status
Phrase name This shows the phrase name. If this field indicates EMPTY, the phrase has not been loaded into memory. Load the phrase as needed.
This indicates whether the file exists in
the project. Phrases without the symbol have not been saved, and there- fore will be lost when you turn off the power. Save the phrase if necessary.
This indicates a phrase that has been edited. The changes you made will be lost when you turn off the power. Save the phrase if necessary.
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This operation will completely delete a phrase from the project along with its file.
If that phrase is used by a song within the project, the portion of the song occupied by that phrase will no longer sound.
1. Press [SONG].
The Song Play screen will appear.
2. Press [F3 (Phrase List)].
The MIDI Phrase List screen will appear.
3. Turn the VALUE dial or use [INC] [DEC] or / to select a phrase.
4. Press [F3 (Util Menu)].
The Phrase Utility Menu window will appear.
5. Use / to choose Delete Phrase, and press [F8 (Select)].
To cancel, press [F7 (Cancel)].
A confirmation message will appear.
6. Press [F7 (OK)].
If you decide to cancel, press [F8 (EXIT)].
This operation will duplicate a phrase to a vacant number in the list. You can use this to create variations by modifying an existing phrase.
1. Press [SONG].
The Song Play screen will appear.
2. Press [F3 (Phrase List)].
The MIDI Phrase List screen will appear.
3. Turn the VALUE dial or use [INC] [DEC] or / to select a phrase.
4. Press [F3 (Util Menu)].
The Phrase Utility Menu window will appear.
5. Use / to choose Duplicate, and press [F8 (Select)].
To cancel, press [F7 (Cancel)].
A confirmation message will appear.
6. Press [F7 (OK)] to execute.
If you decide to cancel, press [F8 (EXIT)].
When you execute, the selected phrase will automatically be duplicated to a vacant number in the phrase list.
Deleting a Phrase from the Project (Delete Phrase)
Duplicating a Phrase (Duplicate)
215
Playing Back a Song
Fantom-G_r_e.book 216
This operation will save the selected phrase to the project.
A phrase you recorded or edited is temporary, and will be lost when you turn off the power. If you want to keep the phrase, you must save it.
1. Press [SONG].
2. Press [F3 (Phrase List)].
The MIDI Phrase List screen will appear.
Phrases without the symbol and phrases with the
symbol have not been saved.
3. Turn the VALUE dial or use [INC] [DEC] or / to select the phrase that you want to save.
4. Press [F2 (Save)].
5. Assign a name to the phrase.
For details on assigning a name, refer to Assigning a Name (p. 42).
6. When youve finished assigning a name, press [F8 (OK)].
A message will ask you to confirm the Write operation.
Never turn off the power while writing is in progress.
7. Press [F7 (OK)] to execute.
If you decide to cancel, press [F8 (EXIT)].
* You cant save a phrase by overwriting an existing phrase.
This operation will save all phrases of the phrase list into the project.
1. Press [SONG].
2. Press [F3 (Phrase List)].
The MIDI Phrase List screen will appear.
Phrases without the symbol and phrases with the
symbol have not been saved.
3. Press [F3 (Util Menu)].
The Phrase Utility Menu window will appear.
4. Press / to choose Save All, and then press [F8 (Select)].
To cancel, press [F7 (Cancel)].
A confirmation message will appear.
5. Press [F7 (OK)] to execute.
If you decide to cancel, press [F8 (EXIT)].
When you execute Save All, the phrases will be written into the same numbers of the phrase list. Phrase names will be assigned automatically.
Saving a Phrase (Save) Saving all Phrases (Save All)
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Recording MIDI
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This section explains how to use the Fantom-Gs sequencer to record MIDI.
A phrase is a chunk of recorded MIDI data. You can create a song simply by placing phrases in the MIDI tracks of a song.
You can record MIDI either by recording it directly into a MIDI track of a song, or by recording into a phrase.
Recording into a song (p. 218) In the Song Play screen, select a track and a recording start location, and then begin recording. After recording, the phrase will be attached to the recording start location.
Recording into a phrase (p. 220) In the MIDI Phrase List screen, select a phrase number and then begin recording. After recording, the phrase will be added to the list.
There are two ways to record MIDI: realtime recording and step
recording. Use the method thats suitable for your needs.
Realtime recording (p. 222) With this method, your performance on the keyboard and pads, and the controller movements you make, are recorded exactly as you perform them.
Step recording (p. 226) Step recording allows you to enter notes and rests one by one. This method is suitable when you need to enter notes at a precise timing, such as when recording drums or bass.
You cant step-record directly into a song. You can use step recording to record a phrase.
Phrases and Songs
Two Methods of Recording
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Recording MIDI
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Recording work-flow When recording a new song, the work-flow is as follows.
1. Select the sound you want to use for recording.
2. Erase the song thats in the temporary area.
3. Specify the time signature of the song (p. 219).
4. Specify the tempo (p. 219).
5. Select a MIDI track and the recording-start measure (p. 219).
6. Perform realtime recording (p. 222).
7. Use song editing to edit the song (p. 232).
8. Use phrase editing (p. 238) or microscope editing (p. 250) to edit the phrase.
9. Save the song (p. 254).
Before you record a song, select Studio mode and choose the sound youll use for recording.
The Fantom-Gs sequencer can record your performance regardless of the sound generator mode (Single, Live, or Studio), but we recommend that you choose Studio mode when you want to record a song. In Studio mode, when you use the Fantom-Gs keyboard and pads to record, youll hear only the sound of the specified MIDI channel, and you can use a different sound for each part (up to sixteen sounds) to play back the recorded song. This means that Studio mode is the appropriate choice when recording or playing back an ensemble performance using multiple instruments such as drums, bass, and piano.
We recommend that you turn the Keyboard Switch (p. 69) off for all parts. If this is on, multiple parts of your performance will be recorded to a single phrase, which is not what you want when creating a song.
Selecting Studio mode p. 66
Selecting a Studio Set p. 67
Selecting a sound for each part p. 68
When you record a song, the performance data is recorded into the temporary area. If you want to record a new song, youll need to erase the existing performance data from the temporary area before you begin.
If youve been editing the currently-opened song, save the song before you continue (p. 254).
1. Press [SONG].
The Song Play screen will appear.
2. Press [F7 (Song Util)].
The Song Utility Menu window will appear.
3. Use / to choose Song Clear, and then press [F8 (Select)].
To cancel, press [F7 (Cancel)].
A confirmation message will appear.
4. Press [F7 (OK)] to execute.
If you decide to cancel, press [F8 (EXIT)].
Recording into a Song Selecting a Sound for Recording
Erasing the Song/Phrases from the Temporary Area (Song Clear)
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When you record a new song, start by specifying the time signature. However, if youve just executed the Song Clear operation or turned on the power, the time signature will always be set to 4/4, so youll need to change this only if the song youre recording uses a different time signature.
1. Press [SONG].
2. Press [F8 (Song Edit)].
The Song Edit screen will appear.
3. Press [F7 (Song Util)].
The Song Edit Utility Menu window will appear.
4. Press / to choose Beat Track, and press [F8 (Select)].
To cancel, press [F7 (Cancel)].
The Microscope screen for the beat track will appear.
5. Move the cursor to Beat Change, and specify the time signature.
If you want the beat to change in the middle of the song, refer to Changing the Time Signature during the Song (Beat
Track) (p. 237).
6. Press [EXIT] to return to the Song Edit screen.
Heres how to specify the tempo at which youll record the song.
1. Press [TEMPO].
The Tempo window will appear. fig.17-004_50
2. Turn the VALUE dial or use [INC] [DEC] to specify the tempo. By holding down [SHIFT] while you turn the VALUE dial, you can adjust the value below the decimal point.
If you press [F7 (Click)] to turn it on, the click will sound at the specified tempo. It will turn on/off each time you press the button.
You can specify the tempo by pressing [F6 (Tap Tempo)] at the desired interval (Tap Tempo). Press the button at least three times in quarter-note intervals of the desired tempo.
3. When youve finished making settings, press [F8 (Close)].
Heres how to select the MIDI track on which youll record, and specify the recording-start measure.
You can record on any of the tracks 1128 that indicates MIDI.
You are free to simultaneously record MIDI data for multiple sound generator parts on the same MIDI track, and you are also free to use multiple MIDI tracks to record MIDI data for a single sound generator part. Initially, youll probably want to keep things simple by using the MIDI track of the same number as the sound generator part its playing.
1. Press [SONG].
The Song Play screen will appear.
2. Turn the VALUE dial or use / to select the MIDI track on which you want to record.
Select a track that has the MIDI indication.
You can change the order in which the tracks are displayed. Changing the Track Display Zoom and Display Order (Zoom/Track Order) (p. 209)
3. Use [ ] [ ] to specify the measure at which you want to start recording.
The recording-start measure is indicated in the Measure field at the top of each PLAY screen.
If a phrase already exists at the recording- start location
The existing phrase will be overwritten by your new recording.
If a phrase already exists following the recording-start location
A new phrase will be recorded. Youll be able to record up to the location of the subsequent phrase.
Proceed to Realtime Recording p. 222
Specifying the Time Signature (Beat Track)
Specifying the Tempo
Selecting a MIDI Track and the Recording-start Measure
219
Recording MIDI
Fantom-G_r_e.book 220
Recording work-flow When recording a new phrase, the work-flow is as follows.
1. Select the sound you want to use for recording.
2. Specify the tempo.
3. In the MIDI Phrase List, select the phrase that you want to record (p. 221).
4. Perform realtime recording (p. 222) or step recording (p. 226).
5. Use phrase editing (p. 238) or microscope editing (p. 250) to edit the phrase.
6. Save the phrase (p. 216).
Before you record a phrase, select Studio mode and choose the sound youll use for recording.
The Fantom-Gs sequencer can record your performance regardless of the sound generator mode (Single, Live, or Studio), but we recommend that you choose Studio mode when recording. In Studio mode, when you use the Fantom-Gs keyboard and pads to record, youll hear only the sound of the specified MIDI channel, and you can use a different sound for each part (up to sixteen sounds) to play back the recorded song. This means that Studio mode is the appropriate choice when recording or playing back an ensemble performance using multiple instruments such as drums, bass, and piano.
We recommend that you turn the Keyboard Switch (p. 69) off for all parts. If this is on, multiple parts of your performance will be recorded to a single phrase, which is not what you want when creating a song.
Selecting Studio mode p. 66
Selecting a Studio Set p. 67
Selecting a sound for each part p. 68
Heres how to specify the tempo at which youll record the phrase.
Tempo or time signature settings cannot be stored in a phrase. Phrases always play back at the tempo of the song. The tempo youre specifying here is a temporary tempo setting for recording.
1. Press [TEMPO].
The Tempo window will appear. fig.17-004_50
2. Turn the VALUE dial or use [INC] [DEC] to specify the tempo. By holding down [SHIFT] while you turn the VALUE dial, you can adjust the value below the decimal point.
If you press [F7 (Click)] to turn it on, the click will sound at the specified tempo. It will turn on/off each time you press the button.
You can specify the tempo by pressing [F6 (Tap Tempo)] at the desired interval (Tap Tempo). Press the button at least three times in quarter-note intervals of the desired tempo.
3. When youve finished making settings, press [F8 (Close)].
Recording into a Phrase Selecting a Sound for Recording
Specifying the Tempo
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Access the MIDI Phrase List, and select the phrase that you want to record.
Recording operations can also be performed in the Phrase Edit screen (p. 238).
1. Press [SONG].
The Song Play screen will appear.
2. Press [F3 (Phrase List)].
The MIDI Phrase List screen will appear.
3. Turn the [VALUE] dial or use [INC] [DEC] or / to select the phrase that you want to record.
If a phrase already exists in the selected number The existing phrase will be overwritten by your new recording.
If there is no phrase in the selected number A new phrase will be recorded.
Proceed to Realtime Recording p. 222
Proceed to Step Recording p. 226
Selecting the Phrase to Record
221
Recording MIDI
Fantom-G_r_e.book 222
Realtime recording is the recording method in which your keyboard performance and controller operations are recorded exactly as you perform them. Choose this recording method when you want to capture the nuances of your performance.
1. Make sure that youve made the appropriate preparations for recording as described in Recording into a Song (p. 218) or Recording into a Phrase (p. 220).
2. Press [REC].
The [REC] indicator will blink, and the Realtime Rec Standby window will appear.
In this window you can set various parameters related to realtime recording.
3. Use [CURSOR] to move the cursor to the various parameters, and turn the VALUE dial or use [INC] [DEC] to set them.
For details on the parameters, refer to Realtime Rec Standby
Parameters (p. 222).
4. When youve finished making settings in the Realtime Rec Standby window, press [PLAY] or [F8 (Start)].
The Realtime Rec Standby window will close, the [REC] indicator will change from blinking to lit, and recording will start.
When recording starts, the Realtime Recording window will appear.
To close this window, press [F8 (Close)] or [PLAY]. To open it again, press [PLAY].
In this window you can perform the following operations.
Realtime erase (Erase p. 224)
Rehearsal function (Rehearsal p. 225)
For details on these operations, refer to the corresponding page.
5. When youve finished recording, press [STOP].
The [REC] indicator will go dark.
This section explains the Realtime Rec Standby parameters.
Rec Mode
Selects how recording is to take place.
Value
MIX: Mix-recording will be carried out. Normally, you will record using this method. If a performance has already been recorded on the recording-destination phrase, your newly recorded performance will be added to the existing performance without erasing it. By using this in conjunction with Loop-recording, you can record repeatedly over a specified area without erasing the previously recorded performance. For example, this is a convenient way to record a drum performance one instrument at a time; bass drum snare drum hi-hat, etc.
REPLACE: Replace-recording will be carried out. If a performance has already been recorded on the recording-destination phrase, it will be erased as you record your new performance. Use this when you want to re-record.
Count In
Selects how recording is to begin.
Value
OFF: Recording will begin immediately when you press [PLAY].
1 MEAS: When you press [PLAY], a count (playback) will begin one measure before the recording-start location, and recording will begin when you reach the recording-start location.
2 MEAS: When you press [PLAY], a count (playback) will begin two measures before the recording-start location, and recording will begin when you reach the recording-start location.
WAIT NOTE: As an alternative to pressing [PLAY], you can play the keyboard, strike a pad, or press the Hold pedal to start recording.
Recording Your Performance Just as You Play It (Realtime Recording)
Basic Procedure for Realtime Recording
Realtime Rec Standby Parameters
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Tempo Rec Switch Specifies whether tempo changes will be recorded (ON) or not recorded (OFF).
If you want the tempo to change during the song, you can record those tempo changes in the tempo track. If tempo changes have already been recorded, they will be overwritten by your new tempo changes.
Value: OFF, ON
Loop Switch Specifies whether loop recording will be on (ON) or off (OFF). The loop region is from the Rec Start Point to the Rec End Point.
Value: OFF, ON
Rec Start Point Indicates the measure, beat, and tick at which recording will start.
Rec End Switch Specifies whether a recording end point will be assigned (ON) or not assigned (OFF).
Rec End Point Specifies the measure, beat, and tick at which recording will end.
This setting is ignored if Rec End Switch is OFF.
Rec Length Specifies the length of the recording region in measures, beats, and ticks. The Rec Length setting and Rec End Point setting are linked.
Input Quantize The Quantize function automatically corrects inaccuracies in the timing of your keyboard or pad performance, aligning the notes to accurate timing intervals. During realtime recording, you can quantize while you record.
Specify whether to quantize while recording.
Value
OFF: Quantize will not be applied while recording.
GRID: Grid Quantize will be applied while recording. Use this when you want the timing to be accurate, such as when recording drums or bass.
SHUFFLE: Shuffle Quantize will be applied while recording. Use this when you want to give the rhythm a shuffle or swing character.
Grid Resolution Make this setting when you are using Grid Quantize. Specify the quantization interval in terms of a note value. Select the shortest note value that will occur in the range to which Grid Quantize will be applied.
Value: , , , , , ,
Grid Quantize Strength Make this setting when you are using Grid Quantize. It specifies the degree to which notes will be adjusted toward the timing intervals specified by the Grid Resolution parameter. With a setting of 100%, the notes will be corrected precisely to the timing of the Grid Resolution parameter. As you lower this setting, the note timing will be corrected to a lesser extent, and with a setting of 0% the timing will not be adjusted at all.
Value: 0100%
Shuffle Resolution When you are using Shuffle Quantize, make this setting to specify the note value used for quantization.
Value: ,
Shuffle Rate Make this setting when using Shuffle Quantize. It specifies the degree to which the backbeat will be separated from the downbeat specified by the Shuffle Resolution parameter. With a setting of 50%, the backbeat will be exactly between adjacent downbeats. With a setting of 0%, the backbeat will be moved to the same timing as the preceding downbeat. With a setting of 100%, the backbeat will be moved to the same timing as the following downbeat.
Value: 0100%
Grid quantize with Resolution =
Shuffle quantize with Rate = 75%
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Recording MIDI
Fantom-G_r_e.book 224
When you use realtime recording, all of your sequencer data will normally be recorded. If you want to avoid recording a specific type of data, you can turn its Recording Select setting OFF.
1. Press [REC].
2. Press [F7 (Rec Select)].
The Recording Select window appears.
3. Use or to select the sequencer data (MIDI messages) that will be recorded.
Note: Note messages. These MIDI messages represent notes.
Poly Aftertouch: Polyphonic aftertouch. These MIDI messages apply aftertouch to individual keys.
Control Change: Control change messages. These MIDI messages apply various effects such as modulation or expression.
Program Change: Program change messages. These MIDI messages select sounds.
Channel Aftertouch: Channel aftertouch messages. These MIDI messages apply aftertouch to an entire MIDI channel.
Pitch Bend: Pitch bend messages. These MIDI messages change the pitch.
System Exclusive: System exclusive messages. These MIDI messages are used to make settings unique to the Fantom-G, such as sound parameters.
4. Turn the VALUE dial or press [INC] [DEC] to add a check mark.
The message will be recorded if you assign a check mark (), and will not be recorded if you remove the check mark.
If you press [F6 (All Off)], no sequencer data will be recorded.
If you press [F7 (All On)], all of the sequencer data will be recorded.
5. Press [F8 (Close)] to close the Recording Select window.
Realtime Erase is a function that erases unwanted data during realtime recording. This is particularly convenient during loop recording, since it lets you erase data without stopping recording.
Realtime Erase can be executed only if the Recording Mode is set to MIX.
1. Begin realtime recording (p. 222).
The Realtime Recording window appears.
2. Press [F6 (Erase)].
The Realtime Erase window appears.
3. Erase unwanted data.
To erase all data, press [F7 (Erase All)]. Data will be erased for as long as you hold down the button.
To erase notes of a specific key, hold down that key. Data for that note will be erased for as long as you hold down that key.
To erase notes of a specific key range, hold down the top and bottom keys of that range. Data for that range will be erased for as long as you hold down those keys.
4. Press [F8 (Close)] to close the Realtime Erase window.
You will return to the normal recording state.
Selecting the Sequencer Data that will Be Recorded (Recording Select)
Erasing Unwanted Data While You Record (Realtime Erase)
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The Rehearsal function lets you temporarily suspend recording during realtime recording. This is convenient when you want to practice the phrase that you will record next.
1. Begin realtime recording (p. 222).
The Realtime Recording window appears.
2. Press [F7 (Rehearsal)] or [REC].
The [REC] indicator will blink, indicating that you are in rehearsal mode. In this state, nothing will be recorded when you play the keyboard.
3. To return to record mode, press [F7 (Rehearsal)] or [REC] once again.
Auditioning Sounds or Phrases While Recording (Rehearsal Function)
225
Recording MIDI
Fantom-G_r_e.book 226
Step recording lets you record notes and rests one at a time, just as though you were writing them onto a musical staff.
You cant step-record directly into a song. You can use step recording to record a phrase.
1. Make sure that youve made the appropriate preparations for recording as described in Recording into a Phrase (p. 220).
2. Press [F8 (Phrase Edit)] in the MIDI Phrase List.
The Phrase Edit screen will appear.
3. Press [F5 (Step Rec)]
The [REC] indicator will blink, and the Step Recording Standby window will appear.
You can also access the Step Recording Standby window by holding down [SHIFT] and pressing [REC] in the MIDI Phrase List.
4. Make settings for step recording. Use [CURSOR] to move the cursor to the desired parameter, and turn the VALUE dial or use [INC] [DEC] to set the parameter.
Rec Mode (Recording Mode)
Selects how recording is to take place.
Value
MIX: Mix-recording will be carried out. Normally, you will record using this method. If a performance has already been recorded on the recording- destination phrase, your newly recorded performance will be added to the existing performance without erasing it.
REPLACE: Replace-recording will be carried out. If a performance has already been recorded on the recording-destination phrase, it will be erased as you record your new performance. Use this when you want to re-record.
Start Point Specifies the location (measure-beat-tick) at which recording will begin.
5. Press [F8 (Start)] or [PLAY].
The [REC] indicator will light, and the Step Rec (Note) screen appears.
6. Specify the note that you want to input. Use or to select the desired parameter.
Note Type
Specifies the length of the notes that you want to input, in terms of a note value. The length of the note value indicates the length from one note-on to the next note-on.
Value: , , , , , , , , , , ,
, , , , , ,
Gate Time
Specifies the proportion of the gate time relative to the Note Type. The gate time is the length between note-on and note-off. Specifies a lower value if you want the notes to be played staccato, or a higher value if you want the notes to be played tenuto, or as a slur. Normally, you will set this to about 80%.
Value: 1100%
Input Velo
Specifies the strength with which the note will be played. If you want this to be the strength with which you actually pressed a key or a pad, select REAL. Otherwise, use settings of p (piano)=60, mf (mezzo forte)=90, or f (forte)=120 as general guidelines.
Value: REAL, 1127
7. Turn the VALUE dial or press [INC] [DEC] to make the setting.
8. Press [F7 ( )] or [F8 ()] to move to the desired input location, and press a note on the keyboard or a pad.
When you press a key or a pad, the note messages are displayed as a bar. The velocities are displayed as a bar graph.
You can use the function buttons ([F1] [F2] [F3] [F4] [F5] [F6]) to perform the following operations.
Inputting Data One Step at a Time (Step Recording)
Entering Notes and Rests
226
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Step Back
Cancel the previously input note.
Tie
Extend the length of the previously input note by the current setting.
Rest
Inputs a rest. First set the Note Type parameter to a length that is the same as the rest you want to input.
Zoom In
Narrow the range of keys shown in the display. Use this when you want to view certain notes at greater magnification.
Zoom Out
Expand the range of notes shown in the display. Use this when you want to see which notes have been input.
Untie
Removes the most recently input tie.
9. Repeat the above steps to continue inputting.
The previous value of each parameter is remembered. This means that if you want to use the same settings as the previously input note, there is no need to change the settings. Once you have set the Gate Time parameter and Input Velocity parameter, it is not normally necessary to change them, so all you have to do is set the Note Type parameter and specify the pitch (keyboard, pad) of each note.
10. When you are finished step recording, press [STOP].
The [REC] indicator will go dark.
Inputting a Chord Press the chord. The cursor will move to the next step when you release all keys or pads.
Moving the input location Pressing [F8 ()] will move the input location forward by the
current Note Type value.
Pressing [F7 ( )] will move the input location backward by the current Note Type value.
Hold down [SHIFT] and press [F8 ()] will advance the input location by one measure.
Hold down [SHIFT] and press [F7 ( )] will return the input location by one measure.
Moving the display region Pressing or will move the displayed region of notes upward or downward.
The Relation between Note Value Length and Gate Time The relation between the length of the note value and the gate time is shown below. Since the Fantom-Gs sequencer uses a TPQN (Ticks Per Quarter Note; i.e., resolution) of 480, a quarter note gate time is 480 ticks.
The gate time that is recorded in step recording will be the original gate time value multiplied by the value of the Gate Time parameter. For example, if the Gate Time parameter is set to 80%, inputting a quarter note will mean that the
gate time is 480 x 0.8=384.
Note Gate time 30
40
45
60
80 90
120
160
180 240
320
360
480
640
720
960
1920 3840
227
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Recording Audio
About the audio recording time
The Fantom-G has 32 MB of built-in memory, which allows you to record approximately six minutes of mono audio or approximately 3 minutes of stereo audio. If you want to record for longer than this, youll need to install commercially available memory (DIMM) (p. 308, p. 310).
A piece of recorded audio data is called a sample. You can create a song simply by placing samples in an audio track of a song.
You can record audio either by recording directly into an audio track of a song, or by recording only samples (sampling), or by importing WAV or AIFF files from your computer.
Recording into a song (p. 228) From the Song Play screen, select a track and a record-start location, and then record.
After recording, the sample will be assigned to the record-start location of the track.
Sampling (p. 258) You can use the Sampling function to record audio. The samples you record will be added to the sample list. You can create a song by freely placing these samples in an audio track of the song.
Importing from your computer (p. 283) You can import WAV or AIFF files from your computer. The imported WAV or AIFF files will be added to the sample list as samples. You can create a song by freely placing these samples in an audio track of the song.
When recording audio into a song, the work-flow is as follows.
1. Select an audio track and the recording-start location (p. 229).
2. Perform audio recording (p. 230).
3. Use song editing (p. 232) to edit the song.
4. Edit the samples (p. 263).
5. Save the song (p. 254).
Samples and Songs
Recording into a Song
8
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Heres how to select an audio track for recording, and specify the recording-start measure.
You can record on any of the tracks 124 that are marked AUDIO.
1. Press [SONG].
The Song Play screen will appear.
2. Turn the VALUE dial or use / to select the audio track on which you want to record.
Select a track thats marked AUDIO.
You can change the order in which the tracks are displayed. Changing the Track Display Zoom and Display Order
(Zoom/Track Order) (p. 209)
3. Use [ ] [ ] to specify the measure at which youll start recording.
The recording-start measure is shown in the Measure field located at the top of each PLAY screen.
If the track already contains a sample Each audio track always plays only one sample per track. If samples overlap in a track, the latter sample will be heard.
4. Press the [REC] button to enter record-standby mode.
Proceed to Audio Recording p. 230
Selecting an Audio Track and the Recording-start Measure
229
Recording Audio
Fantom-G_r_e.book 230
Heres how to record audio input from an audio device, mic, or CD onto an audio track.
1. Make sure that youve completed the preparations for recording as described in Selecting an Audio Track and the Recording-start Measure (p. 229).
2. Press [REC].
* This step is the same as step 4 on Selecting an Audio Track and
the Recording-start Measure (p. 229).
The [REC] indicator will blink, and the Audio Rec Standby window will appear.
fig.18-003_50
In this window you can set various parameters related to audio recording.
Pressing [F7 (Inp Setting)] will access the Input Setting screen (p. 258), where you can make settings for the external input.
You can apply effects such as equalizer or compressor to the audio input. Press [F7 (Inp Setting)] and then [F7 (Input Effect)] to access the INPUT EFFECT screen, where you can make effect settings. For details on the parameters that you can set, refer to Input Effect Parameters (p. 186).
3. Use [CURSOR] to move the cursor to the desired parameter, and turn the VALUE dial or use [INC] [DEC] to set the value.
For details on each parameter, refer to Audio Rec Standby
Parameters (p. 230).
4. If youre recording from the AUDIO INPUT, turn the rear panel LEVEL knob (p. 24) to adjust the input level from your external source.
* This adjustment is not needed if youre using DIGITAL IN.
* If the volume of the external input is too high, the PEAK indicator will
light. In this case, turn down the LEVEL knob until the PEAK
indicator no longer lights.
* If the recording level is too high, the level meter in the screen will
indicate CLIP.
* If an external device is connected to the DIGITAL AUDIO IN
connector, and you disconnect the cable or power-off your external
device, noise may subsequently be heard in the input from DIGITAL
AUDIO IN. If this occurs, re-connect the external device correctly, or
turn off the Fantom-Gs [MIX IN] switch.
5. Press [PLAY] or [F8 (Start)].
The Realtime Rec Standby window will close, the [REC] indicator will change from blinking to lit, and recording will start.
When recording starts, the Realtime Recording window will appear.
fig.18-004_50
6. When youre finished recording, press [STOP].
The [REC] indicator will go dark.
The sample you recorded will be placed in the audio track.
The recorded sample will be lost when you turn off the
power.
If you want to keep the sample, you must save it (p. 274).
This section explains the Realtime Rec Standby parameters.
Audio Rec Mode (Audio recording mode) Specifies how recording will occur.
Value
SOLO: While playing the internal sound generator as usual, record only the sound from the external input.
* Effects other than the Input Effect cannot be
applied to the external input sound.
SOLO WITH FX: While playing the internal sound generator, record only the sound from the external input. While doing so, you can apply an effect to the external input sound.
* If the recording mode is SOLO WITH FX, you
cannot apply MFX (multi-effect) to the sound of
the internal sound generator.
RE-SAMPLING: Record the sound of the internal sound generator (including the audio tracks). The external input will not be heard.
* The volume of resampled phrases may be less
than the original volume of the phrase. As
needed, use Normalize (p. 270) to raise the
volume.
Audio Recording
Basic Procedure for Audio Recording
Audio Rec Standby Parameters
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Input Select Selects the input source.
Value
DIGITAL IN: DIGITAL AUDIO IN jack
LINE IN L/R: INPUT jacks L/R (stereo)
LINE IN L: INPUT jack L (mono)
MIC/GUITAR: MIC/GUITAR jack
USB AUDIO: USB connector
Audio Rec Channel (Audio recording channel) When recording an audio track, selects whether the recorded track will be stereo or mono.
Value
MONO: Recording in mono.
STEREO: Recording in stereo.
Count In Selects how recording will begin.
Value
OFF: Recording will begin as soon as you press [PLAY].
1 MEAS: When you press [PLAY], there will be a count starting one measure before the recording-start location, and recording will begin at the recording-start location.
2 MEAS: When you press [PLAY], there will be a count starting two measures before the recording-start location, and recording will begin at the recording-start location.
Rec Start Point (Recording start point) Indicates the measure, beat, and tick at which recording will start.
Rec End Switch (Recording end switch) Selects whether a recording-end point will be specified (ON) or not (OFF).
Rec End Point (Recording end point) Specifies the measure, beat, and tick at which recording will end.
This setting will have no effect if the Rec End Switch is OFF.
Rec Length (Recording length) Specifies the length of the recorded region in measures, beats, and ticks. This setting is linked with the Rec End Point settings.
231
23
Fantom-G_r_e.book 232
Editing Songs
Editing a song (p. 232) In the Song Play screen and Song Edit screen you can edit the entire song. Here you can make settings for each track, and rearrange the phrases and samples. The tracks of a song do not contain the samples or phrases themselves, but merely hold information telling at this point, play sample (or phrase) number so-and-so.
Editing a phrase (p. 238) You can edit the individual phrases that are assigned to the tracks. Use the Phrase Edit screen to edit phrases.
Editing a sample (p. 263) You can edit the individual samples that are assigned to the tracks. Use the Sample Edit screen to edit samples.
To edit a song, access the Song Edit screen.
1. Press [SONG].
The Song Play screen will appear.
2. Press [F8 (Song Edit)].
The Song Edit screen will appear.
You can also access the Song Edit screen by pressing [SONG] twice in succession.
fig.17-001
F-keys operations in the Song Edit screen
Three Ways to Edit Editing a Song (Song Edit)
Opening the Song Edit Screen
F-key Explanation Page
F1 Insert
Inserts a sample/phrase at the specified lo- cation.
p. 233
F2 Delete
Deletes the selected sample/phrase from the track.
p. 234
F3 Copy
Copies the selected sample/phrase. p. 234
F4 Edit
If a sample is selected: Opens the Sample Edit screen.
p. 266
If a phrase is selected: Opens the Phrase Edit screen.
p. 238
F5 Loop
Opens the Loop window, where you can specify the loop region.
p. 208
F6 Marker
Opens the Marker window, where you can assign markers.
p. 208
F7 Song Util
Zoom/ Track Order
Zooms the track display, or changes the displayed order of the tracks.
p. 209
Song Clear Erases the song. p. 235 Track Clear Erases the track. p. 235 Track Name Assigns a name to the
track. p. 235
Tempo Track Changes the tempo. p. 236 Beat Track Changes the time signa-
ture. p. 237
F8 Song Edit
Opens the Song Play screen. p. 205
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Heres how to move the currently selected sample/phrase to another track or location.
1. Access the Song Edit screen (p. 232).
2. Use [CURSOR] to select the sample/phrase that you want to move.
3. Press [SHIFT].
The cursor will change to the following shape.
4. Continuing to hold down [SHIFT], press or .
The sample/phrase will move to a different track.
Samples can be moved to audio tracks, and phrases can be moved to MIDI tracks.
5. Continuing to hold down [SHIFT], use the following buttons to move the sample/phrase.
[INC] [DEC] Move the sample/phrase in steps of one tick.
/ Move the sample/phrase in steps of one measure.
VALUE dial Move the sample/phrase in steps of a 16th note (120 ticks).
If youre using a USB mouse, you can move a phrase by using the mouse to drag it (hold down the left mouse button and move it).
Heres how to insert a sample/phrase at the location you specify. Samples will automatically be selected for an audio track, and phrases will automatically be selected for a MIDI track.
1. Access the Song Edit screen (p. 232).
2. Use / to select the track into which you want to insert a sample/phrase.
3. Specify the location at which you want to insert a sample/ phrase.
The buttons will operate as follows.
[ ] Move the current location to the beginning of the song.
[INC] [DEC] Move the current location in steps of one tick.
[ ] [ ] Move the current location in steps of one measure.
VALUE dial Move the current location in steps of one beat.
4. Press [F1 (Insert)].
For a MIDI track The MIDI Phrase Select screen will appear.
For an audio track The Sample Select screen will appear.
5. Select the sample/phrase that you want to insert, and press [F8 (Select)].
The sample/phrase will be inserted at the specified location.
Moving a Sample/Phrase (Move) Inserting a Sample/Phrase at a Specified Location (Insert)
233
Editing Songs
Fantom-G_r_e.book 234
Heres how to delete the selected sample/phrase from the track.
1. Access the Song Edit screen (p. 232).
2. Use [CURSOR] to select the sample/phrase that you want to delete.
3. Press [F2 (Delete)].
The selected sample/phrase will be deleted from the track.
This operation simply deletes the sample/phrase from the track; the actual data will remain in the sample/phrase list.
Heres how to copy the currently selected sample/phrase.
1. Access the Song Edit screen (p. 232).
2. Use [CURSOR] to select the sample/phrase that you want to copy.
3. Press [F3 (Copy)].
The currently selected sample/phrase will be copied immediately following itself.
If youre using a USB mouse, you can copy a sample/phrase by holding down [SHIFT] and clicking the sample/phrase with the mouse.
Heres how to edit the currently selected sample/phrase.
If a sample is selected: The Sample Edit window will appear.
If a phrase is selected: The Phrase Edit window will appear.
1. Access the Song Edit screen (p. 232).
2. Use [CURSOR] to select the sample/phrase that you want to edit.
3. Press [F4 (Edit)].
For a sample The Sample Edit screen will appear p. 266
For a phrase The Phrase Edit screen will appear p. 238
Deleting a Sample/Phrase from a Track (Delete)
Copying a Sample/Phrase (Copy)
Editing a Sample/Phrase (Edit)
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Changing the Track Display Zoom and Display Order
(Zoom/Track Order) (p. 209)
Heres how to erase the song thats currently open in the Song Play screen. Use this operation when you want to record a new song. The song file itself thats saved in the project will not be deleted.
If youve edited the currently-open song, save it before you continue (p. 254).
1. Access the Song Edit screen (p. 232).
2. Press [F7 (Song Util)].
The Song Edit Utility Menu window will appear.
3. Use / to choose Song Clear, and press [F8 (Select)].
To cancel, press [F7 (Cancel)].
A confirmation message will appear.
4. Press [F7 (OK)] to execute.
If you decide to cancel, press [F8 (EXIT)].
Heres how to erase the selected track. The track name and track setup data will also return to the default settings.
1. Access the Song Edit screen (p. 232).
2. Use / to select the track that you want to clear.
3. Press [F7 (Song Util)].
The Song Edit Utility Menu window will appear.
4. Use / to choose Track Clear, and press [F8 (Select)].
To cancel, press [F7 (Cancel)].
A confirmation message will appear.
5. Press [F7 (OK)] to execute.
If you decide to cancel, press [F8 (EXIT)].
You can assign a name of a track.
1. Access the Song Edit screen (p. 232).
2. Use / to select the track that you want to clear.
3. Press [F7 (Song Util)].
The Song Edit Utility Menu window will appear.
4. Use / to choose Track Clear, and press [F8 (Select)].
To cancel, press [F7 (Cancel)].
5. Assign the name.
For details on assigning a name, refer to Assigning a Name (p. 42).
6. Press [F8 (Write)] to finalize the name.
Song Utility (Song Util)
Changing the Track Display Zoom and Display Order (Zoom/Track Order)
Erasing the Currently-open Song (Song Clear)
Clearing a Track (Track Clear)
Naming a Track (Track Name)
235
Editing Songs
Fantom-G_r_e.book 236
If you want the tempo to change during the song, insert new tempo change data into the tempo track. Following the location at which you insert the tempo change, the song will play at that tempo. However, if you want to create a gradual tempo change such as a ritardando or accelerando, its more convenient to use Tempo Recording (p. 223).
If you want to make the overall tempo of the song faster or slower, you can adjust the playback tempo in the various PLAY screens.
1. Access the Song Edit screen (p. 232).
2. Press [F7 (Song Util)].
The Song Edit Utility Menu window will appear.
3. Use / to choose Tempo Track, and press [F8 (Select)].
To cancel, press [F7 (Cancel)].
4. Press [F1 (Create)].
The Create Event window will appear. In the window, Tempo Change will be selected.
5. Press [F8 (Execute)].
The Create Position window will appear.
6. Use / to move the cursor to Measure (Meas), Beat, and Tick.
7. Turn the VALUE dial or use [INC] [DEC] to specify the location at which the tempo change will be inserted.
8. Press [F8 (Execute)] to insert the tempo change.
9. The inserted tempo change will have the default tempo value, so adjust the value as desired.
For details on editing the tempo track, refer to Editing
Individual Items of Sequencer Data (Microscope) (p. 250). However, the only data that can be handled by the tempo track is as described in Tempo Change (p. 236).
Data handled by the tempo track The tempo track records tempo data for the song.
Tempo Change This data specifies the tempo. The song will play according to the value of these tempo changes.
The value shown in =** is the tempo at which the song will actually play (the playback tempo), and can be adjusted in the PLAY screen of each mode.
If the tempo change value differs from the playback tempo, this means that the playback tempo has been changed temporarily. In other words, the tempo change values have not been rewritten, so this setting will be lost if you switch to a different song or turn off the power. If you want the song to play at this tempo the next time as well, you must re-save the song. This will rewrite the tempo change values to match the actual playback tempo.
Changing the Tempo during the Song (Tempo Track)
236
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If you want the time signature to change during the song, insert new beat change data into the beat track. Following the location at which you insert the beat change, the song will play at that time signature.
You cant change the time signature in the middle of a measure. The time signature can be changed only at the beginning of a measure.
1. Access the Song Edit screen (p. 232).
2. Press [F7 (Song Util)].
The Song Edit Utility Menu window will appear.
3. Use / to choose Beat Track, and press [F8 (Select)].
To cancel, press [F7 (Cancel)].
4. Press [F1 (Create)].
The Create Event window will appear. In the window, Beat Change will be selected.
5. Press [F8 (Execute)].
The Create Position window will appear.
6. Use / to move the cursor to Measure (Meas).
7. Turn the VALUE dial or use [INC] [DEC] to specify the location at which the beat change will be inserted.
8. Press [F8 (Execute)] to insert the beat change.
9. The inserted beat change will have the default value, so adjust the value as desired.
For details on editing the beat track, refer to Editing Individual
Items of Sequencer Data (Microscope) (p. 250). However, the only data that can be handled by the beat track is as described on Beat Change (p. 237).
Data handled by the beat track The beat track records time signature data.
Beat Change This data specifies the time signature (Beat).
Changing the Time Signature during the Song (Beat Track)
237
Editing Songs
Fantom-G_r_e.book 238
If a certain phrase is used by multiple songs in a project, editing that phrase will affect the content of all these songs. If you will be editing a phrase that is used by other songs, its a good idea to duplicate the phrase beforehand. Duplicating a Phrase (Duplicate) (p. 215)
To edit a phrase, access the Phrase Edit screen.
The Phrase Edit screen can be opened from the MIDI Phrase List or from the Song Edit screen.
From MIDI Phrase List 1. Press [SONG].
The Song Play screen will appear.
2. Press [F3 (Phrase List)].
The MIDI Phrase List screen will appear.
3. Turn the VALUE dial or use [INC] [DEC] or / to select the phrase that you want to edit.
4. Press [F8 (Phrase Edit)].
The Phrase Edit screen will appear.
From Song Edit 1. Press [SONG].
The Song Play screen will appear.
2. Press [F8 (Song Edit)].
The Song Edit screen will appear.
3. Use [CURSOR] to select the phrase that you want to edit.
4. Press [F4 (Edit)].
The Phrase Edit screen will appear.
F-key operations in the Phrase Edit screen
Editing a Phrase (Phrase Edit)
Opening the Phrase Edit Screen
F-key Explanation Page
F1 Clear
Erases the currently-edited phrase. The phrase file itself thats saved in the project will not be deleted.
p. 239
F2 Save
Saves the phrase to the project. p. 239
F3 Modify
Quantize Corrects the timing of the phrase
p. 240
Erase Erases unwanted per- formance data
p. 242
Delete Deletes unwanted measures
p. 243
Copy Copies data p. 243 Insert Inserts blank measures p. 244 Transpose Transposes the pitch p. 245 Change Velocity Changes the velocity
(volume) p. 245
Change Channel Changes the MIDI channel
p. 246
Change Dura- tion
Changes the length of the notes
p. 246
Shift Clock Moves the perfor- mance data forward or backward
p. 247
Data Thin Thins-out performance data
p. 248
Truncate Deletes the blank re- gion at the beginning
p. 249
F4 Microscope
Edits individual MIDI messages and perfor- mance data recorded in the phrase.
p. 250
F5 Step Rec
Executes step recording, allowing you to en- ter notes and rests individually.
p. 226
F7 Play
Plays the currently-edited phrase. p. 239
F6 Exit
Returns to the previous screen.
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Heres how to play the currently-edited phrase.
1. Access the Phrase Edit screen (p. 238).
2. Press [PLAY] or [F7 (Play)].
Heres how to erase the currently-edited phrase. This operation will not delete the phrase file thats saved in the project.
1. Access the Phrase Edit screen (p. 238).
2. Press [F1 (Clear)].
A confirmation message will appear.
3. Press [F7 (OK)] to execute.
If you decide to cancel, press [F8 (EXIT)].
This operation will save the phrase to the project.
A phrase you recorded or edited is temporary, and will be lost when you turn off the power. If you want to keep the phrase, you must save it.
1. Access the Phrase Edit screen (p. 238).
2. Press [F2 (Save)].
3. Assign a name to the phrase.
For details on assigning a name, refer to Assigning a Name (p. 42).
4. When youve finished assigning a name, press [F8 (OK)].
A screen will appear where you can select the writing- destination phrase.
5. Turn the VALUE dial or use [INC] [DEC] to select the phrase number.
6. Press [F8 (Write)].
A message will ask you to confirm the Write operation.
Never turn off the power while writing is in progress.
7. Press [F7 (OK)] to execute.
If you decide to cancel, press [F8 (EXIT)].
1. Access the Phrase Edit screen (p. 238).
2. Press [F3 (Modify)].
The Phrase Modify Menu window will appear. fig.19-008_50
3. Use / to choose the desired function, and then press [F8 (Select)].
Quantize p. 240
Erase p. 242
Delete p. 243
Copy p. 243
Insert p. 244
Transpose p. 245
Change Velocity p. 245
Change Channel p. 246
Change Duration p. 246
Shift Clock p. 247
Data Thin p. 248
Truncate p. 249
For details on the edit window for each phrase modify function, refer to the corresponding explanation.
4. Set the parameters of the edit function you chose. Use [CURSOR] to move the cursor to the desired parameter, and turn the VALUE dial or use [INC] [DEC] to make settings. Verify that youve selected the object you intended to edit, and make changes if necessary.
5. Press [F8 (Execute)] to execute.
When the operation is completed, the display will briefly indicate Completed !.
If you decide to cancel, press [F7 (Cancel)].
Playing a Phrase (Play)
Erasing the Currently-edited Phrase (Clear)
Saving a Phrase (Save)
Phrase Modify Menu
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In the chapter Recording MIDI (p. 217), we explained Recording
Quantize, which lets you quantize during realtime recording. Alternatively, it is also possible to quantize a phrase that has already been recorded.
The Quantize operation will correct only the timing at which notes were pressed (note-on) and released (note-off), and will not correct any other sequencer data. This means that if you record MIDI messages such as bend range or modulation along with notes, quantization can cause the notes to go out of sync with the MIDI messages, skewing timing. To avoid such problems it is better to record non-keyboard data afterward, using mix recording, etc.
For details on the settings, refer to Phrase Modify Menu (p. 239)
Ch (MIDI Channel) Specifies the MIDI channel(s) of the notes to be quantized.
If you wish to quantize all notes, set this parameter to ALL. When quantizing only the notes of a specific MIDI channel, select that channel.
Value: ALL, Ch1Ch16
Measure, For (Edit Range) Sets the range of measures that are to be quantized. If you set For to ALL, all measures will be specified.
Quantize Type Specifies the Quantize range.
Value
GRID: Grid Quantize will be applied to recording. Since the notes will be adjusted to the timing of the specified note value, you can use this when you want drums or bass (for example) to play in an accurate rhythm.
SHUFFLE: Shuffle Quantize will be applied to recording. Use this when you want to produce a shuffle or swing rhythmic feel.
TEMPLATE: The Fantom-G provides 71 quantize templates. These templates contain various quantize settings for applying rhythmic feels of many different musical categories. Select the template you want for quantization.
* If your sequencer data notes are too far off from accurate time,
Template Quantize may not work that efficiently so you wont achieve
the desired results. If this is the case, apply Grid Quantize to your
sequencer data first to lose timing mistakes.
Resolution (Grid Quantize Resolution) This parameter is used when Grid Quantize is selected. Specifies quantization time interval as a note value. Choose a Resolution that matches the smallest note in the area youre quantizing.
Value: , , , , , ,
Strength (Grid Quantize Strength) This parameter is used when Grid Quantize is selected. This parameter specifies a percentage of how note timing will be corrected toward the timing interval that is specified by the Resolution parameter. With a setting of 100%, the note will move all the way to the nearest timing interval of the Grid Resolution setting. A setting of 0% will not change note timing at all.
Resolution (Shuffle Quantize Resolution) This parameter is used when Shuffle Quantize is selected. Specifies quantization time interval as a note value.
Value: ,
Aligning a Phrases Timing (Quantize)
Grid quantize with Resolution =
Shuffle quantize with Rate = 75%
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Rate (Shuffle Quantize Rate) This parameter is used when Shuffle Quantize is selected. Specifies how far apart you want a down-beat specified by the Shuffle Resolution parameter to be from the up-beat that immediately follows. By shifting the timing of an up-beat, you can create a swing feel. A setting of 50% will place the timing of the up-beat note at the exact mid point between the down-beat and the next down-beat. A setting of 0% will move the up-beat note to the same timing as the previous down-beat. A setting of 100% will move it to the same timing as the following down-beat.
Value: 0100% fig.19-010.e
Quantize Template (Quantize Template) Specifies the template you wish to use.
Here is a list of preset groove templates.
* The templates are designed for a 4/4 time signature. Applying them to
a performance of a different time signature may not produce the
desired result.
* The style names shown here are only for your convenience; they are
not intended to imply that the templates are usable only for the named
style. You can certainly try them with other styles of music.
Timing (Quantize Timing) This specifies how much a note will move toward the timing
interval of the template you pick. At a setting of 100%, the
note will be perfectly timed with the template. At a setting of
0%, the note will not move at all.
Value: 0100%
001 Dance (small dynamics) 002 Dance (large dynamics) 003 Dance (light swing) 004 Dance (heavy swing) 005 Dance (dragging beats, small dynamics) 006 Dance (dragging beats, large dynamics) 007 Dance (dragging beats, light swing) 008 Dance (dragging beats, heavy swing) 009 Dance (pushing beats, small dynamics) 010 Dance (pushing beats, large dynamics) 011 Dance (pushing beats, light swing) 012 Dance (pushing beats, heavy swing) 013 Fusion (small dynamics) 014 Fusion (large dynamics) 015 Fusion (light swing) 016 Fusion (heavy swing) 017 Fusion (dragging beats, small dynamics) 018 Fusion (dragging beats, large dynamics) 019 Fusion (dragging beats, light swing) 020 Fusion (dragging beats, heavy swing) 021 Fusion (pushing beats, small dynamics) 022 Fusion (pushing beats, large dynamics) 023 Fusion (pushing beats, light swing) 024 Fusion (pushing beats, heavy swing) 025 Reggae (small dynamics) 026 Reggae (large dynamics) 027 Reggae (light swing) 028 Reggae (heavy swing) 029 Reggae (dragging beats, small dynamics) 030 Reggae (dragging beats, large dynamics) 031 Reggae (dragging beats, light swing) 032 Reggae (dragging beats, heavy swing) 033 Reggae (pushing beats, small dynamics)
Original performance data
Rate= 25%
Rate= 50%
Rate= 75%
Rate=100%
Up beat
Up beat
Up beat
Up beat
034 Reggae (pushing beats, large dynamics) 035 Reggae (pushing beats, light swing) 036 Reggae (pushing beats, heavy swing) 037 Pops (small dynamics) 038 Pops (large dynamics) 039 Pops (light swing) 040 Pops (heavy swing) 041 Pops (dragging beats, small dynamics) 042 Pops (dragging beats, large dynamics) 043 Pops (dragging beats, light swing) 044 Pops (dragging beats, heavy swing) 045 Pops (pushing beats, small dynamics) 046 Pops (pushing beats, large dynamics) 047 Pops (pushing beats, light swing) 048 Pops (pushing beats, heavy swing) 049 Rhumba (small dynamics) 050 Rhumba (large dynamics) 051 Rhumba (light swing) 052 Rhumba (heavy swing) 053 Rhumba (dragging beats, small dynamics) 054 Rhumba (dragging beats, large dynamics) 055 Rhumba (dragging beats, light swing) 056 Rhumba (dragging beats, heavy swing) 057 Rhumba (pushing beats, small dynamics) 058 Rhumba (pushing beats, large dynamics) 059 Rhumba (pushing beats, light swing) 060 Rhumba (pushing beats, heavy swing) 061 Samba (for Pandeiro, etc.) 062 Samba (for Surdo, Timbale) 063 Axe (for Caixa) 064 Axe (for Surdo) 065 Salsa (for Cascala) 066 Salsa (for Conga) 067 Triplets 068 Quintuplets 069 Sextuplets 070 Septuplets over two beats 071 Lagging triplets
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Range Min, Range Max Specifies the range of note numbers to be quantized.
For example, if you want to quantize the range between C3 and C4, set Note Min to C3, and set Note Max to C4.
You can also specify the key range by pressing keys on the keyboard.
This function erases all the sequencer data inside the specified area. As the erased data is replaced by rests, the original measures will remain.
For details on the settings, refer to Phrase Modify Menu (p. 239).
Ch (MIDI Channel) Selects the MIDI channel of the data to be erased.
When you want to erase all sequencer data, set this parameter to ALL. To erase sequencer data of one specific MIDI channel only, select that MIDI channel.
Value: ALL, Ch1Ch16
Measure, For (Edit Range) Specifies the range of measures that are to be erased. If you set For to ALL, all measures will be specified.
Status Selects the type of data to be erased.
Value
ALL
NOTE
Poly Aftertouch
Control Change
Program Change
Channel Aftertouch
Pitch Bend
System Exclusive
Tune Request
Range Min, Range Max If you have set the Status parameter to NOTE, P.AFT, C.C, or PROG, specify the range. Set Range Min to the lowest value of the range, and Range Max to the highest value of the range.
To erase all notes or polyphonic aftertouch data, set Range Min to C -1 and Range Max to G9. To erase C4, set Range Min and Range Max to C4. To erase C3 through C4, set Range Min to C 3 and Range Max to C4.
To erase all controller numbers, set Range Min to 0 and Range Max to 127. To erase all program numbers, set Range Min to 1 and Range Max to 128. To erase number 4, set Range Min and Range Max to 4. To erase numbers 3 through 14, set Range Min to 3 and Range Max to 14.
Erasing Unwanted Performance Data (Erase)
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This function deletes a specified area of sequencer data, and moves the subsequent data to fill the gap. As a result, the measure length will be shortened by the number of deleted measures.
For details on the settings, refer to Phrase Modify Menu (p. 239).
Measure, For (Edit Range) Specifies the range of measures that are to be deleted. If you set For to ALL, all measures will be specified.
This function copies a specified area of sequencer data.
For details on the settings, refer to Phrase Modify Menu (p. 239).
Ch (MIDI Channel) Selects the MIDI channel of the data to be copied.
When you want to copy all the sequencer data, set this parameter to ALL. To copy only the sequencer data of a specific MIDI channel, select the MIDI channel.
Value: ALL, Ch1Ch16
Src Measure, For (Edit Range) Specifies the range of copy-source measures. If you set For to ALL, all measures will be specified.
Dst Measure (Destination Measure) Specifies the copy-destination measure.
If you want the copy destination to be right after the last measure of a phrase, set this parameter to END.
Copy Mode Specifies whether you want to preserve the existing data in the copy destination when copying.
Value
MIX: Combines the data from the copy source with the existing data in the copy destination.
REPLACE: Musical data in the copy destination will be erased (i.e., overwritten) when the copy takes place. Only the sequencer data of the MIDI channels specified by the Channel parameter will be overwritten, and data of other MIDI channels will remain.
Copy Times Specifies the number of times that the data will be copied to the copy destination.
Status Selects the type of data to be copied.
Value
ALL
NOTE
Poly Aftertouch
Control Change
Program Change
Channel Aftertouch
Pitch Bend
System Exclusive
Tune Request
Deleting Unwanted Measures (Delete)
Copying Phrases (Copy)
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Range Min, Range Max If you have selected NOTE, P.AFT, C.C, or PROG for the Status parameter, specify the range. Set Range Min to the lowest value of the range, and Range Max to the highest value of the range.
To copy all notes or polyphonic aftertouch data, set Range Min to C-1 and Range Max toG9. To copy C4, set Range Min and Range Max to C4. To copy C3 through C4, set Range Min to C3 and Range Max to C4.
To copy all controller numbers, set Range Min to 0 and Range Max to 127. To copy all program numbers, set Range Min to 1 and Range Max to 128. To copy number 4, set Range Min and Range Max to 4. To copy numbers 3 through 14, set Range Min to 3 and Range Max to 14.
This function inserts blank measures into a specified phrase position.
For details on the settings, refer to Phrase Modify Menu (p. 239).
Measure, For (Edit Range) Specifies the measure location at which the blank measures are to be inserted, and the number of blank measures to be inserted.
Inserting a Blank Measure (Insert)
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This transposes the pitch of notes within a specified area, over a +/- 127 semitone range. Use this function to modulate from one key to another in a phrase, or to transpose the entire phrase.
For details on the settings, refer to Phrase Modify Menu (p. 239).
Ch (MIDI Channel) Specifies the MIDI channel(s) of the notes to be transposed.
Set this parameter to ALL for transposing all notes. When transposing only the notes of specific MIDI channel(s), select the MIDI channel(s) using this parameter.
Value: ALL, Ch1Ch16
Measure, For (Edit Range) Sets the range of measures that are to be transposed. If you set For to ALL, all measures will be specified.
Range Min, Range Max Specifies the range of note numbers to be transposed. For example, if you want to transpose notes in the range of C3 through C4, set Range Min to C3 and Range Max to C4. You can also specify the key range by pressing keys on the keyboard.
Bias Specifies the transpose amount in semitone steps. Set a + (positive) value to raise the pitch, or a - (negative) value to lower the pitch. If you do not want to transpose, set this to 0.
Value: -127 +127
This function modifies the keyboard playing dynamics (velocity) of a specified note area.
For details on the settings, refer to Phrase Modify Menu (p. 239).
Ch (MIDI Channel) Specifies the MIDI channel(s) of notes for which velocity will be modified.
To modify velocity for all notes, set this parameter to ALL. When modifying the velocity for only the notes of a specific MIDI channel, select that MIDI channel using this parameter.
Value: ALL, Ch1Ch16
Measure, For (Edit Range) Specifies the range of measures whose velocity will be changed. If you set For to ALL, all measures will be specified.
Bias Use this parameter to add a fixed bias amount to all velocities. If you want to increase the velocity values by 10, set this to +10.
Value: -99 +99
Magnify Set this parameter if increases or decreases in velocity variations are desired. For less velocity variation, use settings of 99% or less. For more velocity variation, set it to 101% or greater. With a setting of 100%, velocity values do not change.
Value: 0200%
Range Min, Range Max Specifies the range of note numbers for which velocity will be modified. For example, if you want to modify the velocity of notes in the range of C3 through C4, set Range Min to C3 and Range Max to C4. You can also specify the key range by pressing keys on the keyboard.
Transpose the Key (Transpose)
If You Want to Lower the Bass Sound One Octave... If your bass is played one octave higher than the staff notation, use the Transpose function to lower it one octave.
To lower the bass sound one octave, set the Range parameter to LowestHighest for the bass part, and set the Bias parameter to -12.
When You Want to Change Percussion Sounds... You can also use the Transpose function to change percussion sounds.
Suppose you want to change conga to tom. If the conga sound is assigned to the D4 key, and the tom sound is assigned to the C3 key, set the Range parameter to D4D4 and the Bias parameter to -14.
Changing the Velocity (Change Velocity)
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This function transfers the MIDI channel of a specified area of sequencer data into a different MIDI channel.
For details on the settings, refer to Phrase Modify Menu (p. 239).
Measure, For (Edit Range) Specifies the range of measures in which the MIDI channel will be changed. If you set For to ALL, all measures will be specified.
Status Selects the type of data for which you wish to change the MIDI channel.
Value
ALL
NOTE
Poly Aftertouch
Control Change
Program Change
Channel Aftertouch
Pitch Bend
Range Min, Range Max If you have set the Status parameter to NOTE, P.AFT, C.C, or PROG, you can specify the range of data. Set Range Min to the lowest value of the range, and Range Max to the highest value of the range.
To change the MIDI channel of all notes or polyphonic aftertouch data, set Range Min to C -1 and Range Max to G9. To change the MIDI channel of C4, set Range Min and Range Max to C4. To change C3 through C4, set Range Min to C3 and Range Max to C4.
To change the MIDI channel of all controller numbers, set Range Min to 0 and Range Max to 127. To change the MIDI channel of all program numbers, set Range Min to 1 and Range Max to 128. To change number 4, set Range Min and Range Max to 4. To change numbers 3 through 14, set Range Min to 3 and Range Max to 14.
Src Channel, Dst Channel (MIDI Channel) Set Src Channel to the MIDI channel that you want to change, and set Dst Channel to the MIDI channel to which it will be changed.
If you have selected ALL for the source MIDI channel, the sequencer data of all MIDI channels will be combined into the destination MIDI channel.
Value: ALL, 116
It is not possible to select ALL for the destination MIDI channel.
This function modifies the duration (time from note-on to note-off) of notes within a specified area. Depending on the setting, you can also create staccato or tenuto.
For details on the settings, refer to Phrase Modify Menu (p. 239).
Ch (MIDI Channel) Specifies the MIDI channel(s) of notes for which duration will be modified.
If you wish to modify the duration for notes of all MIDI channels, set this parameter to ALL. When changing the duration for notes of a specific MIDI channel only, select that MIDI channel using this parameter.
Value: ALL, Ch1Ch16
Measure, For (Edit Range) Specifies the range of measures whose durations will be changed. If you set For to ALL, all measures will be specified.
Bias Set this parameter if you wish to increase or decrease all durations by a fixed amount. If you want to extend all duration by 10, set this to +10.
Value: -4800 +4800
Magnify Set this parameter if you wish to increase or decrease durations by a specified ratio. When set to 100%, no change is made. A value of 101% or higher increases the duration; values of 99% or lower decrease the duration. For example, to halve duration, set this parameter to 50%. To double durations, set this parameter to 200%.
Value: 0200%
Range Min, Range Max Specifies the range of note numbers for which duration will be modified. For example, if you want to change the duration of notes in the range of C3 to C4, set Range Min to C3 and Range Min to C4. You can also specify the key range by pressing keys on the keyboard.
Changing the MIDI Channel (Change Channel)
Modifying the Length of Notes (Change Duration)
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This function shifts the timing of sequencer data backward or forward in time within a specified area in steps of 1 tick. Slight shifts of timing can speed up or drag performance.
When this function is executed, data that would be moved to a point before the beginning of the phrase will automatically shift to the beginning of the phrase. If data would be moved to a point past the end of the phrase, additional new measures will be created automatically as needed. The time signature of the newly created measures will be the same as that of the measure immediately preceding.
For details on the settings, refer to Phrase Modify Menu (p. 239)
Ch (MIDI Channel) Selects the MIDI channel of the data to be shifted in time.
To shift ticks of all sequencer data, set this parameter to ALL. To shift the sequencer data tick of just one specific MIDI channel, select that MIDI channel.
Value: ALL, Ch1Ch16
Measure, For (Edit Range) Specifies the range of measures in which the sequencer data will be moved in units of one tick. If you set For to ALL, all measures will be specified.
Bias Specify the amount (number of ticks) by which the sequencer data will be moved.
Value: -4800 +4800
Status Selects the type of data to be shifted in time.
Value
ALL
NOTE
Poly Aftertouch
Control Change
Program Change
Channel Aftertouch
Pitch Bend
System Exclusive
Tune Request
Range Min, Range Max If you set the Status parameter to NOTE, P.AFT, C.C, or PROG, specify the range of data. Set Range Min to the lowest value of the range, and Range Max to the highest value of the range.
To shift all notes or polyphonic aftertouch data, set Range Min to C -1 and Range Max to G9. To shift C4, set Range Min and Range Max to C4. To shift C3 through C4, set Range Min to C3 and Range Max to C4.
To shift all controller numbers, set Range Min to 0 and Range Max to 127. To shift all program numbers, set Range Min to 1 and Range Max to 128. To shift number 4, set Range Min and Range Max to 4. To shift numbers 3 through 14, set Range Min to 3 and Range Max to 14.
Shifting Performance Data Forward and Back (Shift Clock)
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Continuously variable controllers such as aftertouch, pitch bend, and expression tend to create unexpectedly large amounts of data when operated. Data Thin will strip out redundant data to increase the amount of memory available for the sequencer.
For details on the settings, refer to Phrase Modify Menu (p. 239).
Ch (MIDI Channel) Selects MIDI channel of the data to be thinned.
To thin all sequencer data, set this parameter to ALL. To thin sequencer data of just one specific MIDI channel, select that MIDI channel.
Value: ALL, Ch1Ch16
Measure, For (Edit Range) Specifies the range of measures whose sequencer data will be thinned. If you set For to ALL, all measures will be specified.
Data Thin Value For thinning data which incorporates rapid changes, use higher settings. If you dont want to thin that much data even though it is subject to rapid change, use lower settings.
Data Thin Time If you are thinning data that changes gradually over time, use higher settings. If you dont want to thin that much data even though the changes are gradual, use lower settings.
Status Selects the type of data to be thinned.
Value
ALL
Poly Aftertouch
Control Change
Channel Aftertouch
Pitch Bend
Range Min, Range Max If you set the Status parameter to P.AFT or C.C, specify the range of data. Set Range Min to the lowest value of the range, and Range Max to the highest value of the range.
To thin out all polyphonic aftertouch data, set Range Min to C -1 and Range Max to G9. To thin out C4, set Range Min and Range Max to C4. To thin out C3 through C4, set Range Min to C3 and Range Max to C4.
To thin out all controller numbers, set Range Min to 0 and Range Max to 127. To thin out number 4, set Range Min and Range Max to 4. To thin out numbers 3 through 14, set Range Min to 3 and Range Max to 14.
Thinning Out the Sequencer Data (Data Thin)
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Copying may sometimes create blank measures at the beginning of a phrase. Truncate deletes silent portions from the beginning of the specified phrase to the first note-on.
If other sequencer data (such as program changes or control changes) is recorded between the beginning and the first note- on of the specified phrase, only the last data event of each type will be placed before the note-on.
For details on the settings, refer to Phrase Modify Menu (p. 239).
1. Press [F8 (Execute)] to execute the Truncate operation.
Deleting Blank Measures (Truncate)
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Microscope lets you edit individual items of sequencer data recorded in a phrase, such as MIDI messages.
Access the Microscope screen when you want to view the sequencer data recorded in a phrase. Each line indicates the location (measure- beat-tick) at which the sequencer data is recorded, and the data recorded at that location.
1. Access the Phrase Edit screen (p. 238).
2. Press [F4 (Microscope)].
The Microscope screen will appear.
Use / to view the performance data. fig.19-026.j
F-key operations in the Microscope screen
3. You can press [F6 ( )] to switch the display of the piano roll.
4. Press [F7 (Channel)] to select the part whose performance data you want to view or edit.
Choose ALL if you want to view performance data of all MIDI channels.
Channel: ALL, 116
Part Group: ALL, INT, EXP1, EXP2, EXT
In order to make efficient use of the display space in the screen, locations in which no performance data exists are normally not shown.
For an explanation of the various types of performance data, refer to Sequencer Data Handled by Phrases (p. 251) .
5. When youve finished editing, press [F8 (Close)].
6. Use / to select the performance data that you want to edit.
7. Use / to select the parameter that you want to edit.
8. Turn the VALUE dial or use [INC] [DEC] to change the value.
Notes, the note name (note number) of polyphonic aftertouch data, and the on-velocity or off-velocity of a note can also be specified by pressing a note on the keyboard.
If you press [ENTER], the performance data currently indicated
by will be transmitted from the MIDI OUT connector. In
the case of a note message, pressing [ENTER] will sound that note.
If youre editing a system exclusive message, refer to Editing a system exclusive message on the following page.
9. Repeat steps 3 through 8 to edit the data.
10. To close the Microscope screen, press [EXIT].
Editing Individual Items of Sequencer Data (Microscope)
Editing Sequencer Data (Basic Procedure in the Microscope)
F-key Explanation Page
F1 Create
Inserts data. p. 252
F2 Erase
Erases data. p. 252
F3 Move
Moves data. p. 253
F4 Copy
Copies data. p. 253
F5 Place
Pastes the copied data. p. 253
F6 Switches the display of the piano roll. p. 250
F7 Channel
Switches the part whose data is displayed. p. 250
F8 View
Selects the data that is displayed. p. 252
Location of the performance data (Measure Beat Tick)
Performance data
MIDI channel
Indicates the parameter data at the cursor location
Part Group INT EXP1 EXP2 EXT
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Editing a System Exclusive Message 1. Use or to move the cursor to the location of the
system exclusive message that you want to edit.
2. Press .
The System Exclusive Edit window appears.
3. Press or to move the cursor to the data that you want to edit.
4. Turn the VALUE dial or press [INC] [DEC] to edit the value.
If you want to add data between F0: and :F7, move the cursor to that location and press [F3 (Insert)]. A value of 00 will be inserted. Change this to the desired value.
To delete data, move the cursor to the relevant location and press [F2 (Delete)].
5. When you are finished editing, press [F8 (Execute)] to finalize the values of the system exclusive message.
To cancel, press [F7 (Cancel)].
If you decide to discard the changes you made to the system exclusive message and return to the Microscope screen, press [EXIT].
In the case of a Roland type IV system exclusive message, the checksum can be calculated automatically when you finalize the values. If you do not want to calculate the checksum automatically, press [F1 (Auto Sum)] to turn off the light.
When you press [F4 (Test)], the system exclusive message you are editing will be transmitted from the MIDI OUT connector.
Phrases can record the following eight types of sequencer data. The recorded location (measure-beat-tick) is displayed at the far left of each data item, and the MIDI channel number is displayed beside it.
Note These MIDI messages represent notes. From the left, the parameters are Note Number, which indicates the name of the note; On Velocity, which specifies the force with which the key is pressed; Duration, which specifies the duration of the note; and Off Velocity, which determines the force with which the key is released.
Program Change This MIDI message switches sounds. The program number (PC#) selects the sound.
Control Change This MIDI message applies various effects such as modulation or expression. The controller number (CC#) selects the function, and Value specifies the depth of the effect.
Pitch Bend This MIDI message changes the pitch. The value specifies the amount of pitch change.
Poly Aftertouch This MIDI messages applies aftertouch to an individual note. From the left, the parameters are Note Number which specifies the key, and Value which specifies the depth of the aftertouch.
Channel Aftertouch This MIDI message applies aftertouch to an entire MIDI channel. Value specifies the depth of the aftertouch.
System Exclusive These are MIDI messages used to make settings unique to the Fantom-G, such as sound settings. Input the data between F0 and F7.
Tune Request This MIDI message causes an analog synthesizer to tune itself.
Sequencer Data Handled by Phrases
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Since a phrase contains a large amount of sequencer data, the display may be cluttered and difficult to read. For this reason, the Fantom-G lets you specify the type(s) of sequencer data that will be displayed in the screen. This is convenient when you want to check or edit only a specific type of sequencer data.
1. Access the Microscope screen (p. 250).
2. Press [F8 (View)].
The View Select window appears.
3. Use or to select the sequencer data that will be displayed.
Note: Note messages. These MIDI messages represent notes.
Poly Aftertouch: Polyphonic aftertouch. These MIDI messages apply aftertouch to individual keys.
Control Change: Control change messages. These MIDI messages apply various effects such as modulation or expression.
Program Change: Program change messages. These MIDI messages select sounds.
Channel Aftertouch: Channel aftertouch messages. These MIDI messages apply aftertouch to an entire MIDI channel.
Pitch Bend: Pitch bend messages. These MIDI messages change the pitch.
System Exclusive: System exclusive messages. These MIDI messages are used to make settings unique to the Fantom-G, such as those for the sound parameters.
Tune Request: This MIDI Message cause an analog synthesizer to tune it self.
4. Press [INC] or [DEC] to switch.
If you press [F6 (ALL OFF)], none of the sequencer data will be displayed.
If you press [F7 (ALL ON)], all of the sequencer data will be displayed.
5. Press [F8 (Close)] to close the View Select window.
You can insert new sequencer data into a desired location of a phrase.
For details on the sequencer data that can be inserted, refer to Sequencer Data Handled by Phrases (p. 251).
1. Access the Microscope screen for the phrase into which you want to insert sequencer data (p. 250).
2. Press [F1 (Create)].
The Create Event window appears.
3. Press or to select the sequencer data that will be inserted.
4. Press [F8 (Execute)] to insert the performance data.
5. The sequencer data that was inserted will have the default parameter values, so edit them as necessary.
If desired, you can erase just an individual event of sequencer data.
Data recorded in the tempo track (p. 236) or beat track (p. 237) can also be erased in the same way. You cant erase the tempo change located at the beginning of the tempo track, or the beat change and phrase beat located at the beginning of the beat track.
1. Access the Microscope screen for the phrase from which you want to erase sequencer data (p. 250).
2. Press or to move the cursor to the sequencer data that you want to erase.
To erase a multiple consecutive data, hold down [SHIFT] and press or to select the sequencer data.
3. Press [F2 (Erase)] to erase the sequencer data.
Viewing Sequencer Data (View) Inserting Sequencer Data (Create)
Erasing Sequencer Data (Erase)
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You can move an individual item of sequencer data to a different location.
Data recorded in the tempo track (p. 236) or beat track (p. 237) can also be moved in the same way. You cant move the tempo change located at the beginning of the tempo track, or the beat change and phrase beat located at the beginning of the beat track.
1. Access the Microscope screen for the phrase whose data you want to move (p. 250).
2. Press or to move the cursor to the sequencer data that you want to move.
To move a multiple consecutive data, hold down [SHIFT] and press or to select the sequencer data.
3. Press [F3 (Move)].
The Move Event window appears.
4. Press or to move the cursor to the measure, beat, and tick fields.
5. Turn the VALUE dial or Press [INC] [DEC] to specify the location to which the data will be moved.
6. Press [F8 (Execute)] to move the sequencer data.
Sequencer data can be copied to the desired location. This is convenient when you want to use the same sequencer data at multiple locations.
Data recorded in the tempo track (p. 236) or beat track (p. 237) can also be copied in the same way.
1. Access the Microscope screen for the phrase whose sequencer data you want to copy (p. 250).
2. Press or to move the cursor to the sequencer data that you want to copy.
3. Press [F4 (Copy)].
4. Press [F5 (Place)].
The Place Event window appears.
5. Press or to move the cursor to the measure, beat, and tick fields.
6. Turn the VALUE dial or Press [INC] [DEC] to specify the location to which the data will be copied.
7. Press [F8 (Execute)] to paste the data.
Moving Sequencer Data (Move) Copying Sequencer Data (Copy)
253
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Fantom-G_r_e.book 254
Saving a Song (Song Save)
Along with the sequencer data, the song data also contains the studio set, live set, patch, and system setup data that you were using at that time.
The studio set, live set, and patch data saved within the song data is special data for reproducing the song; it is separate from the user studio sets, live sets, and user patches.
* If you want to use this data with a different song, or to use it
independently of any song, you must save the data in the user area.
The samples and phrases used by the song are automatically saved when you save the song.
If you want to save phrases individually
Saving a Phrase (Save) (p. 216)
If you want to save samples individually
Saving a Sample (Save) (p. 274)
1. In the Song Play screen or Song Edit screen, press [WRITE].
The WRITE MENU window appears.
2. Use / to select Song, and then press [F8 (Select)].
The Song Name window will appear.
3. Assign a name to the song.
For details on how to assign a name, refer to Assigning a
Name (p. 42).
4. When youve finished assigning the name, press [F8 (OK)].
A screen will appear, allowing you to select the writing- destination song.
5. Turn the VALUE dial or use [INC] [DEC] to select a song number.
6. Press [F8 (Save)].
A writing confirmation message will appear.
Never turn off the power while data is being written.
7. To write the data, press [F7 (OK)].
* If you decide to cancel, press [F8 (EXIT)].
What the Saved Song Data Contains
What is Saved at the Same Time as the Song
Saving a Song (Save)
4
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Heres how you can combine the performance of all audio tracks and MIDI tracks to a single sample.
After creating a sample in this way, you can save it on your computer or another device as a completed song.
1. Load the song that you want to resample (p. 204).
2. Press [ ] to move the song position to the beginning.
3. Press the [SAMPLING] button.
4. Press [F2 (Re-Sampling)].
5. Press [F2 (Auto Trig)].
6. Press [PLAY].
Resampling will begin.
7. When the song ends, press [F7 (Stop)].
Alternatively, you can set the Stop Trigger (p. 260) parameter to TIME and set the Sampling Length (p. 261) parameter to the ending location of the song so that resampling will stop automatically.
8. In the Sample Edit screen (p. 266), listen to the sample you just created by resampling.
The volume of resampled phrases may be less than the volume of the original phrases. As necessary, use the Normalize operation (p. 270) to raise the volume.
The resampled sample will be lost if you turn off the power. If you want keep the sample, press [WRITE] to save it (p. 274).
A sample you created by resampling can be copied to your computer. The sample will be a WAV file, which you can use to create a CD or MP3 on your computer.
1. Verify the number of the sample you resampled. (In this example well assume its number 0001.)
2. Use the USB Storage function (p. 281) to copy the following sample to your computer.
FantomG.Prj/SMPL/0001.WAV (The number in the .WAV file name will be the sample number.)
FantomG.prj is the name of the project folder in the
Fantom-Gs internal memory. Multiple projects can be saved in USB memory. By default, the project folders will be numbered
as FantomG001.Prj, FantomG002.Prj, etc., and
the portion preceding the filename extension will be the project name you assigned when saving.
Resampling the Contents of All Tracks to a Single Sample
Copying a Resampled Sample to Your Computer to Create a CD or MP3
255
Saving a Song (Song Save)
Fantom-G_r_e.book 256
256
Fantom-G_r_e.book 257
07: Sampler
Sampling .................................................................p. 258 Editing a Sample ......................................................p. 263
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Fantom-G_r_e.book 258
Sampling
This section explains the sampling procedure and what the parameters do.
Sampling time
The Fantom-G contains 32 MB of memory, which allows about 6 minutes of mono or about 3 minutes of stereo sampling. If you want to sample for a longer time than this, you must install separately sold memory (DIMM) (p. 308, p. 310).
* The available recording time may be shorter depending on how
memory is being used.
1. Press [MIX IN] to turn it on.
The button will light.
You can use the System setting Mix In Switch (p. 297) to memorize the on/off setting.
2. To turn it off, press [MIX IN] again.
1. Connect your CD player, mic, or other audio source to the AUDIO INPUT jacks, MIC/GUITAR jack or to the DIGITAL AUDIO IN connector located on the rear panel of the Fantom-G.
926a * When connection cables with resistors are used, the volume level of
equipment connected to the inputs (AUDIO INPUT) may be low. If
this happens, use connection cables that do not contain resistors.
* If an external device is connected to the DIGITAL AUDIO IN
connector, disconnecting the cable or powering-off the external device
may cause noise to be subsequently heard in the input from DIGITAL
AUDIO IN. If this occurs, correctly re-connect your external device,
or turn off the Fantom-Gs [MIX IN] switch.
2. Hold down [SHIFT] and press [MIX IN]. fig.14-001_50
3. Press or to select the parameter that you want to set.
4. Turn the VALUE dial or press [INC] [DEC] to set the value.
See Functions of Input Setting Parameters (p. 258) for each parameters functions.
5. Play back the external input source.
6. If you use AUDIO INPUT, turn the LEVEL knob (rear panel: p. 24) to adjust the volume.
* If youre using DIGITAL AUDIO IN or USB AUDIO, this
adjustment is not necessary.
* If the volume of the external source is too high, the PEAK indicator
will light. If this occurs, turn down the LEVEL knob until the PEAK
indicator no longer lights.
7. Press [EXIT] to return to the previous screen.
This section explains the functions the different Input Setting parameters have, as well as the composition of these parameters.
Mix In Switch
Turns the external input on/off.
Value: OFF, ON
Input Select
Specifies the input source of the sound to be sampled.
Value
DIGITAL IN: DIGITAL AUDIO IN jack
LINE IN L/R: INPUT jacks L/R (stereo)
LINE IN L: INPUT jack L (mono)
MIC/GUITAR: MIC/GUITAR jack
USB AUDIO: USB connector
Digital/USB Input Level
If youve set Input Select to DIGITAL IN or USB AUDIO, this adjusts the input level.
Value: 0127
Input Effect Switch
Specifies whether the external input sound will be sent through the effects processor (Input Effect).
Value: OFF, ON
Switching External Input On/Off
Making Input Source Settings (Input Setting)
Cautions when using a microphone
Howling could be produced depending on the location of microphones relative to speakers. This can be remedied by:
1. Changing the orientation of the microphone(s).
2. Relocating microphone(s) at a greater distance from speakers.
3. Lowering volume levels.
Functions of Input Setting Parameters
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Input Effect Type
Selects the type of effect that will be applied to the external input source.
Value: Equalizer, Enhancer, Compressor, Limiter, Noise Suppressor, Center Canceler
When you press [F7 (Input Effect)], the parameter setting screen for the currently selected input effect will be displayed Input
Effect Setup Settings (p. 259).
Mix In Output Assign
Output destination of the external input sound that is mixed in
Value
A: Output to OUTPUT (A) jacks without passing through effects
B: Output to OUTPUT (B) jacks without passing through effects
MFX1: Output through multi-effects 1
MFX2: Output through multi-effects 2 (* Studio Mode only)
EXP1: Output through expansion board 1
EXP2: Output through expansion board 2
* EXP1 or EXP2 is available only when the corresponding expansion
board supports audio input.
Mix In Output Level
Volume level of the external input sound.
Value: 0127
Mix In Chorus Send Level
Adjusts the depth of chorus that will be applied to the external input source. Set this to 0 if you do not want to apply chorus.
Value: 0127
Mix In Reverb Send Level
Depth of reverb applied to the external input sound. Set this to 0 if you dont want to apply reverb.
Value: 0127
1. Hold down [SHIFT] and press [MIX IN].
2. Press [F7 (Input Effect)].
The Input Effect Setup screen appears. fig.14-003_50
3. Press or to move the cursor to a parameter.
4. Turn the VALUE dial, or press [INC] /[DEC] to set the value.
Input Effect Type
Selects the input effect type.
In this settings screen, you can edit parameters for the type of input effect you selected.
For details on the parameters that can be edited, refer to the section Input Effect Parameters (p. 186).
5. Press [F8 (Exit)] or [EXIT] to return to the previous screen.
Input Effect Setup Settings
Parameter Explanation 01: Equalizer Adjusts the tone of the low-frequency
and high-frequency ranges. 02: Enhancer Modifies the harmonic content of the
high-frequency range to add sparkle to the sound.
03: Compressor Restrains high levels and boosts low levels to make the overall volume more consistent.
04: Limiter Compresses the sound when it ex- ceeds a specified volume, to keep dis- tortion from occurring.
05: Noise Suppressor Suppresses noise during periods of si- lence.
06: Center Canceler Removes the sounds that are local- ized at the center of the stereo input. This is a convenient way to eliminate a vocal.
259
Sampling
Fantom-G_r_e.book 260
1. Press [SAMPLING] to access the Sampling Menu screen. fig.14-004
fig.14-005_50
The upper part of the screen will show the amount of free memory. If the free memory reaches 0%, no further sampling is possible.
2. Press [F1 (Sampling)][F6 (Solo with FX)] to select the sampling mode. The sampling-standby screen will appear.
To cancel, press [F8 (Exit)].
* You cannot sample the sound that is output from the OUTPUT B
jacks. Youll need to set things up so that the sound you want to
sample is output from the OUTPUT A (MIX) jacks.
Sampling mode
3. Make the settings for things such as the input source of the sound to be sampled, and triggering.
fig.14-006_50
Input Select
Specifies the input source of the sound that is to be sampled.
Value
DIGITAL IN: DIGITAL AUDIO IN jack
LINE IN L/R: INPUT jacks L/R (stereo)
LINE IN L: INPUT jack L (mono)
MIC/GUITAR: MIC/GUITAR jack
USB AUDIO: USB connector
* This cannot be set when resampling.
Stereo Switch
Specifies whether the sound will be sampled in stereo or in monaural. Mono sampling uses half as much memory space.
Value
MONO: The sound will be sampled as one wave. If the sound is stereo, the left and right signals will be mixed.
STEREO: The sound will be sampled as two waves, L and R.
Pre Sample Time
The length of sound preceding the moment at which sampling was manually or automatically initiated that will be captured in the sample. This lets you prevent the attack portion of the sound from being omitted from the sample.
Value: 01000 ms
Stop Trigger
Specifies how sampling will end.
Value
MANUAL: Continue sampling until you press [STOP].
BEAT: Stop sampling after the specified number of beats at the current tempo (BPM).
TIME: Sample the specified length of time.
Sampling Procedure
Mode Explanation Sampling: [F1 (Sampling)]
Sample a sound from an external in- put source. * Operating the keyboards, pads, D beam or
sequencer will not play the internal sound generator.
Re-Sampling: [F2 (Re-Sampling]
Resample the sound of the internal sound generator. The sound of the external input will not be heard. * The volume of a phrase that you resample
may be less than the volume of the original phrase. If necessary, execute the Normalize command (p. 270) to raise the volume.
Mix Sampling: [F3 (Mix)]
Sample the combined sounds of the internal sound generator and an ex- ternal input source.
Auto divide sam- pling: [F4 (Auto Divide)]
Sample an extended source, and au- tomatically divide it into several samples at silent regions. If the sam- ple contains silence, it will be divid- ed at that point, and the subsequent portion will be assigned to the next sample number. * Operating the keyboards, pads, D beam or
sequencer will not play the internal sound generator.
Solo sampling: [F5 (Solo)]
While playing the internal sound generator as usual, sample only the sound from the external input. * Effects other than the Input Effect cant be
applied to the external input sound.
Solo with effects sampling: [F6 (Solo with FX)]
While playing the internal sound generator, only the sounds from the external input will be recorded. At this time, an effect can be applied to the external input sound. * MFX (multi-effect) cant be applied to the
sound of the internal sound generator.
Mode Explanation
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Sampling Length
You can specify this if Stop Trigger is BEAT or TIME.
Value
When Stop Trigger is BEAT: 120000: Number of beats to continue sampling
When Stop Trigger is TIME: 0000001010747000: length of time to continue sampling
By holding down [SHIFT] and turning the VALUE dial you can adjust this in steps of one second.
Auto Trigger Level
Specifies the volume at which sampling will begin if you have pressed [F2 (Auto Trig)] to turn Auto Trig ON.
Value: 07 (A setting of 0 is the minimum.)
Gap Time
Specifies the length of the silences at which the sample will be divided if the Sampling Mode is set to Auto Divide. Whenever there is a silent region longer than the specified time, the sample will be divided at that point, and the next sample number will be assigned to the sound that follows.
Value: 500, 1000, 1500, 2000 ms
* This parameter is valid only when you are using Auto Divide
Sampling.
Input Setting: [F1 (Inp Setting)]
Makes settings for the external input (p. 258).
Auto Trigger Sw: [F2 (Auto Trig)]
If this is on, sampling will begin automatically when the input sound is detected.
Before you turn Auto Trig on, perform steps 4 and 5 to set the input level.
Trim Sw: [F3 (Trim Sw)]
If this is turned on, the Start point and End point settings (p. 267) will be automatically adjusted after sampling is performed, so any silent portions at the beginning or end of the sampled sound are excluded.
4. Play the external input source.
5. If you use AUDIO INPUT, turn the LEVEL knob (rear panel: p. 24) to adjust the volume.
* If youre using DIGITAL IN, this adjustment is not necessary.
* If the volume of the external source is too high, the PEAK indicator
will light. If this occurs, turn down the LEVEL knob until the PEAK
indicator no longer lights.
* If the level of the sound to be sampled is too high, the word CLIP
will appear in the level meter in the screen.
* Using a connection cable that contains a resistor can cause the sound
level to be low. Use a connection cable that does not contain a resistor.
6. Press [F8 (Start)] to begin sampling.
* If the Auto Trigger setting is on, sampling will begin as soon as sound
is input.
7. If Stop Trigger is set to MANUAL, press [F7 (Stop)] to stop sampling.
The Sample Edit (p. 266) screen will appear.
* If you want to edit the sample, refer to p. 263. fig.14-007_50
When you finish sampling, the sample will automatically be added to the sample list. Press [F1 (Sample List)] to view the sample list.
fig.14-008_50
Samples you record will be lost when you turn off the
power. If you want to keep your sample, press [F2 (Save)] to save it (p. 274).
Samples without the symbol and samples with the
symbol have not been saved.
8. Press [EXIT] to go back to where you were before you entered the Sampling screen.
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Sampling
Fantom-G_r_e.book 262
1. During sampling, press [F8 (Divide)].
The sample will be divided at the point where you pressed the button, and the subsequent material will be sampled as a sample of the next number.
* When sampling in mono, you can divide the material into a maximum
of 256 samples. When sampling in stereo, you can divide the material
into a maximum of 128 samples (L/R total 256 samples).
Skip Back Sampling is a function that lets you sample what were playing immediately prior to that point, even if you were not recording. When you press the SKIPBACK button, the performance that you were playing for a certain length of time before that moment will be sampled.
This is extremely convenient if youve been playing a phrase repeatedly, and want to sample it only after youve managed to play it correctly. fig.14-009
Button lit: Skip-back sampling can be performed in this state.
Button unlit: Skip-back sampling cannot be performed. Not operating. You cannot use skip-back sampling if there is insufficient free memory.
Button blinking: Skip Back Sampling will be executed.
1. Play the Fantom-Gs keyboard or pads, or connect an instrument or some other device to the AUDIO IN jacks or DIGITAL AUDIO IN and input sounds or phrases.
2. Press [SKIPBACK].
Skip Back Sampling will be executed.
When Skip Back Sampling ends, the Sample Edit screen will appear (p. 266).
Samples captured by Skip Back Sampling will be lost when you turn off the power. If you want to keep the sample, perform the Save procedure (p. 274).
You can specify how far back sampling will occur when you perform skip-back sampling (540 seconds). With the factory settings this is set to 10 seconds (Skip Back Time (p. 298)).
Dividing a Sample During Sampling Sampling Earlier in Time (Skip Back Sampling)
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This section explains how you can edit a sample that you sampled/ imported.
Editing is performed in sample memorya memory area dedicated to samples.
* You cannot execute this with more than one sample selected.
Select a sample from the list.
1. Press [SAMPLE] twice.
The Sample List display appears. fig.14-008_50
F-key operations in the Sample List screen
2. Use VALUE dial, [INC] [DEC], or to select a sample.
If you hold down [SHIFT] while you operate the above buttons, the sample number will change in steps of ten.
You can press [F7 (Preview)] to audition the selected sample.
3. Press [F8 (Sample Edit)].
The Sample Edit Screen appears. (p. 266)
Selecting a Sample (Sample List)
Selecting a Sample
F-key Explanation Page
F1 Load
Loads a sample from the project into memory.
p. 264
F2 Save
Saves the selected sample to the project. p. 274
F3 Util Menu
Save All Saves all samples. p. 274 Load All Loads all samples p. 264 Delete Sample Deletes the sample
from the project. p. 265
Unload Deletes the sample from memory.
p. 264
F6 Exit
Returns to the previous screen.
F7 Preview
Auditions the selected sample.
F8 Sample Edit
Displays the edit screen for the selected sample.
p. 266
The sample list shows the current state of the samples.
Sample name
Indicates the name of the sample. Sample for which this field indicates EMPTY have not been loaded into memory. Load them if necessary.
Indicates whether the file exists in the
project. Samples for which the sym- bol is not shown have not been saved, and will be lost when you turn off the power. Save them if necessary.
Indicates that the sample has been edited. Your edits will be lost when you turn off the power. Save the sample if necessary.
263
Editing a Sample
Fantom-G_r_e.book 264
Heres how you can load a sample from the project into sample memory.
1. Press [SAMPLE].
The Sample Edit screen will appear.
2. Press [F1 (Sample List)].
The Sample List display appears. fig.14-008_50
3. Use VALUE dial, [INC] [DEC], or to select a sample.
4. Press [F1 (Load)].
A message will ask you for confirmation.
5. Press [F7 (OK)] to execute.
To cancel, press [F8 (EXIT)].
Heres how you can load all samples from the project into sample memory.
1. Press [SAMPLE].
The Sample Edit screen will appear.
2. Press [F1 (Sample List)].
The Sample List display appears.
3. Press [F3 (Util Menu)].
The Sample Utility Menu window will appear.
4. Press or to select Load All, and then press [F8 (Select)].
To cancel, press [F7 (Cancel)].
A message will ask you for confirmation.
5. Press [F7 (OK)] to execute.
To cancel, press [F8 (EXIT)].
This operation erases (unloads) the sample from sample memory. The sample file itself that is saved in the project will not be deleted.
1. Press [SAMPLE].
The Sample Edit screen will appear.
2. Press [F1 (Sample List)].
The Sample List display appears. fig.14-008_50
3. Use VALUE dial, [INC] [DEC], or to select a sample.
4. Press [F3 (Util Menu)].
The Sample Utility Menu window will appear.
5. Press or to select Unlode, and then press [F8
(Select)].
To cancel, press [F7 (Cancel)].
A message will ask you for confirmation.
6. Press [F7 (OK)] to execute.
To cancel, press [F8 (EXIT)].
Loading a Sample (Load)
Loading All Samples (Load All)
Unloading a Sample (Unload)
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This operation completes deletes the sample saved in the project, along with its file.
1. Press [SAMPLE].
The Sample Edit screen will appear.
2. Press [F1 (Sample List)].
The Sample List display appears. fig.14-008_50
3. Use VALUE dial, [INC] [DEC], or to select a sample.
4. Press [F3 (Util Menu)].
The Sample Utility Menu window will appear.
5. Press or to select Delete Sample, and then press [F8 (Select)].
To cancel, press [F7 (Cancel)].
A message will ask you for confirmation.
6. Press [F7 (OK)] to execute.
To cancel, press [F8 (EXIT)].
Audio files (WAV/AIFF) from your computer can be imported into memory as samples.
Importing Audio file (Import Audio) (p. 283)
Deleting a Sample (Delete) Importing an Audio File (WAV/AIFF) from Your Computer
265
Editing a Sample
Fantom-G_r_e.book 266
1. Press [SAMPLE].
The Sample Edit screen will appear. fig.14-007_50
Samples that you edit will be lost when you turn off the power. If you want to keep them, you must Save them (p. 274).
F-key operations in the Sample Edit screen
Paramaters in the Sample Edit screen
Heres how to change the magnification of the sample display.
1. In the Sample Edit screen, press [F6 (Zoom)].
The Zoom window will appear.
2. Use [CURSOR] to change the magnification of the display.
Horizontal axis (time axis): 1/11/65536
Press to increase the display magnification.
Press to decrease the display magnification.
Vertical axis (waveform amplitude axis): x1x128
Press to increase the display magnification.
Press to decrease the display magnification.
3. Press [F8 (Close)] to close the window.
Displaying Sample Edit Screen (Sample Edit)
F-key Explanation Page
F1 Sample List
Shows the sample list. p. 263
F2 Param
Displays the Sample Parameter screen, where you can make various settings for the sample.
p. 268
F3 Modify
Truncate Cuts an unwanted por- tion
p. 269
Emphasis Boosts/limits the high frequency range
p. 269
Normalize Maximizes the volume p. 270 Amp Applies a volume enve-
lope p. 270
Time Stretch Stretches/shrinks the sample
p. 271
Chop Divides the sample p. 272 F4
Beat
Specifies the start/end point of the sample in units of a beat.
p. 267
F5
Beat
Specifies the start/end point of the sample in units of a beat.
p. 267
F6 Zoom
Zooms the waveform display. p. 266
F7 Preview
Auditions the selected sample.
F8 Exit
Returns to the previous screen.
Paramater Explanation Page
Start Point The point at which playback will start. p. 267 Loop Start The point at which loop playback (second
time and onwards) will start. p. 267
End Point The point at which playback will end. p. 267 Zoom Horz The magnification (horizontal axis) of the
display. p. 266
Zoom Vert The magnification (vertical axis) of the dis- play.
p. 266
Original Key
Note number that will play the sample at the pitch at which it was sampled.
p. 268
BPM Specifies the original tempo of the sample. p. 268 Sample Gain
Adjusts the gain of the sample. p. 268
Magnifying/Shrinking the Waveform Display (Zoom)
Even without displaying the Zoom window, you can press
to expand/shrink the horizontal axis, or hold down [SHIFT] and press to expand/shrink the vertical axis.
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You can specify the portion of the sample that will actually sound. You can also specify the region that is to be looped.
1. Select the sample you want to edit, and access the Sample Edit screen.
* For details on how to select a sample, refer to Selecting a Sample
(p. 263). fig.15-003_50
2. Use or to select the point that you want to set.
Start Point:
This is the point at which playback will start. Set this so that any unwanted portion at the beginning of the sample will be skipped, and the sound will begin at the desired moment.
Loop Start:
This is the point at which loop playback (second and subsequent times) will start. Set this if you want to loop the sound from a point other than the start point.
End Point:
This is the point at which playback will end. Set this so that any unwanted portion at the end of the sample will not be heard.
By pressing [F7 (Preview)] you can audition the region between the start point and edit point.
If you hold down [F7 (Preview)] and edit the start/loop/end point, the sample will play repeatedly across that point. Since the sound in the region youre specifying will play repeatedly, this is a convenient way to check your setting. (Zooming-in or zooming-out on the waveform will change the region that loops.)
3. Either turn the VALUE dial or use [INC], [DEC] to move the point so its where you want it to be.
Youll probably find it convenient to zoom-in when making fine adjustments, and zoom-out when making major adjustments (p. 266).
You can move the point in units of one beat by pressing [F4
(Beat )] or [F5 (Beat )].
After specifying the start point and end point, you can execute Truncate (p. 269) to delete unwanted portions at the beginning and end of the sample.
Sample modify menu operations (Chop, Normalize, etc.) apply to the entire sample. Even if you specify a start point or end point, they will be ignored. If you want to apply the operation only to the region between the start point and end point, use Truncate to delete unwanted portions of the sample, and then perform the sample modify menu operation.
You can use the knobs to edit each point. Using the knobs is convenient when you need to make large changes to the value.
1. Use the CONTROL knobs to specify the following editing points.
From the left, the knobs have the following functions. fig.15-003a
: Start Point
: Loop Start
: End Point
: Zoom-in/zoom-out the horizontal axis of the display
Setting the Start/End Points of the Sample
Using the Knobs to Edit the Points
About the beat Samples contain beat data. Up to 100 beat locations are specified for one sample. If the sample contains more than 100 beats, fifty beat locations will be specified from the beginning and end of the sample, respectively.
When you want to reset the beat indication (Reset Grid function [F7 (Reset Grid)]) From the Sample Edit screen, specify the start point of the sample, press [F2 (Sample Param)] to access the Sample Prm screen, specify the BPM, and then press [F7 (Reset Grid)]. This will reapply the grid to the sample according to the start point and BPM you specified. To execute, press [F8 (Execute)].
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Editing a Sample
Fantom-G_r_e.book 268
Here you can make various settings for the sample.
1. Select the sample that you want to edit (p. 263).
2. Press [SAMPLE] to access the Sample Edit screen, and press [F2 (Param)].
fig.15-004_50
3. Press or to select a parameter.
4. Use VALUE dial or [INC], [DEC] to edit the value.
Loop Mode
Specifies how the sample will be played.
Value
FWD (Forward):
After the Sample played back from the Start point to the End point, it will then be repeatedly played back in the forward direction, from the Loop Start point to the End point.
fig.15-005
ONE-SHOT:
The sample will be played back only once, from the Start point to the End point.
fig.15-006
REV (Reverse):
When the sample has been played back from the End point to the Start point, it will be repeatedly played back in the reverse direction, from the Loop Start point to the Start point.
fig.15-007
REV-ONE (Reverse One-shot):
The sample will be played back only once from the End point to the Start point in the reverse direction.
fig.15-008
Loop Tune
Specifies the pitch of the loop region.
Value: -50 +50 * Make fine adjustments in one-cent (1/100 semitone) increments.
Original Key
Note number that will play the sample at the pitch at which it was sampled.
Value: 0 (C-1)127 (G9)
BPM (TEMPO)
Specifies the original tempo of the sample.
When setting the BPM (tempo) value, you can hold down [SHIFT] and turn the VALUE dial, or use [INC] [DEC] to adjust the value to the right of the decimal point.
Value: 5.00300.00 * In order to synchronize the tempo, Wave Temp Sync (p. 92) must be
turned on.
Time Stretch Type
Specifies how the tempo will be synchronized. Decreasing this value will optimize the sound for more rapid phrases, and increasing this value will optimize the sound for slower phrases.
Value: TYPE01TYPE10
Start Fine
Fine adjustment of the Start point.
Value: 0255
Loop Start Fine
Fine adjustment of the Loop Start point.
Value: 0255
Loop End Fine
Fine adjustment of the End point.
Value: 0255
Sample Gain
This adjusts the gain of the sample, letting you boost the volume if it decreased in the process of sampling.
Value: 0, +6, +12 [dB]
Sample Fine Tune
This adjusts the pitch of the sample in steps of one cent (over a range of +/-50 cents).
Value: -50 +50 * 1 cent = 1/100th of a semitone
Sample Level
This adjusts the volume of the sample.
Value: 1127 * By pressing [F7 (Reset Grid)] you can reassign the sample grid according
to the specified start point and BPM. To execute, press [F8 (Execute)].
5. Press [EXIT] when you are finished.
Making Settings for Sample (Sample Parameters)
Start P. Loop Start P. End P.
Start P. Loop Start P. End P.
Start P. Loop Start P. End P.
Start P. Loop Start P. End P.
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This operation cuts the portions of the sample that are earlier than the Start Point and later than the Loop End Point.
1. Press [SAMPLE] to access the Sample Edit screen.
2. Press or to select the parameter.
Start Point: Specifies the sample start point.
End Point: Specifies the sample end point.
3. Either turn the VALUE dial or use [INC] [DEC] to set the value.
4. Press [F3 (Modify)].
The Sample Modify Menu window will appear.
5. Press or to select Truncate, and then press [F8 (Select)].
To cancel, press [F7 (Cancel)].
6. If you want to replace the current sample with the truncated sample, press [F6 (Over Write)].
7. Press [F8 (Execute)].
A message will ask you for confirmation.
8. Press [F7 (OK)] to execute.
To cancel, press [F8 (EXIT)].
If [F6 (Over Write)] is off, pressing [F7 (OK)] to execute will create the edited sample in the lowest unused sample number in the list.
In some cases, the audio quality will be improved if you boost the high-frequency range of an imported sample. Also, the high- frequency range of the sample may be emphasized when you use a sampler made by another manufacturer. In this case, you can minimize the change in tonal character by attenuating the high- frequency range.
1. Press [SAMPLE] to access the Sample Edit screen.
2. Press [F3 (Modify)].
The Sample Modify Menu window will appear.
3. Press or to select Emphasis, and then press [F8 (Select)].
To cancel, press [F7 (Cancel)].
4. Either turn the VALUE dial or use [INC] [DEC] to select the emphasis type.
PreEmphasis: Emphasizes the high-frequency range.
DeEmphasis: Attenuates the high-frequency range.
5. If you want to replace the current sample with the emphasized sample, press [F6 (Over Write)].
6. Press [F8 (Execute)].
A message will ask you for confirmation.
7. Press [F7 (OK)] to execute.
To cancel, press [F8 (EXIT)].
If [F6 (Over Write)] is off, pressing [F7 (OK)] to execute will create the edited sample in the lowest unused sample number in the list.
Removing Unwanted Portions of a Sample (Truncate)
Boosting or Limiting the High-frequency Range of the Sample (Emphasis)
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Editing a Sample
Fantom-G_r_e.book 270
This operation raises the level of the entire sample as much as possible without exceeding the maximum level. In some cases, the volume of a phrase you resampled (p. 260) will be lower than the volume of the original phrase. In this case, it is a good idea to boost the volume by executing the Normalize operation.
1. Press [SAMPLE] to access the Sample Edit screen.
2. Press [F3 (Modify)].
The Sample Modify Menu window will appear.
3. Press or to select Normalize, and then press [F8 (Select)].
To cancel, press [F7 (Cancel)].
4. If you want to replace the current sample with the normalized sample, press [F6 (Over Write)].
5. Press [F8 (Execute)].
A message will ask you for confirmation.
6. Press [F7 (OK)] to execute.
To cancel, press [F8 (EXIT)].
If [F6 (Over Write)] is off, pressing [F7 (OK)] to execute will create the edited sample in the lowest unused sample number in the list.
This operation applies an envelope (time-variant change) to the volume of the sample. You can also adjust the volume of the entire sample.
1. Press [SAMPLE] to access the Sample Edit screen.
2. Press [F3 (Modify)].
The Sample Modify Menu window will appear.
3. Press or to select Amp, and then press [F8 (Select)].
To cancel, press [F7 (Cancel)].
4. Use VALUE dial or [INC] [DEC] to set the value.
Rate: Specifies the rate of volume boost.
This specifies how much boost will be applied relative to the current volume. The entire sample you select will be boosted.
Value: 0400%
5. If you want to specify a point, press [F5 (Point)] to light it into red. Press or to select a parameter, and then use VALUE dial or [INC] [DEC] to set the value.
Current Point: Specifies the currently selected point. Beginning near the start point, the points will be numbered 1, 2, 3, or 4.
Value: 14
Point 14: Location of the current point
Rate 14: Amplification ratio of the current point
Specifies how the volume of each point is to be boosted relative to the current value.
Value: 0400%
6. If you want to replace the current sample with the normalized sample, press [F6 (Over Write)].
7. Press [F8 (Execute)].
A message will ask you for confirmation.
8. Press [F7 (OK)] to execute.
To cancel, press [F8 (EXIT)].
If [F6 (Over Write)] is off, pressing [F7 (OK)] to execute will create the edited sample in the lowest unused sample number in the list.
Maximizing the Volume of a Sample (Normalize)
Amp
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This operation stretches or shrinks the sample to modify the length or tempo. You can stretch or shrink the sample by a factor of one half to double the original length.
1. Press [SAMPLE] to access the Sample Edit screen.
2. Press [F3 (Modify)].
The Sample Modify Menu window will appear.
3. Press or to select Time Stretch, and then press [F8 (Select)].
To cancel, press [F7 (Cancel)].
4. Press or to select the parameter.
Edit Time Stretch
VALUE
BPM: Changes the BPM of the sample to the BPM you specifies.
Time: Specifies the length of the sample as a time value.
Rate: Specifies the length relative to the current length of the sample.
Value: 50.0200.0%
Type
Lower settings of this value will make the sound more suitable for faster phrases, and higher settings will make the sound more suitable for slower phrases.
Value: TYPE01TYPE10
Quality Adjust
Make fine adjustments to the tonal quality of the Time Stretch.
Value: 110
5. Use VALUE dial or [INC] [DEC] to specify the tempo/length.
When setting the BPM (tempo) value, you can hold down [SHIFT] and turn the VALUE dial, or use [INC] [DEC] to adjust the value to the right of the decimal point.
6. Press [F8 (Execute)].
A message will ask you for confirmation.
7. Press [F7 (OK)] to execute.
To cancel, press [F8 (EXIT)].
Stretching or Shrinking a Sample (Time Stretch)
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Editing a Sample
Fantom-G_r_e.book 272
The chop function divides a sample waveform into separate notes.
* The Create Sample Set function makes it easy to create a sample set
from the chopped samples.
Procedure for Dividing a Sample You can freely specify the point(s) at which the sample is to be divided.
1. Press [SAMPLE] to access the Sample Edit screen.
2. Press [F3 (Modify)].
The Sample Modify Menu window will appear.
3. Press or to select Chop, and then press [F8 (Select)].
To cancel, press [F7 (Cancel)].
4. Press or to move the cursor to Current Address.
5. Either turn the VALUE dial or use [INC] [DEC] to move the point.
6. At the location where you want to divide the sample, press [F4 (Add Point)].
The current location will be the dividing point.
7. Repeat steps 5 and 6 to specify other dividing points as desired.
You can specify up to 15 locations at which to divide the sample; i.e., the sample will be divided into a maximum of 16 pieces.
8. Audition the sample as described in the section Auditioning the Divided Samples (p. 273).
If you want to re-make settings, move or delete the point (p. 273).
9. Press [F8 (Execute)].
A message will ask you for confirmation.
10. To execute the division, press [F7 (OK)].
To cancel, press [F8 (EXIT)].
When you execute the Chop operation, a message will ask whether you want to execute Create Sample Set.
* The divided samples will be added to the sample list.
11. If you want to execute Create Sample Set, press [F8 (Execute)].
When you execute Create Sample Set, a sample set with the divided samples assigned to the pads will be automatically created.
12. If you dont want to execute Create Sample Set, press [F7 (Cancel)].
Dividing a Sample into Notes (Chop)
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Automatically Dividing a Sample (Auto Chop) Heres how you can automatically specify the points at which the sample is to be divided, and then divide the sample.
1. Press [SAMPLE] to access the Sample Edit screen.
2. Press [F3 (Modify)].
The Sample Modify Menu window will appear.
3. Press or to select Chop, and then press [F8 (Select)].
To cancel, press [F7 (Cancel)].
4. Press [F6 (Auto Chop)].
5. Either turn the VALUE dial or use [INC] [DEC] to select the method by which the sample is to be divided.
Chop Type
Specifies how the sample will be divided.
Value
Level: Divides according to volume.
Beat: Divides at beats based on the BPM (p. 268) of the sample.
Divide x: The sample will be divided into the specified number of equal-sized samples.
6. Press .
7. Either turn the VALUE dial or use [INC] [DEC] to set the value.
Level (If Chop Type is Level)
Level at which the sample is to be divided. Lower settings of this value will cause the sample to be divided more finely.
Value: 110
Beat (If Chop Type is Beat)
Beat interval at which the sample is to be divided.
Value: 1/32, 1/16T, 1/16, 1/8T, 1/8, 1/4T, 1/4, 1/2, 1/1, 2/1
Times (If Chop Type is Divide x)
Number of samples into which the sample is to be divided.
Value: 216
8. Press [F8 (Execute)].
The sample will be automatically divided according to your settings, and the points will be specified. A maximum of 15 division points will be set (16 regions).
To cancel, press [F7 (Cancel)].
9. Audition the sample as described in the section Auditioning the Divided Samples (p. 273)
If you want to re-make settings, move or delete the point Moving a Dividing Point (p. 273).
10. Press [F8 (Execute)].
A message will ask you for confirmation.
11. To execute the division, press [F8 (Execute)].
* To cancel, press [F7 (Cancel)].
When you execute Auto Chop, a message will ask you whether you want to execute Create Sample Set.
12. If you want to execute Create Sample Set, press [F8 (Execute)].
When you execute Create Sample Set, a sample set with the divided samples assigned to the pads will be automatically created.
13. If you dont want to execute Create Sample Set, press [F7 (Cancel)].
You will return to the Sample Edit screen.
Auditioning the Divided Samples After dividing the sample, you can press the pads to audition each of the divided samples.
From the sample nearest to the start point, the samples will be played by pads [1], [2],...[16].
Moving a Dividing Point 1. Press or to move the cursor to Point No.
2. Turn the VALUE dial to select the point that you want to move.
In order from the start point, the points are numbered 1, 2,...15.
3. Press .
4. Turn the VALUE dial to move the dividing point.
Deleting a Dividing Point 1. Press or to move the cursor to Point No.
2. Turn the VALUE dial to select the point that you want to delete.
3. Press [F5 (Clear Point)].
The dividing point will be deleted.
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Fantom-G_r_e.book 274
Heres how to save the selected sample into the project.
A newly loaded sample, as well as any changes youve made in the settings for a sample will be lost as soon as you turn off the power. If you want to keep such data, you must save it as follows.
1. Press [SAMPLE].
2. Press [F1 (Sample List)].
The Sample List display appears.
Samples without the symbol and samples with the
symbol have not been saved.
3. Use VALUE dial, [INC] [DEC], or to select the sample that you want to save.
4. Press [F2 (Save)].
5. Assign a name to the sample.
For details on assigning names, refer to Assigning a Name (p. 42)
6. When you have finished inputting the name, press [F8 (OK)].
A screen will appear allowing you to select the write- destination sample.
7. Turn the VALUE dial, or use [INC] [DEC] to select the sample number.
8. Press [F8 (Write)].
A message will ask you for confirmation.
Never switch off the Fantom-G while data is being saved.
9. Press [F7 (OK)] to execute the save operation.
To cancel the operation, press [F8 (EXIT)].
You cant save by overwriting another sample.
Heres how to save all samples of the sample list into the project.
1. Press [SAMPLE].
2. Press [F1 (Sample List)].
The Sample List display appears.
Samples without the symbol and samples with the
symbol have not been saved.
3. Press [F3 (Util Menu)].
The Sample Utility Menu window will appear.
4. Press or to select Save All, and then press [F8 (Select)].
To cancel, press [F7 (Cancel)].
A message will ask you for confirmation.
5. Press [F7 (OK)] to execute.
To cancel, press [F8 (EXIT)].
When you execute Save All, the samples will be written in the same numerical order as they appear in the sample list. The sample names will be assigned automatically.
Saving a Sample (Save) Saving all samples (Save All)
274
Fantom-G_r_e.book 275
08: Various Settings (Menu and System)
This chapter explains the menus and system settings. Menu Reference........................................................p. 276 System Settings .........................................................p. 286 V-LINK .....................................................................p. 301
27
Fantom-G_r_e.book 276
Menu Reference
The menus contain various functions you will find helpful when using the Fantom-G.
Press [MENU] to access the menu, select the desired function, and execute it.
Heres how to load a project from internal memory or USB memory into the Fantom-Gs temporary area, or save the project from the Fantom-Gs temporary area.
This operation will load a project from internal memory or USB memory into the Fantom-Gs temporary area.
When you load a project, the contents of the temporary area will be rewritten. If the temporary area contains important data, you must save it to internal memory or USB memory before loading a project.
1. Press [MENU] to access the Menu window.
2. Use or to choose Project, and then press [ENTER].
The Project Menu will appear.
3. Turn the VALUE dial or use [INC] [DEC] or / to choose Load Project, and then press [F8 (Select)].
You can also press [F1 (Load)] to execute this.
4. Press [F1 (Internal)] or [F2 (USB Memory)] to select the load-source area (internal memory or USB memory).
5. Use or to select the project that you want to load.
6. Press [F8 (Load)].
A confirmation message will appear.
7. Press [F7 (OK)] to execute.
* If you decide to cancel, press [F8 (EXIT)].
Menus
Menu name Explanation Page
Project Load or save a project p. 276 System Access the System Setting screen p. 286 Factory Reset Reset the Fantom-G to the factory-set con-
dition p. 280
Format USB Memory
Formats (initializes) USB memory p. 280
USB Storage Connects the Fantom-G to a computer and mounts the internal memory as USB mem- ory
p. 281
Import Audio Imports a WAV/AIFF format audio file into the Fantom-G
p. 283
Project-related Settings (Project)
Load Project
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This operation will save the project from the temporary area to internal memory or USB memory.
1. Press [MENU] to access the Menu window.
2. Use or to choose Project, and then press [ENTER].
The Project Menu will appear.
3. Turn the VALUE dial or use [INC] [DEC] or / to choose Save Project, and press [F8 (Select)].
You can also press [F2 (Save)] to execute this.
A confirmation message will appear.
4. Press [F7 (OK)] to execute.
* If you decide to cancel, press [F8 (EXIT)].
If an error message appears
An error message may appear if the data cannot be successfully saved, such as when there is insufficient space in internal memory or USB memory. Error Messages (p. 318) lists the various errors that may appear, and explains the appropriate response.
This operation will save the project from the temporary area to internal memory or USB memory under a different name.
1. Press [MENU] to access the Menu window.
2. Use or to choose Project, and then press [ENTER].
The Project Menu will appear.
3. Turn the VALUE dial or use [INC] [DEC] or / to choose Save As Project, and press [F8 (Select)].
You can also press [F3 (Save As)] to execute this.
4. Press [F1 (Internal)] or [F2 (USB Memory)] to select the save-destination area (internal memory or USB memory).
5. Press [F8 (Save As)].
6. The Project Name window will appear. Enter a name, and press [F8 (OK)].
If you selected internal memory, there will be no step for entering a name.
For details on how to enter a name, refer to Assigning a
Name (p. 42).
A confirmation message will appear.
7. Press [F7 (OK)] to execute.
* If you decide to cancel, press [F8 (EXIT)].
If an error message appears
An error message may appear if the data cannot be successfully saved, such as when there is insufficient space in internal memory or USB memory. Error Messages (p. 318) lists the various errors that may appear, and explains the appropriate response.
Save Project Save As Project
277
Menu Reference
Fantom-G_r_e.book 278
This operation will create a new project in USB memory.
1. Press [MENU] to access the Menu window.
2. Use or to choose Project, and then press [ENTER].
The Project Menu will appear.
3. Turn the VALUE dial or use [INC] [DEC] or / to choose Create Project, and press [F8 (Select)].
You can also press [F4 (Create)] to execute this.
4. The Project Name window will appear. Enter a name, and press [F8 (OK)].
For details on how to enter a name, refer to Assigning a
Name (p. 42).
A confirmation message will appear.
5. Press [F7 (OK)] to execute.
* If you decide to cancel, press [F8 (EXIT)].
If an error message appears
An error message may appear if the data cannot be successfully saved, such as when there is insufficient space in internal memory or USB memory. Error Messages (p. 318) lists the various errors that may appear, and explains the appropriate response.
By default, the project name will be assigned a number as FantomG001, FantomG002, etc., but you are free to change this. On your computer, projects will appear as folders named Project name.Prj located in the root of the USB memory. If you rename the folder (project name) on your computer, you will not be able to use . as the first character. Do not modify the filename extension. Also, there are certain characters (\ / : , ; * ? < > |) that cannot be used in the name.
This operation will back up a project from internal memory to USB memory (only one).
1. Press [MENU] to access the Menu window.
2. Use or to choose Project, and then press [ENTER].
The Project Menu will appear.
3. Turn the VALUE dial or use [INC] [DEC] or / to choose Backup Project, and then press [F8 (Select)].
You can also press [F5 (Backup)] to execute this.
A confirmation message will appear.
4. Press [F7 (OK)] to execute.
* If you decide to cancel, press [F8 (EXIT)].
If an error message appears
An error message may appear if the data cannot be successfully saved, such as when there is insufficient space in internal memory or USB memory. Error Messages (p. 318) lists the various errors that may appear, and explains the appropriate response.
Create Project Backup Project
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By executing this operation, a project previously backed up to USB memory using Backup Project can be restored into internal memory.
Restoring a backup will overwrite the internal memory. If internal memory contains important data, save it to USB memory before you execute the Restore Project operation.
1. Press [MENU] to access the Menu window.
2. Use or to choose Project, and then press [ENTER].
The Project Menu will appear.
3. Turn the VALUE dial or use [INC] [DEC] or / to choose Restore Project, and then press [F8 (Select)].
You can also press [F6 (Restore)] to execute this.
A confirmation message will appear.
4. Press [F7 (OK)] to execute.
* If you decide to cancel, press [F8 (EXIT)].
System Settings (Settings Common to All Modes) (p. 286)
Restore Project System Settings (System)
279
Menu Reference
Fantom-G_r_e.book 280
This restores all data in the Fantom-G to the factory-set condition (Factory Reset).
If there is important data youve created thats stored in the Fantom-Gs User memory, all such data is discarded when a Factory Reset is performed (the data of the internal user
memory will be lost). If you want to keep the existing data, save it on a USB memory (p. 277) or save it via USB to your computer (p. 281).
1. Press [MENU] to open the Menu window.
2. Press or to select Factory Reset, and then press [ENTER].
A message will ask confirmation.
3. Press [F7 (OK)] to execute the Factory Reset.
* To cancel, press [F8 (EXIT)].
This process will require several minutes. Never turn off the power until this process has been completed.
4. When the display indicates Factory Reset Completed!, press [F7 (OK)].
This formats (initializes) the USB memory thats connected to the rear panel USB MEMORY connector.
If the format of the USB memory is other than FAT, it wont be recognized by the Fantom-G. (Nor will the Fantom-G be able to format it.) In this case, use your computer to format the USB memory using the FAT or FAT32 file system. (If youre using Mac OS X, format the USB memory using the MS-DOS file system (FAT32).)
1. Press [MENU] to open the Menu window.
2. Press or to select Format USB Memory, and then press [ENTER].
A message will ask confirmation.
3. Press [F7 (OK)] to execute the Format USB memory.
* To cancel, press [F8 (Cancel)].
4. When the display indicates Format USB memory Completed!, press [F7 (OK)].
Reset to Default Factory Settings (Factory Reset)
Format USB Memory
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By connecting the Fantom-G with your computer via a USB cable, you can transfer files from Internal memory or a USB memory to and from the hard disk or other media of your computer, in order to back up your data.
You can use software on your computer to edit WAV/AIFF files youve
created on the Fantom-G. Conversely, WAV/AIFF files that youve created on your computer can be used on the Fantom-G.
In this way, USB Storage mode lets you transfer files such as patch
and waves to or from a connected computer.
Close the DAW software on your computer before you enter USB Storage mode. Never connect or disconnect the USB cable or turn off the power while in USB Storage mode.
1. With the Fantom-G not connected, start up your computer.
2. Use a USB cable to connect the Fantom-G to your computer.
3. Turn on the power (POWER ON switch) of the Fantom-G.
When the Fantom-G is connected to your computer, you can select the area on the Fantom-G to which a connection is to be made; either the internal user area or the USB memory.
1. Press [MENU].
2. Press or to select USB Storage, and then press [ENTER].
The USB Storage screen will appear.
3. Press [F1 (Internal)] or [F2 (USB memory)] to connect with your computer.
* To cancel the connection, press [Exit].
4. The display will differ as follows, depending on the computer youre using.
Windows Vista/XP users
A drive named FANTOM G will be displayed within My Computer. If a USB memory is connected, its volume name will be displayed.
Mac OSX users
A drive icon named FANTOM G will appear on the desktop.
If a USB memory is connected, its volume name will be displayed.
Exchanging Files with Your Computer (USB Storage)
Connections
Specify the Connection-Destination
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You must observe the following points when the Fantom-G is connected to your computer via USB.
Dont use your computer to move or delete folders within the Fantom-G.
Dont use your computer to format or optimize the Fantom-Gs user memory or USB memory, or execute operations such as Scan Disk.
The Fantom-G can only handle filenames consisting of single- byte alphanumeric characters.
You cannot use a period . at the beginning of a file name. Certain other characters (\ / : , ; * ? < > |) can also not be used in a file name.
Only the following types of files can be transferred between the Fantom-G and your computer.
Song files (.SVQ/.SVA/.SVP)
Standard MIDI Files (.MID)
Audio files (.WAV/.AIF/.AIFF)
Bitmap files (.BMP) (800 x 480 pixels)
Text file (.TXT)
To handle these files, use the appropriate method described below.
Windows Vista/XP Users 1. In My Computer, right-click the removable hard disk icon
and execute Remove.
2. Press [EXIT].
Mac OSX Users 1. Drag the Fantom-G drive icon into the trash.
2. Press [EXIT].
Cautions Regarding Folders and Files
Standard MIDI Files
Place the files in the following folder. FantomG.Prj/SEQ/SMF folder
FantomG.Prj is the name of the project folder in the Fantom-Gs internal memory. Multiple projects can be saved in USB memory. By default, the project folder names will be numbered as FantomG001.Prj, FantomG002.Prj, etc., but the portion preceding the filename extension will be the project name you assign when saving the project.
Audio files
When placing the files from your computer, place them in the following location.
IMPORT folder Then import the audio files. If you want to use your computer to read samples that were written by the Fantom-G, load the files from the Project folder/SMPL folder into your computer.
BMP files When placing the files from your computer, place them in the following location.
IMPORT folder
Text files
When placing the files from your computer, place them in the following location.
IMPORT folder Then import the text file.
Exiting Storage Mode
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Copying a standard MIDI file (SMF) from your computer to the Fantom-G Heres how to copy a standard MIDI file from your computer to the Fantom-G.
1. On your computer, prepare the standard MIDI file (.MID) that you want to copy.
2. Use the USB Storage function (p. 281) to copy the standard MIDI file (.MID) to the following folder of the Fantom-Gs internal memory or the USB memory.
FantomG.Prj/SEQ/SMF folder
FantomG.Prj is the name of the project folder in the
Fantom-Gs internal memory. Multiple projects can be saved in USB memory. By default, the project folder name will be
numbered as FantomG001.Prj, FantomG002.Prj,
etc., but the portion preceding the filename extension will be the project name you assign when saving the project.
Importing Audio file (Import Audio) Heres how to import an audio file (WAV/AIFF).
1. On your computer, prepare the audio file (WAV/AIFF format) that you want to import.
2. Using the USB Storage function, copy the audio to the IMPORT folder of USB memory or the Fantom-Gs internal memory.
3. Press [MENU].
4. Turn the VALUE dial to select Import Audio, and then press [ENTER].
5. Press [F1 (Internal)] or [F2 (USB Memory)] to select the import-source area.
[F1 (Internal)]: Import from Internal memory.
[F2 (USB Memory)]: Import from a USB memory.
6. Press [F8 (Import Audio)].
A message will ask you for confirmation.
* To cancel, press [F7 (Cancel)].
7. Press [F7 (OK)].
The file will be imported, and the Sample List screen will appear.
* To cancel, press [F8 (EXIT)].
The imported file will be added to the sample list as a sample. This sample is temporary, and will be lost when you turn off the power. If you want to keep it, press [WRITE] to save the data (p. 274).
Examples of Using Storage Mode
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Using a Bitmap File as a Background in the Display (Import BMP) Via USB memory (or internal memory), you can use a bitmap file
(Windows BMP format, 24-bit, 800x480 pixel) as wallpaper for the Fantom-G.
1. On your computer, prepare the bitmap file (Windows BMP format, 24-bit, 800x480 pixel) that you want to use as wallpaper.
2. Using the USB Storage function, copy the bitmap file to the IMPORT folder of USB memory or the Fantom-Gs internal memory.
3. Press [MENU].
4. Turn the VALUE dial to select System, and then press [ENTER].
5. Press [F5 (Wallpaper)].
The Wallpaper screen will appear.
Sixteen different images can be shown as the background. The imported file will overwrite the currently selected image. If you want to delete an imported file, select an image (116) and press [F2 (Delete)].
6. Press [F1 (Import BMP)].
7. Press [F1 (Internal)] or [F2 (USB Memory)] to select the import-source area (internal memory or USB memory).
8. Press or to select the file that you want to import.
9. Press [F8 (Select)].
The file you want to import will be displayed.
* To cancel, press [F7 (Cancel)].
10. Press [F8 (Execute)].
The file will be imported.
* To cancel, press [F7 (Cancel)].
The changed wallpaper setting is temporary, and will be lost when you turn off the power. If you want to keep the setting, press [F7 (Sys Write)] to write it into the Fantom-Gs system memory.
Displaying Text Memos in the Favorite Screen (Import Text) You can create a text file on your computer and display it in the Favorite screen (p. 54). Since this lets you add a note to each bank, its a convenient way to provide reminders, such as an explanation of each screen.
1. Create a text file on your computer, and save it with a filename extension of .TXT.
2. Place the file created by step 1 in the IMPORT folder of USB memory or the Fantom-Gs internal memory.
3. Execute Import TEXT to import the text file.
For details on how to import, refer to Importing a Text File
(Import Text) (p. 56).
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Importing Audio file (Import Audio) (p. 283)
Import Audio
285
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System Settings (Settings Common to All Modes)
Settings that affect the entire operating environment of the Fantom- G, such as tuning and MIDI message reception, are referred to as system functions. This section explains how to make settings for the System functions and describes the functions of the different System parameters.
1. Press [MENU] to open the Menu window.
2. Press or to select System, and then press [ENTER].
The System Setup screen appears. fig.25-001_50
F-key operations in the System Setup screen
3. The parameters are organized into several edit groups. Use [F1 (Up)] [F2 (Down)] to switch tabs.
4. Use [CURSOR] to move the cursor to the parameter you wish to modify.
When the cursor is located at a parameter value, you can press [ENTER] to access a window for setting the value.
When all the parameters cannot be shown within a single settings screen, a scroll bar will be displayed at the right side of the screen. In such cases, press to scroll the screen downward.
5. Turn the VALUE dial or press [INC] [DEC] to get the value you want.
6. Repeat steps 35 to set each System parameter you want to edit.
7. To save the settings you modified, press [F7 (Sys Write)] and perform the Write operation. If you do not want to save, press [EXIT] to return to the previous screen.
Changes you make to the System function settings are only temporarythey will be discarded as soon as the power is turned off. If you want to keep any changes youve made in the system settings, you must save them in internal system memory.
When you perform the save procedure, the data that previously occupied the save destination will be lost. However, the factory setting data can be recovered by performing the Factory Reset procedure.
1. Change the system function settings, and press [F7 (Sys Write)].
fig.25-002_50
The display will indicate System Write Completed! The data will be saved, and youre returned to the System Setup screen.
How to Make System Function Settings
F-key Explanation Page
F1 Group/Up
Moves the edit group tab upward.
F2 Group/Down
Moves the edit group tab downward.
F3 Setup
Edits the system parameters. p. 287
F4 Info
Displays system information. p. 298
F5 Wallpaper
Specifies the wallpaper. p. 299
F6 Appearance
Edits screen-related settings. p. 300
F7 Sys Write
Saves system settings. p. 286
F8 Exit
Returns to the previous screen.
Saving the System Settings (System Write)
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This section explains what the different System parameters do, and also how these parameters are organized.
For details on these settings, refer to How to Make System
Function Settings (p. 286).
The usable range of the D Beam controller will become extremely small when used under strong direct sunlight. Please be aware of this when using the D Beam controller outside.
The sensitivity of the D Beam controller will change depending on the amount of light in the vicinity of the unit. If it does not function as you expect, adjust the sensitivity as appropriate for the brightness of your location. Increase this value will raise the sensitivity (p. 287).
D Beam Assign Source This specifies whether the D Beam Controller switch will follow the system settings (SYS) or follow the live set or studio set (TEMP).
Value: SYS, TEMP
D Beam Sens (D Beam Sensitivity) This sets the D Beam controllers sensitivity. Increasing this value will raise the sensitivity.
Value: 0127
Control Pedal 1 Assign Control Pedal 2 Assign This specifies the function of each pedal connected to the FOOT PEDAL CTRL 1, 2 jacks.
Value
OFF: Off
CC0131, 32(OFF), 3395: Controller numbers 131, 32(OFF), 3395
AFTERTOUCH: Aftertouch
BEND UP: The pitch will rise in semitone steps (maximum 4 octaves) each time you press the pedal.
BEND DOWN: The pitch will fall in semitone steps (maximum 4 octaves) each time you press the pedal.
START/STOP: The sequencer will start/stop.
TAP TEMPO: Tap tempo (a tempo specified by the interval at which you press the pedal).
PROG UP: The next sound number will be selected.
PROG DOWN: The previous sound number will be selected.
USER GROUP UP: The user group patch of the next number or bank will be selected.
USER GROUP DOWN:The user group patch of the previous number or bank will be selected.
FAVORITE UP: The favorite patch/live set/studio set of the next number or bank will be selected.
FAVORITE DOWN: The favorite patch/live set/studio set of the previous number or bank will be selected.
PANEL SWITCH: The result will be the same as pressing the switch assigned by Panel Switch Assign (see below).
Control Pedal 1 Panel Switch Assign Control Pedal 2 Panel Switch Assign Specifies the switch that will operate when Pedal 1 Assign or Pedal 2 Assign (see preceding item) are set to PANEL SWITCH.
Control Pedal 1 Polarity Control Pedal 2 Polarity Selects the polarity of the pedal. On some pedals, the electrical signal output by the pedal when it is pressed or released is the opposite of other pedals. If your pedal has an effect opposite of what you expect, set this parameter to REVERSE. If you are using a Roland pedal (that has no polarity switch), set this parameter to STANDARD.
Value: STANDARD, REVERSE
Hold Pedal Polarity Select the polarity of the Hold pedal. On some pedals, the electrical signal output by the pedal when it is pressed or released is the opposite of other pedals. If your pedal has an effect opposite of what you expect, set this parameter to REVERSE. If you are using a Roland pedal (that has no polarity switch), set this parameter to STANDARD.
Range: STANDARD, REVERSE
Continuous Hold Pedal This setting determines whether the HOLD PEDAL jack will provide support for half-pedaling (ON), or not (OFF). When this is set to support use of half-pedaling techniques, you can then connect an optional expression pedal (DP-8, etc.), and employ pedal work to achieve even finer control in performances in which piano tones are used.
Value: OFF, ON
Functions of System Parameters
Pedal/D Beam
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Keyboard Velocity Specifies the velocity value that will be transmitted when you play the keyboard. If you want actual keyboard velocity to be transmitted, set this to REAL. If you want a fixed velocity value to be transmitted regardless of how you play, specify the desired value (1127).
Value: REAL, 1127
Keyboard Velocity Curve Adjusts the keyboards touch.
Value
LIGHT: Light weight synthesizer keyboard like
MEDIUM: Standard
HEAVY: Acoustic piano simulation
Keyboard Velocity Sens (Keyboard Velocity Sensitivity) Adjusts the sensitivity of the keyboard. As you increase this setting, higher velocity values will be transmitted according to the force with which you play. Normally you will leave this set at 0.
Value: -63 +63
Aftertouch Sens (Aftertouch Sensitivity) Specifies the Aftertouch sensitivity. Higher values will allow Aftertouch to be applied more easily. Normally you will leave this at 100.
Value: 0100
Pad Assign Source Specifies whether changes in pad mode will follow the systems Pad Mode setting (SYS) or follow the live set or studio set (TEMP).
Value: SYS, TEMP
Pad Velocity For all sixteen pads, this specifies the velocity (loudness) that is produced when you strike a pad. With the REAL setting, youll be able to produce dynamics by varying your striking force. With a setting of 1127, the pads will produce the specified velocity value regardless of your actual striking force.
Value: REAL, 1-127
Pad Sens (Pad Sensitivity) Specifies the relation between your striking force and the velocity that is produced.
Value
LIGHT: It will be easy to produce the maximum velocity without having to strike very hard.
MEDIUM: This is the standard pad sensitivity setting.
HEAVY: You will have to strike quite strongly to produce the maximum velocity.
Pad Aftertouch Sens (Pad Aftertouch Sensitivity) Aftertouch means additional pressure that you apply on a pad after striking it. This setting adjusts the aftertouch sensitivity. Higher values make it easier to apply aftertouch. Normally you will leave this at a setting of 100.
Value: 0-100
Pad Roll Resolution Specifies the speed of repeated strikes when using the pads to play rolls.
Values: , , , , , , ,
Pad Mode Specifies the pad mode (p. 188) when the Fantom-G starts up (when a project is loaded).
Value: SAMPLE PAD, RHYTHM, CHORD MEMORY, ARPEGGIO, RPS, RHYTHM PTN, TONE SEL/SW, TRACK MUTE, BOOKMARK, MIDI TX SW, EFFECT SW, PATCH MFX SW, PART SELECT, PART MUTE, USER GROUP, FAVORITE
Keyboard Dynamic Pad
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Knob Slider Mode Specifies whether, when a knob or slider is moved, its position will immediately be output as control data (DIRECT) or whether control data will be output only after the knob or slider position has passed through the value of the parameter (CATCH).
Value: DIRECT, CATCH
Depending on the parameter being controlled with the sliders or controls, you may not be able to obtain the CATCH effect, even though you've set the Knob Slider Mode to CATCH.
Knob Assign Select Specifies whether the operation of knobs 14 will automatically change according to the screen (SCREEN) or will be fixed at the Knob 14 Assign settings (FIX).
Value: FIX, SCREEN
Knob Assign Source Specifies whether the operation of knobs 14 will follow the system settings Knob 14 Assign (SYS) or the setting of the live set or studio set (TEMP).
Value: SYS, TEMP
Knob 14 Assign Specify the functions that will be controlled by the knobs.
Value
OFF: Off
CC0131, CC32(OFF), 3395: Control Change
AFTERTOUCH: Aftertouch
PITCH BEND: Pitch Bend
ARPEGGIO ACCENT: Arpeggio accent rate
ARPEGGIO SHUFFLE: Arpeggio shuffle rate
ARPEGGIO OCT UP: The range in which the arpeggio is sounded will rise in steps of an octave.
ARPEGGIO OCT DOWN: The range in which the arpeggio is sounded will lower in steps of an octave.
MASTER LEVEL: Master Level (p. 293)
DIGITAL/USB INPUT LEVEL:
Digital/USB Input Level (p. 258)
* If the system setting Knob Assign Source (p. 289) is System,
the system setting will be used. If this is TEMP, the setting of the
live set or studio set will be used.
Slider Assign Select Specifies whether the operation of sliders 18 will automatically change according to the screen (SCREEN) or will be fixed at the Slider 18 Assign settings (FIX).
Value: FIX, SCREEN
Slider Assign Source Specifies whether the operation of sliders 18 will follow the system settings Slider 18 Assign (SYS) or the settings of the live set or studio set (TEMP).
Value: SYS, TEMP
Slider 18 Assign Specify the functions that will be controlled by the sliders.
Value
OFF: Off
CC0131, CC32(OFF), 3395: Control Change
AFTERTOUCH: Aftertouch
PITCH BEND: Pitch Bend
ARPEGGIO ACCENT: Arpeggio accent rate
ARPEGGIO SHUFFLE: Arpeggio shuffle rate
ARPEGGIO OCT UP: The range in which the arpeggio is sounded will rise in steps of an octave.
ARPEGGIO OCT DOWN: The range in which the arpeggio is sounded will lower in steps of an octave.
* If the system setting Slider Assign Source (p. 289) is System,
the system setting will be used. If this is TEMP, the setting of the
live set or studio set will be used.
Knob/Slider
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Magic Control is a function that automatically switches the role of knob 4 and slider 8 according to the screen. In the Patch List screen (p. 49), knob 4 will select the category, and slider 8 will scroll the list.
Knob 4 Assign Specify the functions that will be controlled by the knob 4.
Value
OFF: Off
CATEGORY/BANK: Switch the category/bank
SCROLL COARSE: Scroll the list
SCROLL FINE: Scroll the list finely
Slider 8 Assign Specify the functions that will be controlled by the slider 8.
Value
OFF: Off
CATEGORY/BANK: Switch the category/bank
SCROLL COARSE: Scroll the list
SCROLL FINE: Scroll the list finely
Switch S1/S2 Assign Source Specifies whether the S1/S2 switches will follow the system settings (SYS) or the settings of the live set or studio set (TEMP).
Value: SYS, TEMP
Switch S1/S2 Assign Specify the functions that will be controlled by the [S1] [S2] switches.
Value
Live Set: OFF, CC01 - CC31, CC32 (OFF), CC33 - CC95, AFTERTOUCH, MONO/POLY, PFX SWITCH, MFX SWITCH, RESERVE, CHORUS SWITCH, REVERB SWITCH, MASTERING SWITCH, MASTER KEY UP, MASTER KEY DOWN, SCALE TUNE SWITCH
Studio Set:OFF, CC01 - CC31, CC32 (OFF), CC33 - CC95, AFTERTOUCH, MONO/POLY, PFX SWITCH, MFX1 SWITCH, MFX2 SWITCH, CHORUS SWITCH, REVERB SWITCH, MASTERING SWITCH, MASTER KEY UP, MASTER KEY DOWN, SCALE TUNE SWITCH
Switch S1/S2 Assign Mode Specify the functions that will be controlled by the [S1] [S2] switches.
Value
LATCH: The on/off status will alternate each time you press [S1] [S2].
MOMENTARY: The status will be on only while you hold down [S1] [S2].
Magic Control Switch S1/S2
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Sync Mode Specify the synchronization message that the Fantom-Gs sequencer will use for operation.
Value
MASTER: The Fantom-G will be the master. Choose this setting when using the Fantom-G by itself without synchronizing to another device, or when you want other MIDI devices to synchronize to the Fantom-G.
SLAVE-MIDI: The Fantom-G will be the slave. Choose this setting when you want the Fantom-G to synchronize to MIDI Clock messages received from another MIDI device.
SLAVE-MTC: The Fantom-G will be the slave. Choose this setting when you want the Fantom-G to synchronize to MTC (MIDI Time Code) received from an external device.
REMOTE: Use this setting when you wish an external MIDI device to have remote start/pause/stop control. The tempo will be in accord with what has been set on the Fantom-G.
Sync Output (Sync Output Switch) Set this parameter ON when you want synchronization related MIDI messages (MIDI Clock, Start, Continue, Stop, Song Position Pointer and Song Select) to be transmitted to an external MIDI device. If not, set it OFF.
Value: OFF, ON
Clock Source When the Sync Mode is set to SLAVE-MIDI or SLAVE-MTC, this setting specifies whether the Fantom-G will synchronize to the tempo from the MIDI IN connector or the tempo from the USB connector.
Value
MIDI: Synchronize to the tempo from the MIDI IN connector.
USB: Synchronize to the tempo from the USB connector.
MMC Mode When synchronizing the Fantom-G with a hard disk recorder, such as one from the Roland VS series, specify which synchronization signal the Fantom-Gs sequencer will use for operation.
Value
MASTER: The Fantom-G will be the master. Use this setting when you want other devices to follow the operation of the Fantom-G.
SLAVE: The Fantom-G will be the slave. Use this setting when you want the Fantom-G to receive MMC (MIDI Machine Control) from an external device and operate accordingly.
MMC (MIDI Machine Control) is a specification that allows MIDI messages to be used to control devices such as tape recorders, VTRs, and digital recording systems. Thirty-seven MMC commands are available, including Stop and Play.
MMC Output (MMC Output Switch) Turn this ON if you want to synchronize with a hard disk recorder, such as one from the Roland VS series. When set ON, MMC (MIDI Machine Control) related commands (Play, Stop and Locate) will be transmitted.
Value: OFF, ON
MTC Sync Output (MTC Sync Output Switch) Set this parameter ON when you want MTC (MIDI Time Code) to be transmitted to an external MIDI device. If not, set it OFF.
Value: OFF, ON
MTC Frame Rate Specify the MTC frame rate. Make sure that the same mode is set in both master and slave devices.
Value
24: 24 frames per second
25: 25 frames per second
29N: 29 frames per second
29D: 29 frames per second
30: 30 frames per second
When synchronizing with a hard disk recorder such as the Roland VS series, any frame rate is all rightas long as the setting matches that of the Fantom-G. However, when synchronizing operation with video devices such as video decks, the video devices frame rate is fixed, so the Fantom-Gs setting must correspond to that frame rate.
Sync/Temp
MIDI Clock and MTC MIDI Clock and MTC (MIDI Time Code) are both messages used for synchronization. Select either of them depending on the application.
MIDI Clock transmits and synchronizes operations to a sequencers performance tempo, whereas MTC synchronizes operations between devices based on an absolute time.
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MTC Offset Time Hour Coordinates the playback timing of the Fantom-G and the external device in an hour units.
Value: 0023 hours
MTC Offset Time Minute Coordinates the playback timing of the Fantom-G and the external device in a minute units.
Value: 0059 minutes
MTC Offset Time Second Coordinates the playback timing of the Fantom-G and the external device in a second units.
Value: 0059 seconds
MTC Offset Time Frame Coordinates the playback timing of the Fantom-G and the external device in a frame units.
Value: 0029 frames (The maximum value will depend on the frame rate setting.)
MTC Error Level Determines how often the reception status is checked when MTC is being received from an external device. Stop synchronization if a problem becomes apparent with the check.
Value: 010 (the checking interval will be longer for larger values)
In strict terms, the lower the numerical value set, the more accurate the check is. However, playback may be stopped overly frequently if too rigorous a check is made, and this soon becomes inconvenient. By raising the Error Level setting, then even if problems with the reception of MTC do occur, synchronization can then continue as long as such problems remain at a level that does not cause undue problems.
Types of MTC The types of MTC that can be selected by the Fantom-G are shown below. Select the same frame rate as that set for the external device. When not using a video device, then any frame rate may be selected as long as the rates are the same on both devices being synchronized.
30: This is 30 frames per second, non-drop format. This is used by audio devices such as analog tape recorders, and for NTSC format black and white video (used in Japan and the U.S.).
29N: This is 29.97 frames per second, non-drop format. This is used for NTSC format color video (used in Japan and the U.S.).
29D: 29.97 frames per second drop format. This is used for NTSC format color video (used in Japan and the U.S.).
25: 25 frame per second frame rate. This is used for SECAM or PAL format video, audio equipment, and film (used in Europe and elsewhere).
24: 24 frame per second frame rate. This is used for video, audio devices, and film in the US.
Non-Drop Format and Drop Format There are two types of format used by NTSC video cassette recorders, non-drop and drop. Non-drop format features continuous time code, whereas in drop format, which is used for NTSC color video format, the first two frames of every minute are dropped, except for those at ten-minute intervals. In most video and audio production, since formats with continuous frames are easier to deal with, non-drop is generally used. In contrast, in situations such as in broadcast, where the time code must match actual clock time, drop format is used.
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Metronome Mode Specifies when you want the metronome to sound.
* If [F7 (Click)] in the Tempo window which appears when you press
[TEMPO] is lit in red, the metronome will always sound.
Value
OFF: Will not sound.
PLAY-ONLY: Will sound only during playback.
REC-ONLY: Metronome will sound only for recording.
PLAY&REC: Metronome will sound for playback and recording.
ALWAYS: Metronome will always sound.
Metronome Level You can adjust the volume of the metronome.
Value: 010
Metronome Sound Selects the metronome sound.
Value
TYPE 1: A conventional metronome sound will be heard. A bell will sound on the first beat.
TYPE 2: Clicks will sound.
TYPE 3: Beeps will sound.
TYPE 4: Cowbell will sound.
Beat Indicator Mode You can specify how the [PLAY] button (beat indicator) on the panel will blink.
Value
ALWAYS: Always blinks at the specified tempo.
PLAY&REC: Blinks only during playback and recording.
Local Switch The Local Switch determines whether the internal sound generator is disconnected (OFF) from the controller section (keyboard, pad, pitch bend/modulation lever, knobs, buttons, D Beam controller, pedal, and so on); or not disconnected (ON). Normally this is left ON, but if you wish to use the Fantom-Gs keyboard and controllers to control only external sound modules, set it to OFF.
Value: OFF, ON
Master Tune Adjusts the overall tuning of the Fantom-G. The display shows the frequency of the A4 note (center A).
Value: 415.3466.2 Hz
Master Level Adjusts the volume of the entire Fantom-G.
Value: 0127
Master Reverb Level Adjusts the reverb level of the entire Fantom-G.
Value: 0127
Metronome Sound
Using the Local Switch If youre using external sequencer software in conjunction with the Fantom-Gs keyboard/controllers and sound generator, you should turn the Local switch OFF for the reasons explained below.
Connecting the Fantom-G to an external sequencer fig.25-003b_50
Typically, things are hooked up so the data travels as follows: the Fantom-Gs keyboard your external sequencer software the Fantom-Gs sound generator. Normally, the Fantom-Gs keyboard section is internally connected to its sound generator section; this internal connection is controlled by the Local Switch. If you turn the Local Switch off, the Fantom-Gs keyboard and sound generator sections will be independent, allowing you to use the connection described above with your external sequencer software.
Keyboard
Sequencer
Sound Generator
Local Off
(External)
Fantom-G Fantom-G
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Output Gain This adjusts the output gain from the Fantom-Gs Analog Out and Digital Out. When, for example, there are relatively few voices being sounded, boosting the output gain can let you attain the most suitable output level for recording and other purposes.
Value: -12 +12
Mix/Parallel Specifies how the sound of the entire Fantom-G will be output.
Value
MIX: Set this to have the collective output of all sounds output from the OUTPUT A (MIX) jacks. When you want to check the final overall sound being output, set to MIX.
Sounds which are set in the respective Output Assign to be output from the INDIVIDUAL 3 jack are output from the left OUTPUT A (MIX) jack; sounds which are set to be output from the INDIVIDUAL 4 jack are output from the right OUTPUT A (MIX) jack.
Sounds output from the PHONES jack are the same as those output from the OUTPUT A (MIX) jacks. Therefore, any sounds set with Output Assign to be output from the OUTPUT B jacks is not output from the PHONES jack. Be sure to have any sound you want to hear through the headphones set to MIX.
PARALLEL: Output according to each Output Assign settings.
Master Key Shift Shifts the overall pitch of the Fantom-G in semitone steps.
Value: -24 +24
Patch Remain (Patch Remain Switch) Specifies whether currently sounding notes will continue sounding when another patch or rhythm set is selected (ON), or not (OFF).
Value: OFF, ON
* When in Studio mode: Depending on the effect settings, currently
sounding notes may not remain in some cases.
* When in Single mode or Live mode: The Patch Remain function is
valid only for the most recently selected sound. Notes of a sound
selected earlier may be interrupted.
* The Patch Remain setting does not apply to sounds of an expansion
board.
Control Remain (Control Remain Switch) Specifies whether changes in the sound and volume produced by received MIDI data such as volume and pan (CC 5, 7, 10, 65, 68, 71 74, RPN 0, 1, 2, MONO ON, POLY ON) and by the various controllers will be maintained (ON) or not maintained (OFF) when you select another patch or rhythm set.
Value: OFF, ON
How Do I Adjust the Volume? MASTER LEVEL adjusts the volume of both the OUTPUT A jacks and the DIGITAL AUDIO OUT jack. The front panel VOLUME knob adjusts only the volume of the OUTPUT A jacks. Heres an explanation of what you need to adjust depending on the output jacks youre using. fig.25-003_50
When using the OUTPUT A jacks: adjust using the VOLUME knob
The front panel VOLUME knob controls the volume of the OUTPUT A jacks. This means that if youre outputting from the OUTPUT A jacks, the simplest way is to leave the Master Level fixed at 127 (the default setting), and use the VOLUME knob to control the volume.
When using the DIGITAL AUDIO OUT jack: adjust using Master Level
Master Level controls both the OUTPUT A jacks and the DIGITAL AUDIO OUT jack. This means that if youre outputting from DIGITAL OUT, use Master Level to adjust the volume.
The Master Level setting is temporary, and will be lost when you turn off the power. If you want to keep the Master Level setting you edited, save the master level in the internal system memory. Saving the System
Settings (System Write) (p. 286)
(OUTPUT A in the Routing screen)
Sound Generator
OUTPUT A (MIX)/PHONESDIGITAL AUDIO OUT
Master Level
Volume knob
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Device ID (Device ID Number) When you want to transmit or receive System Exclusive messages, set this parameter to match the Device ID number of the other MIDI device.
Value: 1732
Studio Set Control Channel Studio Set Control Channel selects the MIDI receive channel used during switching of studio sets when MIDI messages (Program Change/Bank Select) are sent from an external MIDI device. Set this to OFF if studio sets are not to be switched from an external MIDI device.
Value: 116, OFF
If only a program change is received, and if the Studio Set Control Channel parameter setting coincides with the MIDI receive channel of a part, priority will be given to switching the studio set.
Live Set Control Channel Live Set Control Channel selects the MIDI receive channel used during switching of live sets when MIDI messages (Program Change/ Bank Select) are sent from an external MIDI device. Set this to OFF if live sets are not to be switched from an external MIDI device.
Value: 116, OFF
If only a program change is received, and if the Live Set Control Channel parameter setting coincides with the MIDI receive channel of a part, priority will be given to switching the live set.
Transmit Program Change (Transmit Program Change Switch) Specifies whether Program Change messages will be transmitted (ON) or not (OFF).
Value: OFF, ON
Transmit Bank Select (Transmit Bank Select Switch) Specifies whether Bank Select messages will be transmitted (ON) or not (OFF).
Value: OFF, ON
Transmit Active Sensing (Transmit Active Sensing Switch) Specifies whether Active Sensing messages will be transmitted (ON) or not (OFF).
Value: OFF, ON
Transmit Edit Data (Transmit Edit Data Switch) Specify whether changes you make in the settings of a patch, live set or studio set will be transmitted as system exclusive messages (ON), or will not be transmitted (OFF).
Value: OFF, ON
Soft Through (Soft Through Switch) Thru function re-transmits all messages received at the MIDI IN connector to the MIDI OUT connector without modifying them in any way.
Value: OFF, ON
Remote Keyboard Sw (Remote Keyboard Switch) Set this parameter ON when you want to use an external MIDI keyboard instead of the Fantom-Gs keyboard. In this case, the MIDI transmit channel of the external MIDI keyboard can be set to any channel. Normally you will leave this parameter OFF.
Value: OFF, ON
Turn this ON when you want to control the Fantom-G from an external MIDI device when performing with the Arpeggio or Chord Memory function.
Receive Program Change (Receive Program Change Switch) Specifies whether Program Change messages will be received (ON) or not (OFF).
Value: OFF, ON
Receive Bank Select (Receive Bank Select Switch) Specifies whether Bank Select messages will be received (ON) or not (OFF).
Value: OFF, ON
Receive Exclusive (Receive System Exclusive Switch) Specifies whether System Exclusive messages will be received (ON) or not (OFF).
Value: OFF, ON
Receive GM1 System On (Receive GM System On Switch) Specifies whether General MIDI System On messages will be received (ON) or not (OFF).
Value: OFF, ON
Receive GM2 System On (Receive GM2 System On Switch) Specifies whether General MIDI 2 System On messages will be received (ON) or not (OFF).
Value: OFF, ON
Receive GS Reset (Receive GS Reset Switch) Specifies whether GS Reset messages will be received (ON) or not (OFF).
Value: OFF, ON
MIDI
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USB-MIDI Thru Sw (USB-MIDI Thru Switch) This switch specifies whether MIDI messages received at the USB connector/MIDI connector will be retransmitted from the USB connector/MIDI OUT connector (ON) or not (OFF).
Value: OFF, ON
Scale Tune Switch Turn this on when you wish to use a tuning scale other than equal temperament.
Value: OFF, ON
The Fantom-G allows you to play the keyboard using temperaments other than equal temperament. The pitch is specified in one-cent units relative to the equal tempered pitch.
One-cent is 1/100th of a semitone.
The selected scale applies to MIDI messages received from an external MIDI device.
Patch Scale Tune for CB Make scale tune settings for Single mode.
Value: -64 +63
One set of Scale Tune settings can be created in Single mode. In Live / Studio mode, this can be set for each part of the Live / Studio set (p. 138). In Single mode, this is valid only for the keyboard part.
Preview Mode SINGLE: The notes specified by Note Number 14 parameter
will sound successively one by one.
CHORD: The notes specified by Note Number 14 parameter will sound simultaneously.
PHRASE: The Phrase associated with the patchs type/ category is played.
USB
Scale Tune
Preview
Equal Temperament This tuning divides the octave into 12 equal parts, and is the most widely used method of temperament used in Western music. The Fantom-G employs equal temperament when the Scale Tune Switch is set to OFF.
Just Temperament (Tonic of C) Compared with equal temperament, the principle triads sound pure in this tuning. However, this effect is achieved only in one key, and the triads will become ambiguous if you transpose.
Arabian Scale In this scale, E and B are a quarter note lower and C#, F# and G# are a quarter-note higher compared to equal temperament. The intervals between G and B, C and E, F and G#, Bb and C#, and Eb and F# have a natural thirdthe interval between a major third and a minor third. On the Fantom-G, you can use Arabian temperament in the three keys of G, C and F.
Note name Equal
temperament
Just Temperament
(tonic C)
Arabian Scale
C 0 0 -6 C# 0 -8 +45 D 0 +4 -2 Eb 0 +16 -12 E 0 -14 -51 F 0 -2 -8
F# 0 -10 +43 G 0 +2 -4
G# 0 +14 +47 A 0 -16 0 Bb 0 +14 -10 B 0 -12 -49
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Preview 14 Note Number Specify the pitch of the four notes that will sound when the Preview Mode parameter is set to SINGLE or CHORD.
Value: C-1G9
If PHRASE is selected for the Preview Mode parameter, these settings will have no effect.
Preview 14 Velocity Specify the velocity of the four notes that will sound when the Preview Mode parameter is set to SINGLE or CHORD.
Value: OFF, 0127
If PHRASE is selected for the Preview Mode parameter, these settings will have no effect.
System Control 14 Source System Control Assign selects the MIDI message used as the System Control.
Value
OFF: The system control will not be used.
CC0131, CC32(OFF), 3395: Control Change
PITCH BEND: Pitch Bend
AFTERTOUCH: Aftertouch
Screen Saver Type Select the type of screen saver.
Value: 116
Screen Saver Time Set the time (minutes) until the screen saver begins working.
If this is OFF, the screen saver will not appear.
Value: OFF, 160 min.
Input Select Input source of the external input sound
Value
DIGITAL IN: DIGITAL AUDIO IN jack
LINE IN L/R: INPUT jacks L/R (stereo)
LINE IN L: INPUT jack L (mono)
MIC/GUITAR: MIC/GUITAR jack
USB AUDIO: USB connector
* When an external device is connected to the DIGITAL AUDIO IN
connector and you disconnect the cable or power-off the external
device, noise may subsequently be heard in the input from DIGITAL
AUDIO IN. If this occurs, correctly reconnect the external device, or
turn the Fantom-Gs [MIX IN] switch off.
Digital/USB Input Level If youve set Input Select to DIGITAL IN or USB AUDIO, this adjusts the input level.
Value: 0127
Mix In Switch Turns the external input on/off.
Value: OFF, ON
Default File Type Specifies the file format used when saving a sample.
Value: WAV, AIFF
Pre Sample Time The length of sound preceding the moment at which sampling was manually or automatically initiated that will be captured in the sample. This lets you prevent the attack portion of the sound from being omitted from the sample.
Value: 01000 ms
System Ctrl
System Control This function, which departs from previously used methods, and instead allows you to use MIDI messages to change tone settings in realtime, is called the Matrix Control (p. 109). Similarly, the function allowing you to use MIDI messages to change multi-effects settings in realtime is called the Multi-effects Control (p. 158). Normally, the Matrix Control is used for making patch settings, and the Multi-effects Control for making settings to patches, rhythm sets, sample sets, live sets and studio sets. However, if you do not need to change the MIDI messages used for matrix control or multi-effects control by each patch/rhythm set/sample set/live set/studio set, or if you want to use a specific MIDI message for matrix control or multi-effects control, you will want to make use of System Control. In other words, you could call the System Controls global Matrix Control/Multi-effects Control for the entire Fantom-G. You can use up to four System Controls.
Screen Saver
Input/Sampling
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Trigger Level Volume level at which sampling will begin when Auto Trig is ON
A setting of 0 is the minimum.
Value: 07
Gap Time Length of silence at which the sample will be divided.
Whenever there is a silent region longer than the specified time, the sample will be divided at that point, and the next sample number will be assigned to the sound that follows. This parameter is valid only when you are using Auto Divide Sampling.
Value: 500, 1000, 1500, 2000 ms
Trimming Switch If this is turned on, the Start point and End point settings will be automatically adjusted after sampling is performed, so any silent portions at the beginning or end of the sampled sound are excluded.
Value: OFF, ON
Skip Back Time Specifies how much earlier in time that you want sampling to take place when you use Skip Back Sampling. If OFF selected, skip- back sampling cannot be performed.
Value: OFF, 5s40s
Power Up Mode This setting allows you to choose the mode that you want the Fantom-G to be in when load a project.
Value
SINGLE: The Fantom-G will be in Single mode when load a project.
STUDIO: The Fantom-G will be in Studio mode when load a project.
LIVE: The Fantom-G will be in Live mode when load a project.
Heres how to view system information.
1. Press [MENU] to access the menu.
2. Use / to choose System, and then press [ENTER].
3. Press [F4 (Info)].
4. Use [F1 (Up)] [F2 (Down)] to switch tabs.
Features Displays the main features of the Fantom-G.
Memory Info (Memory Information) Displays the amount of memory installed.
Expansion Info (Expansion board Information) Displays the name of the expansion board that is installed.
Version Info (Version Information) Displays the version of the Fantom-G.
Startup
System Information (Info)
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You can change the background image of the display.
Via USB memory (or internal memory), you can use your own photo or other image data as the background image.
1. Press [MENU] to access the menu.
2. Use / to choose System, and then press [ENTER].
3. Press [F5 (Wallpaper)].
The Wallpaper screen will appear.
4. Turn the VALUE dial to select the image that you want to use as the background, and press [F8 (OK)].
The selected image will be shown as the background.
The changed wallpaper setting is temporary, and will be lost when you turn off the power. If you want to keep the setting, press [F7 (Sys Write)] to write it into the Fantom-Gs system memory.
Via USB memory (or internal memory), you can use a bitmap file
(Windows BMP format, 24-bit, 800x480 pixel) as wallpaper for the Fantom-G.
1. On your computer, prepare the bitmap file (Windows BMP format, 24-bit, 800x480 pixel) that you want to use as wallpaper.
2. Using the USB Storage function, copy the bitmap file to the IMPORT folder of USB memory or the Fantom-Gs internal memory.
Exchanging Files with Your Computer (USB Storage) (p. 281)
3. Press [MENU] to access the menu.
4. Turn the VALUE dial to select System, and then press [ENTER].
5. Press [F5 (Wallpaper)].
The Wallpaper screen will appear.
Sixteen different images can be shown as the background. The imported file will overwrite the currently selected image. If you want to delete an imported file, select an image (116) and press [F2 (Delete)].
6. Press [F1 (Import BMP)].
7. Press [F1 (Internal)] or [F2 (USB Memory)] to select the import-source area (internal memory or USB memory).
8. Press or to select the file that you want to import.
9. Press [F8 (Select)].
The file you want to import will be displayed.
* To cancel, press [F7 (Cancel)].
10. Press [F8 (Execute)].
The file will be imported.
* To cancel, press [F7 (Cancel)].
The changed wallpaper setting is temporary, and will be lost when you turn off the power. If you want to keep the setting, press [F7 (Sys Write)] to write it into the Fantom-Gs system memory.
Changing the Wallpaper (Wallpaper)
Importing an Image as Wallpaper (Import)
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Here you can make display-related settings. On the Fantom-G you can turn window transparency on/off, and specify the degree of transparency.
1. Press [MENU] to access the menu.
2. Use / to choose System, and then press [ENTER].
3. Press [F6 (Appearance)].
The Appearance screen will appear.
Transparent Switch Specifies whether windows in the screen will be transparent (ON) or not (OFF).
Value: ON, OFF
Transparency Specifies the degree of transparency for windows in the screen. Higher values produce greater transparency.
Value: 1120%
Display-related Settings (Appearance)
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About V-LINK
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V-LINK ( ) is a function that allows music and images to be performed together. By using MIDI to connect two or more V- LINK compatible devices, you can easily enjoy performing a wide range of visual effects that are linked to the expressive elements of a music performance. For example, if you use the Fantom-G in conjunction with the motion dive .tokyo Performance Package, youll be able to do the following.
Use the Fantom-Gs synthesizer to produce synchronized music and video performances.
Play the Fantom-Gs keyboard, pads or sequencer to switch images on the motion dive .tokyo Performance Package.
Use the Fantom-Gs 14 knobs and D Beam controller to control the brightness or hue of an image.
In order to use V-LINK between the Fantom-G and the motion dive .tokyo Performance Package, youll need to make connections using a MIDI cable (sold separately).
As an example, we will use a setup in which the Fantom-G is connected to the motion dive .tokyo Performance Package. Use a MIDI cable to connect the Fantom-Gs MIDI OUT connector to the MIDI IN connector of the Edirol MD-P1.
To prevent malfunction or speaker damage, minimize the volume on all your equipment and turn off the power before you make connections.
fig.29-001.e
1. In the left of the panel, press [V-LINK] so the indicator is lighted.
The V-LINK setting will be on.
In this state, you can operate the Fantom-G to manipulate images in sync with your performance.
Each mode will function as usual even if V-LINK is on.
2. Press [V-LINK] again.
The V-LINK button will go out, and the V-LINK setting will be off.
1. Press [V-LINK] to access the V-LINK SETUP screen.
2. Press [CURSOR] to move the cursor to a parameter, and turn the VALUE dial or use [INC] [DEC] to set the value.
* Specify the Pad Mode by pressing [F1 (Clip)] or [F2 (Palett)].
3. If you want to keep your settings, press [F7 (Sys Write)].
4. Press [EXIT].
Youre returned to the previous screen.
What is V-LINK?
Connection Examples
Edirol motion dive .tokyo Performance Package
MIDI IN
MIDI OUT
Fantom-G
Turning the V-LINK ON/OFF
V-LINK Settings
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About V-LINK
Fantom-G_r_e.book 302
Note Tx Ch MIDI channel that will switch clips/palettes and will control dissolve time.
Value: 116
Clip 1 Note No. Pads 116 correspond to clips (or palettes). We recommend that you press [PAD SETTING] to access the Pad setting screen, and set to Note, using Quick Setup (p. 192) and set Clip1 Note No. to the same value as the Pad Base Note setting.
Value: 0(C-1)-127(G9)
Dissolve Time Control change number that controls the dissolve time (time over which the image switches)
Value: OFF, CC1, CC5, CC7, CC10, CC11, CC71-74, CC91- 93, Channel Aftertouch
Ctrl Tx Ch MIDI channel that will control the color Cb/Cr, brightness, and video effect switching
Value: 1-16
Play Speed Ctrl Range of video playback speed The three values are the playback speeds (multiples of normal speed) at the left, center, and right positions of the pitch bend.
Value: 0.0-1.0-2.0, 0.5-1.0-2.0, 0.0-1.0-4.0, 0.5-1.0-4.0, 0.0-1.0- 8.0, 0.5-1.0-8.0, 0.0-1.0-16.0, 0.5-1.0-16.0, 0.0-1.0-32.0, 0.5-1.0-32.0,0.0-2.0-4.0, 0.0-4.0-8.0, 0.0-8.0-16.0, 0.0- 16.0-32.0, -2.0-1.0-4.0, -6.0-1.0-8.0
Color Cb Ctrl Control change number that controls the Cb color of the image
Color Cr Ctrl Control change number that controls the Cr color of the image
Brightness Ctrl Control change number that controls the brightness of the image
VFX14 Ctrl Control change number that controls the video effect
Fade Ctrl Control change number that controls the output fade
Value: OFF, CC1, CC5, CC7,CC10, CC11, CC71-74, CC91- 93, Channel Aftertouch
PAD MODE Selects whether the pads will switch clips or palettes.
Value: CLIP, PALETT
Press [F1 (Clip)]: switches clips
Press [F2 (Palett)]: switches palettes
Local Sw Specifies whether the internal sound generator is disconnected (OFF) from the pads, or not (OFF).
Procedure: Press [F5 (Local Sw)].
Value: OFF, ON
Clip Filter (check boxes 1-32)
Clips that are checked can be switched. Enable/disable switching for each clip
Value: OFF, ON
Clip Reset Turn off the image (solid black).
Procedure: Press [F3 (Clip Reset)].
All Reset The effect applied to the image will be reset, and brightness, color difference, etc. will all return to the default value.
Procedure: Press [F4 (All Reset)].
V-LINK Parameters
Resetting the Image
Using the Clip Filter For example, suppose that of the rhythm set you input in the part used for V-LINK (i.e., the part of the same number as the Note Tx Channel), you want only the kick and snare to switch clips. In this case, check only the clips that correspond to the note numbers of the kick and snare. The clips will switch when the kick or snare plays.
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Installing the Expansion Board
To avoid the risk of damage to internal components that can be caused by static electricity, please carefully observe the following whenever you handle the board.
1 Before you touch the board, always first grasp a metal object (such as a water pipe), so you are sure that any static electricity you might have been carrying has been discharged.
2 When handling the board, grasp it only by its edges. Avoid touching any of the electronic components or connectors.
5 Save the bag in which the board was originally shipped, and put the board back into it whenever you need to store or transport it.
Use a Phillips screwdriver that is suitable for the size of the screw (a number 2 screwdriver). If an unsuitable screwdriver is used, the head of the screw may be stripped.
To remove a screw, rotate the screwdriver counter-clockwise. To tighten the screws, rotate the screwdriver clockwise.
When installing Expansion Boards, remove only the specified screws.
Be careful that the screws you remove do not drop into the interior of the Fantom-G.
Do not leave the bottom cover removed. After installation of the Expansion Boards is complete, be sure to replace the cover.
Be careful not to cut your hand on the opening for installing the board.
Do not touch any of the printed circuit pathways or connection terminals.
912 Never use excessive force when installing a circuit board. If it
doesnt fit properly on the first attempt, remove the board and try again.
913 When circuit board installation is complete, double-check your
work. 914
Always turn the unit off and unplug the power cord before attempting installation of the circuit board (ARX series).
915 Install only the specified circuit board(s) (ARX series). Remove
only the specified screws.
When turning the unit upside-down, get a bunch of newspapers or magazines, and place them under the four corners or at both ends to prevent damage to the buttons and controls. Also, you should try to orient the unit so no buttons or controls get damaged.
When turning the Fantom-G8 upside-down, at least two persons are required to safely lift and turn the Fantom-G8. Make sure to have a firm grip, to protect yourself from injury and the instrument from damage.
When turning the unit upside-down, handle with care to avoid dropping it, or allowing it to fall or tip over.
Install the Expansion Boards after removing the panel cover. Boards can be installed in the EXP 1EXP 2 slots.
If the slot in which an expansion board is installed differs from the slot in which the board was installed when you saved the live set or studio set (i.e., if you moved the expansion board to a different slot), it will not sound the same as when you saved the data. You must install the expansion board in the same slot it occupied when you saved the live set or studio set.
1. Before installing the Expansion Board, turn off the power of the Fantom-G and all connected devices, and disconnect all cables, including the Power cable, from the Fantom-G.
2. From the Fantom-G, remove only the screws shown in the following diagram, and detach the cover.
fig.30-002.e
3. Insert the two tabs on the instrument into the holes of the expansion board so that the connectors of the instrument and expansion board are aligned.
* Do not touch any of the printed circuit pathways or connection terminals.
4. Press in the expansion board in the direction shown by the photo.
* Never use excessive force when installing a circuit board. If it doesnt
fit properly on the first attempt, remove the board and try again.
Cautions When Installing an Expansion Board
tightenloosen
How to Install an Expansion Board
Screws to be removed Screws to be removed
Fantom-G6/G7 : bottom Fantom-G8 : bottom
Connector of the instrument
Connector of the expansion board
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5. Press firmly inward until the tabs on the instrument lock into the holes of the expansion board.
6. Use the screws that you removed in step 2 to fasten the cover back in place.
To remove an expansion board, reverse the process by which you inserted it.
1. Unlatch the Fantom-Gs tabs.
2. Slowly raise the expansion board upright.
3. Pull out the expansion board by reversing step 3 of the installation process.
4. Attach the cover by reversing step 2 of the installation process.
After youve finished installing an expansion board into the Fantom- G, you must perform the following procedure.
Youll perform this procedure only once, the first time you turn on the power after inserting an expansion board.
1. Turn on the power as described in Turning On the Power (p. 28).
2. When the Fantom-G starts up, an install confirmation screen for the newly inserted expansion board will appear. Press [F8 (Execute)] to execute the install confirmation process.
If you decide to cancel, press [F7 (Cancel)].
If the install confirmation screen does not appear when you start up for the first time, it is possible that the expansion board was not detected correctly. Reinstall the expansion board correctly.
This process will require several minutes. Never turn off the power until this process has been completed.
3. When the screen indicates that installation has been completed, turn the power off, and then on again.
This completes the installation process.
For details on using the expansion board, refer to the manual included with the expansion board.
Removing an Expansion Board
Configuring the Newly- installed Expansion Board
305
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Installation de la carte dexpansion Wave
(French Language for Canadian Safety Standard)
Un maximum de deux cartes dexpansion optionnelles (srie ARX; vendues sparment) peuvent tre installes dans le Fantom-G.
901
Veuillez suivre attentivement les instructions suivantes quand vous manipulez la carte afin dviter tout risque dendommagement des pices internes par llectricit statique.
1 Toujours toucher un objet mtallique reli la terre (comme un tuyau par exemple) avant de manipuler la carte pour vous dcharger de llectricit statique que vous auriez pu accumuler.
2 Lorsque vous manipulez la carte, la tenir par les cts. vitez de toucher aux composants ou aux connecteurs.
5 Conservez le sachet dorigine dans lequel tait la carte lors de lenvoi et remettez la carte dedans si vous devez la ranger ou la transporter.
Utilisez un tournevis de type Phillips de la taille adapte celle des vis (tournevis numro 2). Un tournevis inadquat peut endommager la tte de la vis.
Pour retirer une vis, tourner le tournevis dans le sens contraire des aiguilles dune montre. Pour serrer les vis, tourner le tournevis dans le sens des aiguilles dune montre.
Pour installer les cartes dexpansion Wave, retirer uniquement les vis mentionnes.
Assurez-vous que les vis retires ne tombent pas dans le Fantom-G. Ne pas laisser le panneau de protection avant detache. Sassurer
de lavoir rattacher apres avoir installe le disque dur. Faites attention de ne pas vous couper sur louverture
dinstallation de la carte. 911(F)
Ne pas toucher aux circuits imprims ou aux connecteurs. 912(F)
Ne jamais forcer lors de linstallation de la carte de circuits imprims. Si la carte sajuste mal au premier essai, enlevez la carte et recommencez linstallation.
913(F)
Quand linstallation de la carte de circuits imprims est termine, revrifiez si tout est bien install.
914(F)
Toujours teindre et dbrancher lappareil avant de commencer linstallation de la carte. (ARX series).
915(F)
Ninstallez que les cartes de circuits imprimes spcifies (ARX series). Enlevez seulement les vis indiques.
Lorsque vous dposez le Fantom-G face vers le bas, placez des piles de journaux ou de magazines sous les quatre coins (ou des deux cts) pour le soutenir. Ainsi, les boutons, manettes et autres pices ne seront pas endommags.
Il faut au moins deux personnes pour soulever et tourner le Fantom-G8 sens dessus-dessous de manire scuritaire. Il faut sassurer davoir une bonne prise et de tenir fermement lappareil pour viter les blessures et les dommages lappareil.
En plaant lappareil sens dessus dessous, manipulez-le avec soin pour viter de lchapper, de le laisser tomber ou de se renverser.
Retirer le panneau infrieur avant dinstaller les cartes dexpansion. Les cartes peuvent tre installes dans les fentes EXP 1 et EXP 2.
1. Avant dinstaller la carte dexpansion Wave, coupez lalimentation du Fantom-G et de tous les appareils branchs, et dbranchez tous les cbles du Fantom-G, y compris le cble dalimentation.
2. Sur les modles Fantom-G, retirer uniquement les vis illustres dans le schma ci-dessous et retirer le couvercle.
fig.30-002.f
3. Insrer les deux languettes de linstrument dans les ouvertures de la carte dexpansion de faon ce que les connecteurs de linstrument et la carte dexpansion soient aligns.
* Ne pas toucher aux circuits imprims ni aux points de terminaison des
connexions.
4. Installer la carte dexpansion en appuyant dans la direction montre sur la photo.
* Ne jamais user de force excessive pour installer une carte de circuits
imprims. Si elle ne sajuste pas adquatement au premier essai, la
retirer et essayer nouveau.
Prcautions prendre lors de linstallation dune carte dexpansion Wave
resserrerdesserrer
Installation dune carte dexpansion Wave
Vis enlever Vis enlever
Fantom-G6/G7 : Panneau infrieur Fantom-G8 : Panneau infrieur
Connecteur du Fantom-G
Connecteur de la carte d'expansion
6
Installation de la carte dexpansion Wave
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5. Appuyer fermement vers lintrieur jusqu ce que les languettes soient bloques dans les ouvertures de la carte dexpansion.
6. Remettez le couvercle en place laide des vis retires ltape 2.
Pour retirer une carte dexpansion, suivre le processus inverse du processus dinsertion.
1. Dverrouiller les languettes du Fantom-G.
2. Soulever lentement la carte dexpansion sans lincliner.
3. Retirer la carte dexpansion en inversant ltape 3 du processus dinstallation.
4. Fixer le couvercle en inversant ltape 2 du processus dinstallation.
Une fois linstallation de la carte dexpansion dans le Fantom-G termine, il faut procder comme suit.
Cette procdure ne doit tre faite quune seule fois, soit lorsque lappareil est mis sous tension aprs linsertion dune carte dexpansion.
1. Mettre lappareil sous tension de la faon dcrite la rubrique Turning On the Power (p. 28).
2. Au dmarrage du Fantom-G, un message saffichera pour confirmer la prsence de la carte dexpansion installe rcemment. Appuyer sur [F8(Excuter)] pour excuter le processus de confirmation.
Pour annuler la procdure, appuyez sur [F7(Annuler)].
Si lcran de confirmation ne saffiche pas lors du premier dmarrage aprs linstallation de la carte dexpansion, il est possible quelle ne soit pas dtecte correctement. Rinstaller alors la carte dexpansion correctement.
Ce processus exige plusieurs minutes. Ne jamais couper lalimentation avant que le processus de confirmation ne soit termin.
3. Quand lcran indique que linstallation est termine, mettre lappareil hors tension, et le remettre sous tension.
Cela met fin au processus dinstallation.
Pour des renseignements dtaills sur lutilisation de la carte dexpansion, se reporter au manuel qui laccompagne.
Retrait dune carte dexpansion
Configuration de la carte dexpansion installe
307
30
Fantom-G_r_e.book 308
Expanding the DIMM Memory
d
The Fantom-G comes with 32 MB of memory into which audio samples can be loaded. However, in some cases, 32 MB of memory will be insufficient for loading large amounts of data. In such a case, you will have to add separately sold memory (DIMM). Memory can be expanded up to 128/256/512 MB.
Specifications of the expansion memory (DIMM) that can be used
Supports PC133, CL=2/3, 128 MB, 256 MB, 512 MB (3.3 V)
Number of pins: 168-pin
Board height: 40 mm or less
The Fantom-G has been confirmed to work with standard memory that meets the above specifications. However, we cannot guarantee that all memory of these specifications will work correctly. Please be aware that even with identical specifications, differences in the design of the memory module or the conditions of use may mean that a memory module may not be usable.
901 Always turn the unit off and unplug the power cord before attempting installation of the memory DIMM board.
To avoid the risk of damage to internal components that can be caused by static electricity, please carefully observe the following whenever you handle the board.
1 Before you touch the board, always first grasp a metal object (such as a water pipe), so you are sure that any static electricity you might have been carrying has been discharged.
2 When handling the board, grasp it only by its edges. Avoid touching any of the electronic components or connectors.
5 Save the bag in which the board was originally shipped, and put the board back into it whenever you need to store or transport it.
Use a Phillips screwdriver that is suitable for the size of the screw (a number 2 screwdriver). If an unsuitable screwdriver is used, the head of the screw may be stripped.
To remove a screw, rotate the screwdriver counter-clockwise. To tighten the screws, rotate the screwdriver clockwise.
Be careful that the screws you remove do not drop into the interior of the Fantom-G.
Be careful not to cut your hand on the edge of the cover or the opening edge while removing the cover.
Do not touch any of the printed circuit pathways or connection terminals.
Never use excessive force when installing a circuit board. If it doesnt fit properly on the first attempt, remove the board and try again.
When circuit board installation is complete, double-check your work.
Install only the specified memory DIMM board. Remove only the specified screws.
When turning the unit upside-down, get a bunch of newspapers or magazines, and place them under the four corners or at both ends to prevent damage to the buttons and controls. Also, you should try to orient the unit so no buttons or controls get damaged.
When turning the Fantom-G8 upside-down, at least two persons are required to safely lift and turn the Fantom-G8. Make sure to have a firm grip, to protect yourself from injury and the instrument from damage.
When turning the unit upside-down, handle with care to avoid dropping it, or allowing it to fall or tip over.
Do not leave the bottom cover removed. After installation of the memory module is complete, be sure to replace the cover.
Install the memory module after removing the bottom panel cover.
1. Before expanding the memory, turn off the power of the Fantom-G and all connected devices, and disconnect all cables, including the Power cord, from the Fantom-G.
2. From the Fantom-G, remove only the screws shown in the following diagram, and detach the cover.
fig.30-002.e
fig.30-003.e1 2
3. Press outward on the white clips at either end of the socket so they are in their downward position.
fig.31-003
Precautions for Expanding Memory
tightenloosen
How to Expand the Memory
Screws to be removed Screws to be remove
Fantom-G6/G7 : bottom Fantom-G8 : bottom
8
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4. Paying attention to the location of the notches on the memory module and the correct orientation, insert the module vertically within the guides at either side of the socket.
fig.31-004
If you have difficulty inserting the memory module, try tilting it a bit and inserting one end at a time.
5. Move the white clips upward, and press them until the memory module is locked in place.
fig.31-005
6. Use the screws that you removed in step 2 to fasten the cover back in place.
To remove the memory module, reverse the installation procedure.
1. Simultaneously press outward the white clips located at either end of the socket.
fig.31-006
2. Remove the memory module from the socket.
1. Turn on the power, as described in Turning On the Power (p. 28).
2. Press [MENU] to open the Menu window.
3. Press or to select System, and then press [ENTER].
4. Press [ENTER].
5. Press [F4 (Info)].
6. Press [F1 (Up)] or [F2 (Down)] to select Memory Info.
Verify that the screen correctly shows the amount of memory you installed.
7. Press [EXIT] to exit the System screen.
* If the correct amount of memory is not shown, it is possible that the
memory is not being recognized properly. Turn off the power as
described in Turning Off the Power (p. 28), and re-install the
memory correctly.
Removing the Memory
Checking that Memory is Installed Correctly
309
31
Fantom-G_r_e.book 310
Ajouter de la mmoire
Avant dajouter de la mmoire, consulter le dtaillant, le centre de service Roland le plus proche ou un distributeur autoris Roland.
Spcifications des modules de mmoire (DIMM) qui peuvent tre utiliss
PC133, CL=2/3, 128 MB, 256 MB, 512 MB (3.3 V)
Nombre de broches:168-pin
Hauteur de la carte:40 mm ou moins
Il a t confirm que le Fantom-G fonctionne avec la mmoire standard possdant les spcifications ci-dessus. Nous ne pouvons toutefois pas certifier que toutes les mmoires possdant ces spcifications fonctionneront correctement. Il faut se rappeler que mme si les spcifications sont identiques, des diffrences dans la conception du module de mmoire ou les conditions dutilisation peuvent faire en sorte quil nest pas possible dutiliser le module de mmoire.
901 (F)
Veuillez suivre attentivement les instructions suivantes quand vous manipulez la carte afin dviter tout risque dendommagement des pices internes par llectricit statique.
1 Toujours toucher un objet mtallique reli la terre (comme un tuyau par exemple) avant de manipuler la carte pour vous dcharger de llectricit statique que vous auriez pu accumuler.
2 Lorsque vous manipulez la carte, la tenir par les cts. vitez de toucher aux composants ou aux connecteurs.
5 Conservez le sachet dorigine dans lequel tait la carte lors de lenvoi et remettez la carte dedans si vous devez la ranger ou la transporter.
Utilisez un tournevis de type Phillips de la taille adapte celle des vis (tournevis numro 2). Un tournevis inadquat peut endommager la tte de la vis.
Pour retirer une vis, tourner le tournevis dans le sens contraire des aiguilles dune montre. Pour serrer les vis, tourner le tournevis dans le sens des aiguilles dune montre.
Assurez-vous que les vis que vous retirez ne tombent pas lintrieur du Fantom-G.
Faites attention de ne pas vous couper sur le bord du couvercle ou de louverture lorsque vous retirez le couvercle.
911(F) Ne pas toucher aux circuits imprims ou aux connecteurs. 912(F) Ne jamais forcer lors de linstallation de la carte de circuits
imprims. Si la carte sajuste mal au premier essai, enlevez la carte et recommencez linstallation.
913(F)
Quand linstallation de la carte de circuits imprims est termine, revrifiez si tout est bien install.
914(F-Modified) Avant de procder linstallation dun module DIMM, il faut toujours mettre lunit hors tension et dbrancher le cble dalimentation.
915(F-Modified) Installez uniquement le module DIMM spcifi. Retirez uniquement les vis spcifies.
928(F) Lorsque vous dposez le Fantom-G face vers le bas, placez des piles de journaux ou de magazines sous les quatre coins (ou des deux cts) pour le soutenir. Ainsi, les boutons, manettes et autres pices ne seront pas endommags.
Il faut au moins deux personnes pour soulever et tourner le Fantom-G8 sens dessus-dessous de manire scuritaire. Il faut sassurer davoir une bonne prise et de tenir fermement lappareil pour viter les blessures et les dommages lappareil.
929(F) En plaant lappareil sens dessus dessous, manipulez-le avec soin pour viter de lchapper, de le laisser tomber ou de se renverser.
Une fois linstallation du module termine, remettez le couvercle en place.
Installez le module de mmoire aprs avoir retir le couvercle infrieur.
1. Avant dinstaller la mmoire additionnelle, mettez hors tension le Fantom-G et tous les priphriques connects et dbranchez tous les cbles, y compris le cble dalimentation du Fantom-G.
2. Sur les modles Fantom-G, retirer uniquement les vis illustres dans le schma ci-dessous et retirer le couvercle.
fig.30-002.f
Prcautions prendre lors de lajout de mmoire
resserrerdesserrer
Installation du module de mmoire
Vis enlever Vis enlever
Fantom-G6/G7 : Panneau infrieur Fantom-G8 : Panneau infrieur
0
Ajouter de la mmoire
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3. Appuyez sur les clips blancs lextrmit de la prise qui devraient tre orients vers le bas.
fig.31-003
4. Prenez bien note de lemplacement et de lorientation de lencoche du module de mmoire et insrez-le verticalement lintrieur des guides qui se trouvent de chaque ct de la prise.
fig.31-004
* Si vous prouvez de la difficult insrer le module de mmoire,
inclinez-le lgrement et insrez une extrmit la fois.
5. Ramenez les clips blancs vers le haut et appuyez dessus jusqu ce que le module de mmoire soit verrouill en place.
fig.31-005
6. laide des vis retires ltape 2, remettez le couvercle en place.
Pour retirer le module de mmoire, procdez linverse de la procdure dinstallation.
1. Appuyez simultanment, vers lextrieur, sur les clips blancs situs aux extrmits de la prise.
fig.31-006
2. Retirez le module de mmoire de la prise.
Retrait du module de mmoire
311
31
Fantom-G_r_e.book 312
Troubleshooting
* If any sort of message is being displayed on the screen during an
operation, refer to Error Messages (p. 318).
The power does not turn on.
Make sure that the Fantom-Gs AC cord is connected correctly
to its power inlet and to the AC outlet (p. 25).
Turning the VOLUME knob doesnt change the volume.
If youre using the DIGITAL OUT, the VOLUME knob will not
change the volume. Adjust the Master Level (p. 293).
There is no sound.
Check the following points.
Is the power for connected amps and speakers turned on? Is the volume turned all the way down?
Is the VOLUME knob turned all the way down?
Have connections been made correctly?
Can you hear sound through headphones?
If there is sound in the headphones, it is possible that the connection cables are broken, or that your amp/mixer has malfunctioned. Check your cables and amp/mixer system once again.
If you do not hear sound when you play the keyboard, check whether the Local Switch is turned OFF.
Make sure that the Local Switch parameter is turned on (p. 293).
Have all tones in the patch been turned off?
Turn the Tone Switch on From the Single Play screen, press [F8 (Tone Sw/Sel)].
Could the current part be set to External Part (external MIDI output)?
The Part level settings may be too low.
Access the Level parameter, and check the level of each part (p. 134).
Are the Effect settings correct?
Check the Effect settings ON or OFF, the Effect Balance or Level. (p. 150).
Are the settings for the output destination correct?
Check the various output assign settings (p. 136).
Is the Expansion Board properly installed?
When selecting the settings that stipulate the use of EXP 1, 2 sound, check that the specified Expansion Board is installed properly in the specified slot (p. 304, p. 306).
Has the volume been lowered by pedal operations or by MIDI messages (volume messages or expression messages) received
from an external MIDI device?
Could the Favorite Level be set to 0? (p. 54)
In the case of Live/Studio mode, the value of volume messages (Volume) and expression messages (Expression) can be viewed in the Part Information window (p. 132).
Have the samples been loaded correctly? (p. 264)
A specific Part does not sound...
Check the following points.
Has the volume level of the part been lowered?
Adjust the Level parameter to raise the volume of the part that is not heard (p. 134).
Is the part being muted?
Set the Mute Switch parameter to OFF (p. 134).
Specific pitch ranges do not sound...
Has a restricted range of notes been set?
If a specific range of notes does not sound, check the Key Range settings for the Patch Tone, the Live/Studio Set Part.
Tone Key Range
Key Range Lower/Upper parameter (p. 94)
Part Key Range
Key Range Lower/Upper parameter (p. 135)
The sound is distorted.
Check the following points.
Is an effect which distorts the sound being applied?
If the sound for a specific patch or part is distorted, lower the volume level on that part.
If all sounds are distorted, use the VOLUME knob to lower the volume level.
Could the Output Gain be excessively high?
In System, check the Sound parameter.
Pitch is incorrect.
Check the following points.
Is the tuning of the Fantom-G incorrect?
Check the Master Tune parameter setting (p. 293).
Has the pitch been changed by pedal operations or by Pitch Bend messages received from an external MIDI device?
In the case of Live/Studio mode, the value of Pitch Bend messages (Pitch Bend) can be viewed in the Part Information window (p. 132).
Have the Coarse Tune or Fine Tune parameters been set for specific Parts?
Check the Coarse Tune parameter and Fine Tune parameter settings (p. 137).
Check the Scale Tune setting.
(System Setting: p. 296, Part Setting: p. 138)
The sound is interrupted.
Problems Concerning the Entire Fantom-G
Issues Related to Sound
2
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Sounds will be interrupted if more than 128 voices are used
simultaneously.
Reduce the number of Tones that you are using.
Increase the Voice Reserve setting for parts that must not drop out. (p. 141)
When I play the keyboard, notes do not stop.
Is the pedal polarity of the Hold Pedal reversed?
Check the Hold Pedal Polarity parameter setting (p. 287).
When I press a pad, the sound does not stop sounding.
Could the [HOLD] pad be lit?
Press the [HOLD] pad once again so the light goes out.
The sound is interrupted when I switch studio sets in Studio
mode.
The Fantom-G can use multi-effects to apply a wide variety of
effects, and when you switch studio sets, the multi-effect type specified by the patch will also change. In Studio mode, the sound may be interrupted when this occurs. If you want to switch sounds without interruption while you perform, please use Live mode or Single mode.
The sound is interrupted when I switch patches in Single mode
or Live mode.
If you turn the Patch Remain parameter (p. 294) ON, youll be
able to switch patches without interrupting the sound. However, this function applies only to the most recently selected sound; notes of a sound selected prior to that will be interrupted.
When switching Patches in Single mode, the volume and other
parameters set with Control Changes end up being reset.
Set Control Remain parameter (p. 294) to ON. Even once they
have switched Patches, Control Change messages that have been received are carried forward, so even when switching a Patch whose level is turned all the way down by a Control Change volume message, the level remains unchanged.
If the Tone Delay time value is set to the note, then does the
delay time not change beyond a fixed length when the tempo is slowed down?
There is a maximum permissible value for the Delay Time
parameter (p. 103). So, if the time setting is specified in terms of a note value, and the tempo is slowed down, this maximum permissible value will be reached, and it cannot be increased further. The upper time limit for each is the maximum value that can be set other than the numerical value for the beat.
Even when I set the Pan for a Patch completely to one side,
sound still comes from the other channel...
The Fantom-Gs internal effects are in stereo, so if you have
effects applied to a Patch, even if the Pan is set all the way to one side, you will still be able to hear sounds of the effect component from the other channel.
Sometimes, when playing legato, the pitch wont rise. Why is
this?
When the Legato Switch parameter (p. 105) is ON, and the
Legato Retrigger parameter (p. 105) is OFF, and you hold down keys in the high register to play legato, the upper pitch limit of the wave may be exceeded, so that the pitch does not rise as far as you expect, but will stop rising at a certain point. Additionally, if differing upper pitch limits are used for the waves of a Patch that uses multiple tones, it may stop being heard in MONO. When making large pitch changes, set the Legato Retrigger parameter to ON.
The notes sound strange in the upper registers of the keyboard.
Sometimes when playing the keys in the upper part of the
Fantom-Gs keyboard, the sound may stop, or the pitch may stop rising; or with certain keys, there may be intermittent noise. This occurs mainly when the Fantom-Gs upper pitch limit is exceeded, so this issue doesnt arise in the ranges normally used. But, in any case, it does not indicate a malfunction.
The same patch sounds different depending on the sound
generator mode.
In Live/Studio mode, the parameters of each part of the Live/
Studio Set can apply further modification to parameters such as pan, octave, and filter, relative to the settings specified by the patch. Thus, Patches in a Live/Studio Set may sound different than they do when heard in Single mode. To return these settings to their initial conditions, select the Patch after execute Factory Reset Temporary for the Live/Studio Set. (p. 280)
The volume level of the instrument connected to Fantom-G is
too low.
Check the following points.
Could you be using a connection cable that contains a resistor? Use a connection cable that does not contain a resistor.
Check the Input Setting (p. 258).
313
Troubleshooting
Fantom-G_r_e.book 314
Effects not applied.
Check the following points.
The PFX,MFX1,MFX2, CHO, REV or MASTER effect switches located in the upper part of the PLAY screen may have been turned off.
Press [EFFECTS (ROUTING)] to turn them on.
Are the various effect settings correct? (p. 150)
If the send level of each effect is set to 0, the effect will not be applied. Check the settings.
Even with send levels to each effect set at 0, effects are not applied if the Multi-effects Output Level, the Chorus Level, or the Reverb Level is set to 0. Check each setting.
If Output Assign is set to other than MFX, the Multi-effects sound will not be output.
Could the system parameter Master Reverb Level be set to 0?
The Modulation or other controller is always on.
Check the Matrix Controller settings. (p. 109)
The Fantom-G allows you to use the Matrix Control to control Patches in real time. The Matrix Control functions as the control source for the Control Change and other MIDI messages received by the Fantom-G, and makes changes to the various Patch parameters based on these messages.
Depending on these settings, the Fantom-G may be responding to MIDI messages sent from external MIDI devices, and may result the Patches sounding different than intended.
Raising the chorus or reverb send level for each part of a Live/
Studio Set still does not cause the effect to be applied sufficiently.
Although you can make Send level settings to the Chorus and
Reverb for each individual Part in a Live/Studio Set, these values only set the upper limit of the Chorus and Reverb Send levels for the Patch used. Accordingly, even when the value is set to the maximum of 127, if the Send level is lowered in the Patch being used, there will be no effect. If you want to apply the effect deeply, edit the settings of the patch.
Using the Matrix Control or other such means to control the
LFO results in noise when the Pan is changed suddenly.
Lower the change in speed (LFO Rate).
Due to the specialized processing used for the Pan, which alters the volume level in each of the left and right sides, sudden Pan movements causing rapid changes in these levels creates large changes in volume, and noise from this may be audible as a result.
Multi-effect 43: TAP DELAY or other delay time value is set to the note, and then the tempo is slowed down, does the delay time not change beyond a fixed length?
Such Delay time settings have an upper limit, so if the upper
limit of a value set to the note is exceeded when the tempo is retarded, that upper value cannot rise any further. The upper time limit for each is the maximum value that can be set other than the numerical value for the beat.
The Live/Studio Set sounds different than when it was written.
Check the following points.
If you have modified the settings of a patch used by a Live/ Studio Set, or if the temporary patch of the Live/Studio Set has been modified by an external MIDI device, these patches must also be saved.
If patches used by a Live/Studio Set have been edited when you write that Live/Studio Set, the Fantom-G will display a message asking whether you want to discard these patches. In such cases, first save the patch (p. 88) or rhythm set (p. 116), and then save the Live/Studio Set (p. 148) again.
The Mastering Effect settings may have changed. (These settings are not stored as part of a Live set.)
The MFX settings may have changed. (These settings are not stored as part of a Live set.)
An expansion board sound seems different from when I saved
(wrote) it.
If the expansion board is inserted in a different slot than when
you saved the live set or studio set, it will not sound with the settings of when it was saved. You must insert the expansion board in the same slot as when you saved the live set or studio set.
Patches sound different than when written.
Check the following points.
If you used control changes from an external MIDI device to modify the sound, writing the sound will not save it in its modified state.
The Mastering Effect settings may have changed. (These settings are not stored as part of a patch.)
The Arpeggio and D Beam controller settings in the Live/
Studio Mode are different than those for the Live/Studio Set.
Since the Fantom-G stores arpeggio and D Beam controller
settings for each Live/Studio Set, it will operate according to the arpeggio and D Beam controller settings that were specified for each Live/Studio Set.
Issues Related to Effects
Issues Related to Saving Data
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Standard MIDI files (SMF) a does not play back correctly.
Check the following points.
Has the Receive General MIDI/General MIDI 2 System On Switch been turned ON?
Set the Rx GM System ON/Rx GM2 System ON parameter (SYSTEM/MIDI) to ON (p. 295).
Are you trying to start playback from midway through the song?
The beginning of a GM score song contains a General MIDI/ General MIDI 2 System On message. In some cases, a GM Score cannot be played back correctly unless this message is received.
Are you trying to play song data designed for the GS Format?
Data created exclusively for the Sound Canvas Series may not play back properly on the Fantom-G.
After recording, the song does not sound when I play it back.
Have the tracks been muted?
Defeat muting (p. 134).
The tempo is different than the last time I played back the song.
If a song is played back after the tempo is changed, then the
new tempo is not saved unless the song is saved to the user memory or USB memory. Conversely, the previous tempo will be erased when you save the song. When saving songs, carefully check the current tempo.
Sound Device Tones Are Switched Arbitrarily.
Use the Microscope (p. 250) to check the following points.
Has an unneeded program change been input?
Were any mistakes made in setting the data MIDI channels when Program Change messages were input?
Data supposed to be present does not appear in microscope.
Check the following points.
In View Select (p. 252), is any data set not to be displayed?
After using a MIDI sequencer to play a song, sounds stopped
playing, and no sound is played even when Program Changes are sent.
It could be that a Bank Select in the song data that is not
specified by the Fantom-G was encountered in the song. No sound is played if the tone group is not one designated by the Fantom-G with Bank Select MSB/LSB. Note that if you omit the Bank Select, and send only the Program Change, the tone in the currently selected group that has the specified Program Change number will play. Try resettling the tone using the panel controls. Furthermore, when selecting tones from an external MIDI device, be sure to send the Bank Select MSB/LSB and the Program Change as a single set for reliable reproduction. First sending the MSB and LSB (the order in which these are sent does not matter), followed by the Program Change.
In some cases, you may be unable to hear any sound after playing the last song that was faded-out. This may be because the volume has been lowered by volume messages or expression messages. Check the value of these messages, and set them to appropriate values.
Performances are sluggish, or have interruptions.
Problems of sluggish and interrupted performances can crop up
very easily when the sequencer or sound generator used for the performance has to handle heavy data loads.
Main causes and possible corrective measures are considered below.
Are more than 128 voices playing simultaneously?
Reduce the number of voices. With certain sounds like continuous sounds with long releases, even though the actual sound may not be audible to you, processing for playing the sound is still underway, so in these cases as well, the performance data can differ from the actual number of voices being played.
In the Part Information window you can check the number of notes for which sound is actually being processed (p. 132).
Are you using a Patch that uses a lot of LFO?
Try changing to a different Patch. LFO processing invariably places a big load on the machine, so heavy use of the LFO slows down processing for the Fantom-G overall, which can end up having affecting the expression of sounds themselves.
Is the data concentrated at the beginning of the beats in the sequence data?
Avoid overlapping data with the same timing by setting an offset of 12 tick instead. Data may easily become concentrated at the beginning of the beats in the song data when, for example, the song data is input using Step Recording, or if the data is quantized after being input with a keyboard in real time. Because of this, large amounts of data are sent to the Fantom-G, and the processing for expressing sounds becomes bogged down.
Issues Related to Sequencer
315
Troubleshooting
Fantom-G_r_e.book 316
Is there a Program Change at the point where the song performance is sluggish?
Change the position of the Program Change. When Program Changes are inserted in songs, processing time for switching patches increases, which may then cause the performance to become sluggish.
Is there a System Exclusive message at the point where the song performance is sluggish?
Move the location of the data. System Exclusive messages contain large amounts of data, thus placing a heavy burden on sequencers and sound modules. Try repositioning data and changing System Exclusive messages to Control Changes for any data for which Control Changes can be substituted.
Is there an Aftertouch or other such large Control Change at the point where the song performance is sluggish?
If the data is no longer needed, delete the data. In some cases, when using a keyboard that features aftertouch to input data, you may end up inputting huge amounts of data before realizing this is happening. Such large amounts of data can place an excessive load on your sequencer and sound module.
You can use the Phrase Modify operation Data Thin (p. 248) to thin out unwanted messages.
No Sound from connected MIDI device.
Check the following points.
In Live/Studio Mode
KBD switch (p. 61, p. 69)
* Could the Keyboard Switch be turned off for the external part that is
transmitting data to your external MIDI device? (p. 135)
Exclusive messages are not received.
Check the following points.
Is the instrument set to receive Exclusive messages?
Set the Rx Exclusive parameter to ON (p. 295).
Does the Device ID number of the transmitting device match the Device ID number of the Fantom-G?
Check the Device ID parameter (p. 295).
I connected an external sequencer or MIDI keyboard to the
MIDI IN connector, and attempted to play a Fantom-G rhythm set, but there was no sound. Why?
Check to make sure that the MIDI Transmit channel of the
external MIDI device and the Fantom-Gs MIDI Receive channel are matched.
When the Bend Range for a Patch is increased (48), the pitch
does not rise sufficiently, even when a MIDI Pitch Bend message is received.
While Patch Bend Ranges can be set anywhere between 0 and
48, when certain Waves in which the pitch is raised (in the + direction) are used, the pitch may stop rising at a fixed point, rather than continuing to go up. Although a value of 12 is ensured for the upper limit of raised pitches, use caution when setting the Bend Range above this figure.
External input sound cannot be heard/volume is too low.
Check the following points.
Could [MIX IN] be unlit?
Press [MIX IN] so it is lit.
The level of the external input may be lowered.
When you sample, use the EXT SOURCE VOLUME knob to adjust the level appropriately.
Hold down [SHIFT] and press [MIX IN] to access the Input Setting screen, and check the Level settings.
The volume of the device connected to AUDIO INPUT may be lowered.
Adjust it to an appropriate level.
Are the audio cables connected correctly?
Check the connections.
An audio cable may be broken.
Could you be using an audio cable with a built-in resistor?
Use a connection cable that does not contain a resistor (e.g., Roland PCS series).
External input sound is not stereo/is not monaural.
Check the following points.
Stereo Switch parameter (p. 260) may be set to monaural.
Hold down [SHIFT] and press [MIX IN] to access the Input Setting screen. Could the Input Select parameter be set to LINE IN L, or Microphone?
Mic sound is not output/is too weak.
Check the following points.
Is the mic cable connected correctly?
Check the connection.
The mic cable may be broken.
The input source may be set to something other than mic.
Hold down [SHIFT] and press [MIX IN] to access the Input Setting screen, and set Input Select to Microphone.
The mic level may have been lowered.
When sampling, use the EXT SOURCE LEVEL knob to adjust the level appropriately.
Issues Related to MIDI and External Devices
Issues Related to Sampling
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Could you have connected a condenser mic?
If youre using a condenser mic, youll need to provide phantom power.
Turn the MIC/GUITAR switch PHANTOM ON. (p. 24)
Could the MIC/GUITAR switch be in a position GUITAR?
Set the INPUT gain select switch to PHANTOM ON or PHANTOM OFF. (p. 24)
Cant record a sample.
Check the following points.
Is there enough memory capacity?
If there is insufficient sample memory, a message of Sample Memory Full! will appear when you attempt to sample. (p. 264)
Erase unneeded samples to increase the amount of free space.
If there is still not enough, install additional memory (DIMM modules). (p. 308, p. 310)
Sampled sound contains excessive noise or distortion.
Check the following points.
Is the input level appropriate? If the input level is too high, the sampled sound will be distorted. If it is too low, noise will be heard. When sampling, turn the LEVEL knob in the Sampling Standby screen (p. 260) to adjust the level while watching the level meter displayed in the upper part of the display. Adjust the level so that the CLIP indication in the upper right of the display does not appear.
Are the effect settings appropriate?
Some types of effect may increase the level louder than the original sample, or may intentionally distort the sound. Some effects will also cause noise to be emphasized.
Temporarily turn off effects, and check whether the sample itself contains noise or distortion. Then adjust the effect settings appropriately.
Are multiple samples being played simultaneously?
Even if the level of each individual sample is appropriate, simultaneously playing multiple samples may cause the overall level to be excessively high, causing distortion. Lower the level of each sample so that the sound is not distorted.
Cant save sampled data.
Check the following points.
It may be that there is insufficient space in internal memory or USB memory.
USB memory is not detected.
The files are not shown.
Check the format of your USB memory. (p. 280)
The Fantom-G can use USB memory that has been formatted as FAT.
If your USB memory was formatted using any other method, please re-format it using FAT.
Cant save to USB memory.
Check the following points.
Could the USB memory be write protected?
Is there sufficient free space on the USB memory?
The Fantom-G is not recognized by my computer.
You must connect the Fantom-G to a computer whose USB port
supports USB 2.0 Hi-Speed connections.
Issues Related to a USB memory
Issues Related to a USB connection
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Error Messages
Message Meaning Action USB Memory Not Ready! USB memory is not connected. Connect USB memory. Read Error! Failed to load data from USB memory. Make sure that USB memory is correctly connected.
It may be that the file is damaged. Do not use this file. This file cannot be loaded since its format is incorrect. Do not use this file.
Write Error! Failed to write data to USB memory. Make sure that USB memory is correctly connected. Data cannot be written because the USB memory has no more free space.
Delete unneeded files from the USB memory. Alternatively, use a different USB memory device, one that has more free space available.
The file or the USB memory itself is write protected. Make sure that the file or the USB memory is not write pro- tected.
System Memory Damaged! It is possible that the contents of system memory have been dam- aged.
Please execute a Factory Reset. If this does not resolve the problem, contact your dealer or a nearby Roland service center.
File Not Found! The file was not found in USB memory. Save the file once again in USB memory. MIDI Buffer Full! An unusually large amount of MIDI data was received, and
could not be processed. Reduce the amount of MIDI messages that are being trans- mitted.
MIDI Offline! The MIDI IN connection was broken. Check that there is no problem with the MIDI cable con- nected to the Fantom-Gs MIDI IN, and that the MIDI cable was not disconnected.
USB Offline! The USB cable is not connected. Check that there is no problem with the USB cable connect- ed to the Fantom-G, and that the USB cable was not discon- nected.
Data not found The data for placement is not specified. Empty Sample! The sample contains no data. Select a sample that contains data. Empty Song! The song has not been recorded, and therefore cannot be played. Select a song that contains data. File Name Duplicate A file with the same name already exists. Delete the file bearing the same name from the disk, and if
overwriting and saving the data, merely save the file. If you do not want to delete the file with the same name from the disk, either save the file with a different name.
Illegal File! The Fantom-G cannot use this file. Memory Damaged! The contents of memory may have been damaged. Please perform the Factory Reset operation.
If this does not resolve the problem, please contact your dealer or the nearest Roland Service Center.
Memory Full! Saving is not possible because there is insufficient space in the internal memory or USB memory.
Delete unneeded data.
No More Sample Numbers! The sample cannot be divided any further. Erase unneeded samples in order to allocate 256 or more consecutive sample numbers.Since fewer than 256 consecutive sample numbers are vacant, no
further sampling is possible. No More Song Numbers! No more songs can be saved. One project can handle a maximum
of fifty songs. Please delete unneeded songs.
No More Phrase Numbers! No more phrases can be saved. One project can handle a maxi- mum of 2,000 phrases.
Please delete unneeded phrases.
Now Playing! Since the Fantom-G is playing, this operation cannot be execut- ed.
Stop playback before you execute the operation.
Permission Denied! The file is protected. Playback Tempo Range Over Tempo values exceed the allowable limit, and data is created in
which the closest time available within the allowable range is specified.
Recording Parameter Error You are attempting to begin recording after a looped segment. You are attempting to begin recording within or before a looped segment.
Rec Over Flow Since a large amount of recorded data was input all at once, it could not be processed correctly.
Reduce the amount of recorded data.
Sample Length Too Short! The sample is too short, and cannot be edited correctly. If the sample is extremely short, editing may not produce the desired result.
Rec Length Too Short! The recording length is too short. Lengthen the duration of the recording. Sample Memory Full! Since there is insufficient sample memory, no further sampling
or sample editing is possible. Erase unneeded samples.
Song Format Error This song is damaged. This song cannot be used. Song Full Since the maximum number of notes that can be recorded in a
song or phrase has been exceeded, no further recording/editing is possible.
Use the phrase edit Delete or Erase commands to remove unneeded data from the song/phrase that you are record- ing/editing.
Song Not Found The selected song cannot be found. You Cannot Erase This Message This message cannot be erased. You Cannot Move This Message This message cannot be moved.
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About MIDI
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MIDI (Musical Instruments Digital Interface) is a standard specification that allows musical data to be exchanged between electronic musical instruments and computers. MIDI With a MIDI cable connecting MIDI devices that are equipped with MIDI connectors, you can play multiple instruments with a single keyboard, have multiple MIDI instruments perform in ensemble, program the settings to change automatically to match the performance as the song progresses, and more.
If you mainly use the Fantom-G as a standalone keyboard instrument, you may really not need to know much at all about MIDI.
However, the following MIDI-related information is provided so you can play the Fantom-G using an external MIDI device, or master other advanced techniques.
About MIDI Connectors The Fantom-G is equipped with the three types of MIDI connectors, each which works differently. fig.33-003
MIDI IN Connector This connector receives MIDI messages that are transmitted from external MIDI devices. The Fantom-G can receive these messages to play notes or select sounds, etc.
MIDI OUT Connector This connector transmits MIDI messages to external MIDI devices. The Fantom-Gs MIDI OUT connector is used for sending the performance data of the keyboard controller section as well as data used for saving various settings and patterns.
MIDI THRU Connector MIDI messages received at MIDI IN are re-transmitted without change from this connector to an external MIDI device. Use this in situations such as when you use multiple MIDI devices simultaneously.
MIDI Channels and Multi-timbral Sound Generators MIDI transmits many types of data over a single MIDI cable. This is made possible by the concept of MIDI channels. MIDI channels allow messages intended for a given instrument to be distinguished from messages intended for another instrument. In some ways, MIDI channels are similar to television channels. By changing the channel on a television set, you can view the programs that are being broadcast by different stations. In the same way, MIDI also allows a device to select the information intended for that device out of the variety of information that is being transmitted to it.
fig.33-004.e
MIDI uses sixteen channels; 1 through 16. Set the receiving device so that it will receive only the channel that it needs to receive.
Example:
Set the Fantom-G to send Channel 1 and Channel 2, then set sound module A to receive only Channel 1 and sound module B only Channel 2. With this setup, you can get an ensemble performance, with, for example, a guitar sound from sound module A and bass from sound module B. fig.33-005.e
When used as a sound module, the Fantom-G can receive on up to sixteen MIDI channels. Sound modules like the Fantom-G which can receive multiple MIDI channels simultaneously to play different sounds on each channel are called multi-timbral sound modules.
The cable from the antenna carries the TV signals from many broadcast stations.
The TV is set to the channel of the station you wish to watch.
Station B
Station A
Station C
MIDI OUT MIDI IN MIDI THRU
MIDI IN
Receive channel: 1
Receive channel: 2
Sound Module
A
Sound Module
B
Transmit channel: 1, 2
MIDI keyboard
General MIDI General MIDI is a set of recommendations which seeks to provide a way to go beyond the limitations of proprietary designs, and standardize the MIDI capabilities of sound generating devices. Sound generating devices and music files that meet the General MIDI standard bear the General MIDI
logo ( ). Music files bearing the General MIDI logo can be
played back using any General MIDI sound generating unit to produce essentially the same musical performance.
General MIDI 2 The upwardly compatible General MIDI 2 ( )
recommendations pick up where the original General MIDI left off, offering enhanced expressive capabilities, and even greater compatibility. Issues that were not covered by the original General MIDI recommendations, such as how sounds are to be edited, and how effects should be handled, have now been precisely defined. Moreover, the available sounds have been expanded. General MIDI 2 compliant sound generators are capable of reliably playing back music files that carry either the General MIDI or General MIDI 2 logo.
In some cases, the conventional form of General MIDI, which does not include the new enhancements, is referred to as General MIDI 1 as a way of distinguishing it from General MIDI 2.
319
320
Function...
Basic Channel
Mode
Note Number :
Velocity
After Touch
Pitch Bend
Control Change
Program Change
System Exclusive
System Common
System Real Time
Aux Messages
Notes
Transmitted Recognized Remarks
Default Changed
Default Messages Altered
True Voice
Note On Note Off
Keys Channels
0, 32 1 5
6, 38 7
10 11 64 65 66 67 68 71 72 73 74 75 76 77 78 80 81 82 83 84 91 93
131, 3395 96, 97 98, 99
100, 101 102119
: True Number
: Song Position : Song Select : Tune Request
: Clock : Commands
: All Sound Off : Reset All Controllers : Local On/Off : All Notes Off : Active Sensing : System Reset
116 116
Mode 3 Mono, Poly
O O
0127
O O
O
O O O O O O O O O O O O O O O O O O O O O O O O O O O O X X X X
O O O O O O O O O O O O O O O O O O O O O (Tone 1 Level) O (Tone 2 Level) O (Tone 3 Level) O (Tone 4 Level) O O (Reverb) O (Chorus) O X X O X
O *1 **************
O
X X X
X X
X X X X O *1 X
116 116
Mode 3 Mode 3, 4 (M = 1)
O O
0127 0127
O *1 O *1
O *1
O *1 0127
O *1
X X X
X X
O O X O (123127) O X
Bank select Modulation Portamento time Data entry Volume Panpot Expression Hold 1 Portamento Sostenuto Soft Legato foot switch Resonance Release time Attack time Cutoff Decay time Vibrato rate Vibrato depth Vibrato delay General purpose controller 5 General purpose controller 6 General purpose controller 7 General purpose controller 8 Portamento control General purpose effects 1 General purpose effects 3 General purpose controller Increment, Decrement NRPN LSB, MSB RPN LSB, MSB Undefined
* 1 O X is selectable. * 2 Recognized as M=1 even if M1.
(Sound Generator Section) Model Fantom-G6/G7/G8
Date : Feb. 1, 2008 Version : 1.00MIDI Implementation Chart
**************
**************
Mode 1 : OMNI ON, POLY Mode 3 : OMNI OFF, POLY
Mode 2 : OMNI ON, MONO Mode 4 : OMNI OFF, MONO
O : Yes X : No
* 2
Program No. 1128
*1 *1 *1
*1 *1 *1 *1
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Function...
Basic Channel
Mode
Note Number :
Velocity
After Touch
Pitch Bend
Control Change
Program Change
System Exclusive
System Common
System Real Time
Aux Messages
Notes
Transmitted Recognized Remarks
Default Changed
Default Messages Altered
True Voice
Note On Note Off
Key's Channel's
0119
: True Number
: Quarter Frames : Song Position : Song Select : Tune Request
: Clock : Commands
: All Sound Off : Reset All Controllers : Local On/Off : All Notes Off : Active Sensing : System Reset
All channel X
X X
O O
0127
O O
O
O O
O **************
O
O *1 O *1 X O
O *1 O *1
O O X *2 O *3 O X
All channel 116
X X
O O
0127 0127
O *1 O *1
O *1
O *1 0127
O *1
O *2 O *1 X O
O *1 O *1
O O X O (123127) *3 O X
*1 O X is selectable. *2 Not stored/transmitted when received, but can be created and transmitted using Microscope. *3 Mode Messages (123127) are recorded and transmitted, after all currently sounding notes are turned off. The All Note Message itself is not recorded or transmitted. However, it can be created in Microscope and transmitted.
(Sequencer Section)
Model Fantom-G6/G7/G8
Date : Feb. 1, 2008
Version : 1.00MIDI Implementation Chart
**************
**************
Mode 1 : OMNI ON, POLY Mode 3 : OMNI OFF, POLY
Mode 2 : OMNI ON, MONO Mode 4 : OMNI OFF, MONO
O : Yes X : No
There is no specific basic channel.
*1
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Specifications
Keyboard [G6] 61 keys (with velocity and channel aftertouch)
[G7] 76 keys (with velocity and channel aftertouch)
[G8] 88 keys (Progressive Hammer action II Mechanism, Ivory feel, and channel aftertouch)
Sound Generator Section
Maximum Polyphony 128 voices (shared with the sampling section)
Parts 16 parts (Internal) + 16 parts (External) + 2 parts (ARX) + 24 parts (Audio Track)
Wave Memory 256 M bytes (16-bit linear equivalent)
Waveforms 2,230
Preset Memory Patches: 1,664 + 256 (GM2)
Rhythm Sets: 64 + 9 (GM2)
Live Sets: 512
Studio Sets: 8
User Memory (per 1project) Patches: 512
Rhythm Sets: 64
Live Sets: 512
Studio Sets: 128
Effects Patch Multi-Effects (PFX): 16 systems, 76 types
Multi-Effects (MFX): 2 systems, 78 types
Chorus: 1system, 3 types
Reverb: 1system, 10 types
Input Effects: 1system, 6 types
Mastering Effects: 1system, 3-band compressor
Sampling Section
Data Format 16-bit linear (File Type: .WAV/.AIFF)
Sampling Frequency 44.1 kHz (fixed)
Maximum Sampling Time When sampling memory isnt expanded (32 MB)
mono: 360 sec. approx., stereo: 180 sec. approx.
When sampling memory is expanded with DIMM (544 MB)
mono: 108 min. approx., stereo: 54 min. approx.
Number of Samples (per 1project) 2,000
Sequencer Section
Tracks MIDI tracks (Internal/External/ARX): max.128
Audio tracks: max.24
Tempo track: 1
Beat track: 1
Resolution 480 TPQN
Tempo 5.00300.00
Song (per 1project) 50
Phrase (per 1project) 2,000
Note Capacity (per 1project) approx. 1,000,000 notes
Song Length 9,998 measures
Recording Method Realtime recording, Step recording
Others
Arpeggiator 128
Arpeggio Sets 128
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RPS Sets 32
Rhythm Pattern Sets 32
Chord Memory 128
Chord Memory Sets 128
Display Graphic Type, 8.5inch, TFT Wide VGA(800 x 480 dots), backlit LCD (Color)
Pads 16 pads, Velocity and Polyphonic Aftertouch sensitive
Controllers Pitch Bend/Modulation Lever
Control Knob x 4
Control Slider x 8
Assignable Switch x 2
D Beam Controller
Connectors Headphones Jack: stereo 1/4 inch phone type
A (MIX) Output Jacks (L/MONO, R): 1/4 inch TRS phone type
B Output Jacks (L, R): 1/4 inch phone type
Input Jacks (L/MONO/MIC, R): 1/4 inch phone type
Mic./Guitar Input Jacks: 1/4 inch phone type/XLR type (Phantom power) (Hi-Z)
Hold Pedal Jack (Half Pedal recognition)
Control Pedal Jack (assignable) x 2
MIDI Connectors (IN, OUT, THRU)
USB Computer Connector (supports file transfer (mass storage class) and Audio/MIDI)
USB Mouse Connector
Digital Audio Interface (COAXIAL INPUT/OUTPUT)
AC Inlet
Expansion Slots Expansion of sound generator
ARX expansion boards: 2 slots
Expansion of sampling memory
DIMM: 1 slot (supports PC133, CL=2/3, 128 MB, 256 MB, 512 MB (3.3 V))
External Storage Device USB Flash Memory
Power Supply AC 117 V, AC 230 V, AC 240 V (50/60 Hz)
AC 220 V (60 Hz)
Power Consumption 30 W
Dimensions [G6] 1,066 (W) x 411 (D) x 142 (H) mm
42 (W) x 16-3/16 (D) x 5-5/8 (H) inches
[G7] 1,278 (W) 411 (D) x 142 (H) mm
50-3/8 (W) x 16-3/16 (D) x 5-5/8 (H) inches
[G8] 1,396 (W) 502 (D) x 183 (H) mm
55 (W) x 19-13/16 (D) x 7-1/4 (H) inches
Weight [G6] 14.5 kg / 32 lbs
[G7] 16.6 kg / 36 lbs 10 oz
[G8] 33.6 kg / 74 lbs 2 oz
Accessories Owners Manual
Quick Start Guide
Sound List
Driver Installation Guide
CD-ROM (Editor, USB MIDI driver)
Power Cord
Options Expansion Board: ARX Series
Keyboard Stand: KS-18Z (Fantom-G6/G7/G8), KS-G8 (Fantom-G8)
Pedal Switch: DP series
Foot Switch: BOSS FS-5U
Expression Pedal: EV-5
USB Memory: M-UF1G
Microphone: DR series
Headphone: RH-200
* In the interest of product improvement, the specifications and/or
appearance of this unit are subject to change without prior notice.
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Index
A AC Inlet .................................................................................................. 24 Accent Rate
(Arpeggio Accent Rate) ................................................................... 79 Aftertouch Sens ................................................................................. 288 Aftertouch Sens
(Aftertouch Sensitivity) ................................................................ 288 AIFF ..................................................................................................... 283 Alternate Pan Depth ................................................................ 101, 125 Amp ............................................................................................ 131, 270 Analog Feel
(Analog Feel Depth) ........................................................................ 90 Appearance ........................................................................................ 300 Arabian Scale ............................................................................ 138, 296 Arpeggio ...................................................................... 22, 78, 146, 193 Arpeggio Hold ................................................................................... 146 Arpeggio Number .................................................................... 146, 193 Arpeggio Part Group ........................................................................ 146 Arpeggio Part Number ..................................................................... 146 Arpeggio Part Switch ........................................................................ 136 Arpeggio Switch ................................................................................ 146 Assign Type ....................................................................................... 118 Assignable ...................................................................................... 22, 75 Assignable Switch ................................................................................ 23 Attack .................................................................................................. 160 Attack Time Offset ............................................................................... 91 Audio ..................................................................................................... 36 AUDIO INPUT MIC/GUITAR Jack .................................................. 24 Audio Rec Channel
(Audio recording channel) .......................................................... 231 Audio Rec Mode
(Audio recording mode) .............................................................. 230 Audio Track .......................................................................................... 37 Auto Chop .......................................................................................... 273
B Backup Project ................................................................................... 278 BANK .................................................................................................. 189 Bank
(Rhythm set bank) ......................................................................... 192 Beam Trigger Mode ................................................................... 73, 143 Beam Trigger Pad ....................................................................... 73, 143 Beam Trigger Velo
(Beam Trigger Velocity) ........................................................ 73, 143 Beat Change ....................................................................................... 237 Beat Indicator Mode .......................................................................... 293 Beat Track ........................................................................... 37, 219, 237 Bend Mode ............................................................................................ 97 Bend Mode Control .............................................................................. 97 Bias ...................................................................................................... 101 Bias Direction ..................................................................................... 101 Bias Level ............................................................................................ 101 Bias Position ....................................................................................... 101 BOOKMARK ...................................................................................... 198 Booster ................................................................................................... 94
Booster 1&2, 3&4 (Booster Gain 1&2, 3&4) .................................................................. 94
C CD ........................................................................................................ 255 Change Channel ................................................................................ 246 Change Duration ............................................................................... 246 Change Velocity ................................................................................. 245 Channel Aftertouch ........................................................................... 251 Chop .................................................................................................... 272 Chord Form ................................................................. 8081, 146, 193 Chord Memory .................................................................. 22, 146, 193 Chord Memory Function .................................................................... 80 Chord Switch ..................................................................................... 146 Chorus .......................................................................................... 36, 159 Chorus Level ............................................................................. 153, 156 Chorus Output Assign ............................................................. 153, 156 Chorus Output Select ............................................................... 153, 156 Chorus Send Level ..................................................................... 74, 144 Chorus Sw ................................................................................. 153, 156 Chorus Type .............................................................................. 153, 156 Clear .................................................................................................... 239 Clock Source ....................................................................................... 291 Coarse Tune ....................................................................................... 137 Compare ...................................................................................... 89, 117 Compare Function ...................................................................... 87, 115 Continuous Hold Pedal .................................................................... 287 CONTROL ............................................................................................. 23 Control 14 Source ............................................................................ 109 Control Aftertouch
(Control Aftertouch Switch) ........................................................ 147 Control Bender
(Control Pitch Bend Switch) ........................................................ 147 Control Change .................................................................................. 251 Control Destination 14
(Matrix Control Destination 14) ................................................ 109 Control Hold Pedal
(Control Hold Pedal Switch) ....................................................... 147 Control Knobs 14 ................................................................................ 23 Control Modulation
(Control Modulation Switch) ...................................................... 147 Control Pedal ........................................................................................ 77 Control Pedal 1 Assign ..................................................................... 287 Control Pedal 1 Panel Switch Assign ............................................. 287 Control Pedal 1 Polarity ................................................................... 287 Control Pedal 1, 2
(Control Pedal 1, 2 Switch) .......................................................... 147 Control Pedal 2 Assign ..................................................................... 287 Control Pedal 2 Panel Switch Assign ............................................. 287 Control Pedal 2 Polarity ................................................................... 287 Control Remain
(Control Remain Switch) .............................................................. 294 Control Sens 14
(Matrix Control Sens 14) ............................................................ 111 Control Setting ............................................................................ 51, 142 Control Sliders 18 ............................................................................... 23
4
Index
Fantom-G_r_e.book 325
Control Tone 14 (Tone Control Switch 14) ........................................................... 111
Copy ................................................................................. 234, 243, 253 Count In ..................................................................................... 222, 231 Create .................................................................................................. 252 Create Project ..................................................................................... 278 Ctrl Switch .......................................................................................... 147 Cursor ............................................................................................. 23, 40 Cutoff ........................................................................................... 74, 144 Cutoff Frequency ............................................................................... 123 Cutoff Offset .......................................................................................... 90 Cutoff Velocity Curve ................................................................ 99, 123 Cutoff Velocity Sens ................................................................... 99, 123
D D Beam ......................................................................................... 22, 143 D Beam Assign Source ...................................................................... 287 D Beam Controller ........................................................................ 7273 D Beam Sens
(D Beam Sensitivity) ..................................................................... 287 D Beam Switch ................................................................................... 143 D Beam: ASSIGNABLE .................................................................... 145 D Beam: PAD TRIGGER .................................................................. 143 D Beam: SOLO SYNTH .................................................................... 143 Data not found ................................................................................... 318 Data Thin ............................................................................................ 248 DEC ................................................................................................. 23, 41 Default File Type ............................................................................... 297 Delay Time
(LFO1/LFO2 Delay Time) ........................................................... 103 Delete ............................................................................... 234, 243, 265 Delete Phrase ..................................................................................... 215 Destination 14
(Multi-Effects Control Destination 14) ..................................... 157 Device ID
(Device ID Number) ..................................................................... 295 DIGITAL IN/OUT Connectors
(S/P DIF COAXIAL) ........................................................................ 24 Digital/USB Input Level .................................................................. 297 DIMM Memory .................................................................................... 35 Direction .................................................................................... 129, 191 DISPLAY ............................................................................................... 23 Drop Format ....................................................................................... 292 Dst ........................................................................................................ 243 Duplicate ............................................................................................ 215 Dynamic Pad ...................................................................... 23, 146, 288
E Effect ....................................................................................................... 36 EFFECT SW ........................................................................................ 199 EFFECTS
(ROUTING) ....................................................................................... 23 Emphasis ............................................................................................ 269 Empty Sample! ................................................................................... 318 Empty Song! ....................................................................................... 318 ENTER ................................................................................................... 23
Envelope ................................................................................................ 32 Equal Temperament ................................................................. 138, 296 Erase ........................................................................................... 242, 252 EXIT ........................................................................................................ 23 EXP 1 ...................................................................................................... 23 EXP 2 ...................................................................................................... 23 EXPANSION ......................................................................................... 23 Expansion boards ................................................................................. 35 Expression
(Receive Expression Switch) ........................................................ 141 External Bank Select LSB .................................................................. 135 External Bank Select MSB ................................................................ 135 External Level .................................................................................... 135 External Pan ....................................................................................... 135 External Program Number
(External Program Change Number) ......................................... 135
F F1 ............................................................................................................. 40 Factory Data .......................................................................................... 35 Factory Reset ...................................................................................... 280 Fade Mode
(LFO1/LFO2 Fade Mode) ............................................................ 104 Fade Time
(LFO1/LFO2 Fade Time) ............................................................. 104 FAVORITE .................................................................................. 22, 202 Favorite Level ....................................................................................... 55 Favorite Screen ............................................................................... 5455 File Name Duplicate ......................................................................... 318 File Not Found! .................................................................................. 318 Filter Type ................................................................... 74, 98, 122, 144 Font ......................................................................................................... 57 FOOT PEDAL CTRL (CONTROL) 1, 2 Jack ..................................... 24 Format USB memory ........................................................................ 280 Function Button ............................................................................. 23, 40 FXM .............................................................................................. 92, 120 FXM Color ............................................................................................. 92 FXM Depth ............................................................................................ 92 FXM Switch ........................................................................................... 92
G Gap Time ............................................................................................ 298 General ................................................................................ 89, 117, 129 GM ................................................................................................... 47, 52 GM2 ................................................................................................. 47, 52 Grid Quantize Strength .................................................................... 223 Grid Resolution ................................................................................. 223 GUITAR (Hi-Z) ..................................................................................... 24
H HOLD ............................................................................. 2223, 78, 188 Hold Bend .............................................................................................. 97 HOLD Jack ............................................................................................ 24 Hold Pedal Polarity ........................................................................... 287
325
Index
Fantom-G_r_e.book 326
I Illegal File! .......................................................................................... 318 Import ................................................................................................. 299 Import Audio ..................................................................................... 283 Import BMP ........................................................................................ 284 Import Phrase .................................................................................... 213 Import Song ....................................................................................... 213 Import Text .................................................................................. 56, 284 INC .................................................................................................. 23, 41 INDIVIDUAL 14 Jacks ....................................................................... 24 Info ...................................................................................................... 298 Init ........................................................................................................ 148 INPUT .................................................................................................... 22 Input Effect ............................................................................................ 36 Input Effect Setup .............................................................................. 259 Input Quantize ................................................................................... 223 Input Select ................................................................................ 231, 297 Input Setting ....................................................................................... 258 Input/Sampling ................................................................................. 297 Insert ........................................................................................... 233, 244 Internal Memory .................................................................................. 35
J JUMP ...................................................................................................... 22 Just Temperament .................................................................... 138, 296
K KBD ........................................................................................................ 61 Key Range .......................................................................................... 135 Key Trigger
(Arpeggio Key Trigger) ................................................................... 79 Key Trigger
(LFO1/LFO2 Key Trigger) ........................................................... 104 Keyboard ..................................................................................... 22, 288 Keyboard Fade Width Lower ............................................................. 94 Keyboard Fade Width Upper ............................................................. 95 Keyboard Range Lower ....................................................................... 94 Keyboard Range Lower
(Part Keyboard Range Lower) .................................................... 135 Keyboard Range Upper ....................................................................... 94 Keyboard Range Upper
(Part Keyboard Range Upper) .................................................... 135 Keyboard Switch ................................................................. 61, 69, 135 Keyboard Velocity ............................................................................. 288 Keyboard Velocity
(Arpeggio Keyboard Velocity) ....................................................... 79 Keyboard Velocity Curve ................................................................. 288 Keyboard Velocity Sens
(Keyboard Velocity Sensitivity) .................................................. 288 Knob .................................................................................................... 145 Knob 14 Assign ......................................................................... 76, 289 Knob 14 Settings ................................................................................. 76 Knob 4 Assign .................................................................................... 290 Knob Assign 14 ................................................................................ 145 Knob Assign Select ............................................................................ 289 Knob Assign Source .......................................................................... 289
Knob Slider Mode ............................................................................. 289 Knob/Slider ....................................................................................... 289 KS-18Z .................................................................................................... 27 KS-G8 ..................................................................................................... 27
L Layer ....................................................................................................... 62 Layer Edit Screen .................................................................................. 64 Legato .................................................................................................. 140 Legato Retrigger
(Legato Retrigger Switch) ............................................................ 105 Legato Switch ..................................................................................... 105 Level .................................................................................... 74, 144, 160 Level
(Sample tone level) ........................................................................ 191 Level Velocity Curve ........................................................................ 124 Level Velocity Curve
(TVA Level Velocity Curve) ........................................................ 100 Level Velocity Sens .................................................................. 124, 131 Level Velocity Sens
(TVA Level Velocity Sensitivity) ................................................ 100 Level/Pan .................................................................................. 134135 LFO ......................................................................................................... 74 LFO
(Low Frequency Oscillator) ............................................................ 32 LFO End Step ..................................................................................... 104 LFO Osc 1 Pitch Depth .............................................................. 74, 143 LFO Osc 1 Pulse Width Depth ................................................. 73, 143 LFO Osc 2 Pitch Depth .............................................................. 74, 143 LFO Osc 2 Pulse Width Depth ................................................. 73, 143 LFO Rate ...................................................................................... 74, 144 LFO Step Type ................................................................................... 104 LFO1/2 ....................................................................................... 102103 LFO1/LFO2 Delay Time Key Follow ............................................. 103 LINE Jack (L, R) .................................................................................... 24 LINE LEVEL knob ................................................................................ 24 LIST/EDIT ............................................................................................. 23 LIVE ........................................................................................................ 22 Live Mode ...................................................................... 33, 39, 58, 151 Live Play (Layer/Split) Screen ............................................. 5859, 61 Live Set ............................................................................................ 33, 60 Live Set Control Channel ................................................................. 295 Live Set Memo ................................................................................... 132 Live Set Name .................................................................................... 132 Live Set Part Mixer Screen .................................................................. 63 Load ............................................................................................ 214, 264 Load All .............................................................................................. 264 Load Project ........................................................................................ 276 Local Switch ....................................................................................... 293 Loop .............................................................................................. 22, 208 Loop Switch ........................................................................................ 223 Loop Waveform .......................................................................... 88, 116
M Magic Control .................................................................................... 290
326
Index
Fantom-G_r_e.book 327
MAGIC CTRL (Magic Control) ................................................................................ 23
Marker ................................................................................................. 208 Master Key Shift ................................................................................ 294 Master Level ....................................................................................... 293 Master Reverb Level ......................................................................... 293 Master Tune ....................................................................................... 293 Mastering ............................................................................................ 160 Mastering Effect .......................................................................... 36, 160 Matrix Control Settings
(Control 14) .................................................................................. 109 Memory Damaged! ........................................................................... 318 Memory Full! ..................................................................................... 318 Menu ............................................................................................ 23, 276 Metronome ......................................................................................... 293 Metronome Level .............................................................................. 293 Metronome Mode .............................................................................. 293 Metronome Sound ............................................................................ 293 MFX ........................................................................................................ 36 MFX Chorus Send Level
(Multi-Effects Chorus Send Level) ............................................. 155 MFX Output Assign
(Multi-Effects Output Assign) ..................................................... 156 MFX Output Level
(Multi-Effects Output Level) ....................................................... 155 MFX Reverb Send Level
(Multi-Effects Reverb Send Level) .............................................. 155 MFX Sw
(Multi-Effects Switch) ................................................................... 155 MFX Type
(Multi-Effects Type) ...................................................................... 155 MFX/PFX Parameter ........................................................................ 161 MFX12 ............................................................................................... 158 MIC/GUITAR LEVEL knob ............................................................... 24 Microscope ......................................................................................... 250 MIDI ............................................................................................. 36, 295 MIDI Buffer Full! ............................................................................... 318 MIDI Clock ......................................................................................... 291 MIDI Connectors (IN, OUT, THRU) ................................................. 24 MIDI Filter .......................................................................................... 141 MIDI Offline! ...................................................................................... 318 MIDI Phrase ....................................................................................... 214 MIDI Phrase List ................................................................................ 214 MIDI Track ............................................................................................ 37 MIDI TX SW ....................................................................................... 198 Misc ..................................................................................................... 107 MIX IN ................................................................................................... 22 Mix In Switch ..................................................................................... 297 Mix/Parallel ....................................................................................... 294 Mixer Screen ....................................................................................... 207 MMC Mode ........................................................................................ 291 MMC Output
(MMC Output Switch) ................................................................. 291 MODE .................................................................................................... 22 Modulation Lever ................................................................................. 23 Mono ................................................................................................... 140 Mono/Poly ......................................................................................... 105
Monophonic .......................................................................................... 50 Motif
(Arpeggio Motif) .............................................................................. 79 Move ........................................................................................... 233, 253 MP3 ...................................................................................................... 255 MTC ..................................................................................................... 291 MTC Error Level ................................................................................ 292 MTC Frame Rate ................................................................................ 291 MTC Offset Time Frame ................................................................... 292 MTC Offset Time Hour .................................................................... 292 MTC Offset Time Minute ................................................................. 292 MTC Offset Time Second ................................................................. 292 MTC Sync Output
(MTC Sync Output Switch) ......................................................... 291 Multi .................................................................................................... 158 Multi-effect ............................................................................................ 36 Multi-Effects Control ........................................................................ 158 MUTE .................................................................................................. 206 Mute Group ............................................................ 118, 129, 191, 195 Mute Switch ....................................................................................... 134
N Name ............................................................................................ 42, 132 No More Phrase Numbers! .............................................................. 318 No More Sample Numbers! ............................................................. 318 No More Song Numbers! ................................................................. 318 Non-Drop Format ............................................................................. 292 Normalize ........................................................................................... 270 Note ..................................................................................................... 251 Now Playing! ..................................................................................... 318 Number / Name ................................................................................ 192 Number / Name
(Arpeggio set number) ................................................................. 193 Number / Name
(Chord memory set number) ....................................................... 193 Number / Name
(Sample set number) ..................................................................... 191 NUMERIC ................................................................................... 23, 188
O OCT ........................................................................................................ 22 Octave Range
(Arpeggio Octave Range) ............................................................... 79 Octave Shift ................................................................................. 90, 137 Offset ................................................................................................... 139 Offset
(LFO1/LFO2 Offset) ..................................................................... 103 One Shot Mode .................................................................................. 118 One-shot Waveform ................................................................... 88, 116 OSC 1/2 Coarse Tune ................................................................ 74, 144 OSC 1/2 Fine Tune ..................................................................... 74, 144 OSC 1/2 Pulse Width ................................................................ 73, 143 OSC 1/2 Waveform ................................................................... 73, 143 OSC Sync Switch ........................................................................ 74, 144 OSC2 Level .................................................................................. 74, 144 Output .............................................................................. 102, 125, 131
327
Index
Fantom-G_r_e.book 328
OUTPUT A (MIX) Jacks (L (MONO), R) ........................................... 24 Output Assign ................................................................................... 210 OUTPUT B Jacks (L, R) ........................................................................ 24 Output Gain ....................................................................................... 294 Output/EFX ....................................................................................... 136
P PAD ........................................................................................................ 23 Pad Aftertouch Sens
(Pad Aftertouch Sensitivity) ........................................................ 288 Pad Assign Source ............................................................................. 288 Pad Exchange ..................................................................................... 190 PAD MODE ........................................................................................ 188 Pad Mode ............................................................................. 23, 43, 288 Pad Note Number ............................................................................. 192 Pad Roll Resolution ........................................................................... 288 Pad Sens
(Pad Sensitivity) ............................................................................ 288 PAD SETTING ............................................................................ 23, 190 Pad Trigger ..................................................................................... 22, 73 Pad Velocity .................................................................... 191192, 288 Pan
(Sample tone pan) ......................................................................... 191 Pan Depth
(LFO1/LFO2 Pan Depth) ............................................................. 104 Part ......................................................................................................... 34 Part Attack Time Offset .................................................................... 139 Part Chorus Send Level ................................................. 136, 152, 155 Part Coarse Tune ............................................................................... 137 Part Cutoff Offset .............................................................................. 139 Part Decay Time Offset ..................................................................... 139 Part EFX1 Send Level
(Expansion part effect 1: Send Level) ......................................... 137 Part EFX2 Send Level
(Expansion part effect 2: Send Level) ......................................... 137 Part Fine Tune .................................................................................... 137 Part Group ............................................................................................. 34 Part Info .............................................................................................. 132 Part Legato Switch ............................................................................ 140 Part Level ......................................................................... 134, 152, 155 Part MFX Select .................................................................................. 155 Part Mono/Poly ................................................................................ 140 PART MUTE ...................................................................................... 200 Part Octave Shift ................................................................................ 137 Part Output Assign ........................................................ 136, 153, 155 Part Output Level ........................................................... 136, 152, 155 Part Pan ............................................................................................... 134 Part Pitch Bend Range ...................................................................... 138 Part Portamento Switch .................................................................... 138 Part Portamento Time ....................................................................... 138 Part Release Time Offset .................................................................. 140 Part Resonance Offset ....................................................................... 139 Part Reverb Send Level ................................................. 137, 152, 155 Part Scale Tune CB .......................................................................... 138 PART SELECT ................................................................................... 200 Part Transpose ................................................................................... 137
Part Velocity Sens Offset .................................................................. 136 Part Vibrato Delay ............................................................................. 139 Part Vibrato Depth ............................................................................ 139 Part Vibrato Rate ............................................................................... 139 Part View ..................................................................................... 51, 133 Part Voice Reserve ............................................................................. 141 Patch .................................................................................. 23, 33, 47, 84 Patch Bank .......................................................................................... 134 Patch Category ...................................................................................... 89 Patch Coarse Tune ................................................................................ 90 Patch Finder .......................................................................................... 48 Patch Fine Tune .................................................................................... 90 Patch Initialize ...................................................................................... 87 Patch Level ......................................................................... 89, 152, 155 Patch MFX ............................................................................................. 36 PATCH MFX SW ............................................................................... 199 Patch multi-effect ................................................................................. 36 Patch Name ................................................................................. 89, 132 Patch Number .................................................................................... 134 Patch Parameters .................................................................................. 89 Patch Priority ........................................................................................ 90 Patch Pro Edit .................................................................... 86, 114, 127 Patch Remain
(Patch Remain Switch) ................................................................. 294 Patch Scale Tune for CB ................................................................. 296 Patch Tone Copy .................................................................................. 87 Patch Type .......................................................................................... 134 Patch Zoom Edit ................................................................ 84, 112, 126 PEAK Indicator ..................................................................................... 22 Pedal/D Beam ................................................................................... 287 Permission Denied! ........................................................................... 318 PFX ............................................................................ 36, 111, 125, 131 PFX
(Patch Multi-Effects) ..................................................................... 157 PFX Chorus Send Level
(Patch Multi-Effects Chorus Send Level) .......................... 152, 155 PFX Control ........................................................................................ 157 PFX Output Level
(Patch Multi-Effects Output Level) ................................... 152, 155 PFX Reverb Send Level
(Patch Multi-Effects Reverb Send Level) .......................... 152, 155 PFX Sw ................................................................................................ 152 PFX Sw
(Patch Multi-Effects Switch) ........................................................ 154 PFX Type
(Patch Multi-Effects Type) .................................................. 152, 154 PHANTOM OFF ................................................................................... 24 PHANTOM ON .................................................................................... 24 Phase Lock
(Phase Lock Switch) ...................................................................... 142 PHONES Jack ........................................................................................ 24 Phrase .................................................................................................. 220 Phrase Edit ......................................................................................... 238 Phrase Edit Screen ............................................................................. 238 Phrase Loop ........................................................................ 92, 119, 130 Phrase Modify Menu ........................................................................ 239
328
Index
Fantom-G_r_e.book 329
Phrase Number .................................................................................. 194 Phrase Preview ..................................................................................... 49 Phrases ............................................................................................ 3637 Pitch ........................................................................... 96, 121, 130, 137 Pitch Bend .............................................................................................. 23 Pitch Bend Range Down ..................................................................... 96 Pitch Bend Range Up ........................................................................... 96 Pitch Depth
(LFO1/LFO2 Pitch Depth) ........................................................... 104 Pitch Env
(Pitch Envelope) ..................................................................... 97, 121 Pitch Env Depth .................................................................................... 97 Pitch Env Level 04 .................................................................... 97, 122 Pitch Env Time 1 Velocity Sens ................................................ 96, 121 Pitch Env Time 14 ..................................................................... 97, 121 Pitch Env Time 4 Velocity Sens ................................................ 97, 121 Pitch Env Time Key Follow ................................................................ 97 Pitch Env Velocity Sens ............................................................. 96, 121 Pitch/Pitch Env .......................................................................... 96, 121 PLAY ...................................................................................................... 23 Play ...................................................................................................... 239 Play Mode ........................................................................................... 195 Playback Tempo Range Over .......................................................... 318 Poly ...................................................................................................... 140 Poly Aftertouch ................................................................................. 251 Portamento ......................................................................................... 106 Portamento Mode .............................................................................. 106 Portamento Start ................................................................................ 106 Portamento Switch ............................................................................ 106 Portamento Time ............................................................................... 106 Portamento Type ............................................................................... 106 POWER ON Switch .............................................................................. 24 Power Up Mode ................................................................................ 298 Pre Sample Time ................................................................................ 297 Preset ................................................................................. 47, 52, 60, 67 Preset data ............................................................................................. 35 Preview ............................................................................................... 296 Preview 14 Note Number .............................................................. 297 Preview 14 Velocity ........................................................................ 297 Preview Mode .................................................................................... 296 Program Change ................................................................................ 251 Project ........................................................................................... 35, 276 PRST .................................................................................. 47, 52, 60, 67
Q Quantize ............................................................................................. 240
R Random Pan Depth .................................................................. 101, 124 Random Pitch Depth ........................................................................... 96 Range
(Solo synth range) .................................................................. 74, 144 Range Max ............................................................................................. 75 Range Max
(D Beam Range Upper) ................................................................ 145
Range Min ............................................................................................. 75 Range Min
(D Beam Range Lower) ................................................................ 145 Rate
(LFO1/LFO2 Rate) ........................................................................ 103 Rate Detune
(LFO1/LFO2 Rate Detune) .......................................................... 103 Ratio .................................................................................................... 160 Read Error! ......................................................................................... 318 Realtime Controller ....................................................................... 7576 Realtime Erase ................................................................................... 224 Realtime Recording ........................................................................... 222 Realtime Time Stretch ....................................................... 92, 119, 130 REC ......................................................................................................... 23 Rec End Point ..................................................................................... 223 Rec End Point
(Recording end point) .................................................................. 231 Rec End Switch .................................................................................. 223 Rec End Switch
(Recording end switch) ................................................................ 231 Rec Length .......................................................................................... 223 Rec Length
(Recording length) ........................................................................ 231 Rec Length Too Short! ...................................................................... 318 Rec Mode ............................................................................................ 222 Rec Over Flow .................................................................................... 318 Rec Start Point .................................................................................... 223 Rec Start Point
(Recording start point) ................................................................. 231 Receive Bank Select
(Receive Bank Select Switch) .............................................. 141, 295 Receive Bender
(Receive Pitch Bend Switch) ........................................................ 141 Receive Channel ................................................................................ 134 Receive Channel Pressure
(Receive Channel Pressure Switch) ............................................ 141 Receive Exclusive
(Receive System Exclusive Switch) ............................................. 295 Receive GM1 System On
(Receive GM System On Switch) ................................................ 295 Receive GM2 System On
(Receive GM2 System On Switch) .............................................. 295 Receive GS Reset
(Receive GS Reset Switch) ............................................................ 295 Receive Hold-1
(Receive Hold 1 Switch) ............................................................... 141 Receive Modulation
(Receive Modulation Switch) ...................................................... 141 Receive Pan
(Receive Pan Switch) .................................................................... 141 Receive Polyphonic Key Pressure
(Receive Polyphonic Key Pressure Switch) ............................... 141 Receive Program Change
(Receive Program Change Switch) .................................... 141, 295 Receive Switch ................................................................................... 134 Receive Volume
(Receive Volume Switch) ............................................................. 141 Recording Parameter Error .............................................................. 318 Recording Select ................................................................................ 224 Rehearsal Function ............................................................................ 225 Relative Level ..................................................................................... 125
329
Index
Fantom-G_r_e.book 330
Release ................................................................................................ 160 Release Time Offset .............................................................................. 91 Remote Keyboard Sw
(Remote Keyboard Switch) .......................................................... 295 Remove .................................................................................................. 55 Remove Bank ........................................................................................ 55 Remove Text ......................................................................................... 57 Resolution ........................................................................................... 240 Resonance .................................................................... 74, 98, 123, 144 Resonance Offset .................................................................................. 91 Resonance Velocity Sens ........................................................... 99, 123 Rest ...................................................................................................... 227 Restore Project ................................................................................... 279 Reverb .......................................................................................... 36, 159 Reverb Level ............................................................................. 153, 156 Reverb Output Assign ............................................................. 153, 156 Reverb Send Level ...................................................................... 74, 144 Reverb Sw .................................................................................. 153, 156 Reverb Type .............................................................................. 153, 156 RHYTHM ........................................................................................... 192 Rhythm Key Initialize ....................................................................... 115 Rhythm Level
(Rhythm Set Level) ....................................................................... 117 Rhythm Pad Part Group ................................................................... 146 Rhythm Pad Part Number ............................................................... 146 Rhythm Pad Part Switch .................................................................. 136 Rhythm Pattern ................................................................................. 196 Rhythm Pattern Set Number ........................................................... 196 RHYTHM PTN .................................................................................. 196 Rhythm Set ........................................................................... 33, 52, 112 Rhythm Set Initialize ........................................................................ 115 Rhythm Set Name ............................................................................. 117 Rhythm Set Parameter ...................................................................... 117 Rhythm Tone ..................................................................................... 119 Rhythm Tone Copy ........................................................................... 115 Rhythm Tone Name .......................................................................... 118 Ring Modulator .................................................................................... 94 ROLL ............................................................................................ 23, 189 Rolled Chord ............................................................................... 81, 146 Rolled Chord Type ..................................................................... 81, 146 Routing ...................................................................................... 151, 154 RPS ...................................................................................................... 194 RPS Set Number ................................................................................ 194
S S1 ............................................................................................................. 23 S1/S2 Switch Settings .......................................................................... 77 S2 ............................................................................................................. 23 SAMPLE ................................................................................................ 23 Sample Edit ........................................................................................ 266 Sample Length Too Short! ................................................................ 318 Sample List ......................................................................................... 263 Sample Memory Full! ....................................................................... 318 Sample Number ................................................................................. 191
Sample Number L (Mono) ............................................................... 130 Sample Number R ............................................................................. 130 SAMPLE PAD .................................................................................... 191 Sample Pad Part Number ................................................................. 146 Sample Pad Part Switch ................................................................... 136 Sample Parameters ............................................................................ 268 Sample Set ............................................................................ 33, 53, 126 Sample Set Initialize .......................................................................... 127 Sample Set Level ................................................................................ 129 Sample Set Name ............................................................................... 129 Sample Set Parameter ....................................................................... 129 Samples ........................................................................................... 3638 SAMPLING ........................................................................................... 23 Sampling Section .................................................................................. 38 Save .................................................................................. 216, 254, 274 Save All ...................................................................................... 216, 274 Save As Project ................................................................................... 277 Save Project ........................................................................................ 277 Scale Tune .................................................................................. 138, 296 Scale Tune Switch .............................................................................. 296 Screen Saver ....................................................................................... 297 Screen Saver Time ............................................................................. 297 Screen Saver Type ............................................................................. 297 Sens 14
(Multi-Effects Control Sensitivity 14) ....................................... 158 SEQUENCER ........................................................................................ 22 Set Song .................................................................................................. 56 Setting ................................................................................................. 160 SHIFT ..................................................................................................... 23 Shift Clock .......................................................................................... 247 Shortcut .................................................................................................. 44 Shuffle Rate ........................................................................................ 223 Shuffle Rate
(Arpeggio Shuffle Rate) ................................................................... 79 Shuffle Resolution ............................................................................. 223 Shuffle Resolution
(Arpeggio Shuffle Resolution) ....................................................... 79 SINGLE ........................................................................................... 22, 46 Single Mode ................................................................... 33, 39, 46, 151 Single Play Screen ................................................................................ 46 Skip Back Sampling ........................................................................... 262 Skip Back Time .................................................................................. 298 SKIPBACK ............................................................................................. 23 Slider ................................................................................................... 145 Slider 18 Assign ............................................................... 76, 145, 289 Slider 18 Settings ................................................................................ 76 Slider 8 Assign ................................................................................... 290 Slider Assign Select ........................................................................... 289 Slider Assign Source ......................................................................... 289 SMF ............................................................................................... 37, 212 SMF List .............................................................................................. 212 Soft Through
(Soft Through Switch) .................................................................. 295 Solo Synth ....................................................................................... 22, 73 Solo/Porta .......................................................................................... 105
330
Index
Fantom-G_r_e.book 331
Song .................................................................... 23, 36, 218, 228, 232 Song Clear ....................................................................... 211, 218, 235 Song Delete ......................................................................................... 210 Song Edit ............................................................................................ 232 Song Edit Screen ................................................................................ 232 Song Format Error ............................................................................. 318 Song Full ............................................................................................. 318 Song Not Found ................................................................................ 318 Song Play ................................................................................... 204205 Song Play Screen ............................................................................... 205 Song Util ............................................................................................. 235 Sound .................................................................................................. 293 Source 14
(Multi-Effects Control Source 14) ............................................. 157 Split ......................................................................................................... 62 Split Frequency High ........................................................................ 160 Split Frequency Low ......................................................................... 160 Standard MIDI File .............................................................................. 37 Startup ................................................................................................. 298 Step 164 (LFO Step 164) ................................................................ 104 Step Back ............................................................................................. 227 Step LFO .................................................................................... 102, 104 Step Recording ................................................................................... 226 STOP ....................................................................................................... 23 Stretch Tune Depth .............................................................................. 90 Structure Type 1 & 2, 3 & 4 ................................................................. 92 STUDIO ................................................................................................. 22 Studio Mode .................................................................. 33, 39, 66, 154 Studio Play Screen ......................................................................... 6668 Studio Set ................................................................................. 33, 6768 Studio Set Control Channel ............................................................. 295 Studio Set Memo ............................................................................... 132 Studio Set Name ................................................................................ 132 Style
(Arpeggio Style) ............................................................................... 78 Switch S1/S2 ............................................................................. 146, 290 Switch S1/S2 Assign ......................................................... 77, 146, 290 Switch S1/S2 Assign Mode ..................................................... 146, 290 Switch S1/S2 Assign Source ............................................................ 290 Sync Mode .......................................................................................... 291 Sync Output
(Sync Output Switch) ................................................................... 291 Sync/Temp ......................................................................................... 291 System ................................................................................................. 279 System Control 14 Source .............................................................. 297 System Ctrl ......................................................................................... 297 System Exclusive messages ............................................................. 251 System Memory Damaged! ............................................................. 318 System Write ...................................................................................... 286
T TEMPO .................................................................................................. 23 Tempo Change ................................................................................... 236 Tempo Rec Switch ............................................................................. 223 Tempo Sync (Wave Tempo Sync) ................................................... 130
Tempo Track ............................................................................... 37, 236 TEMPO/VALUE .................................................................................. 23 Temporary Area ................................................................................... 35 Threshold ............................................................................................ 160 Tie ........................................................................................................ 227 Time Stretch ....................................................................................... 271 Timing ................................................................................................. 241 TMT ........................................................................................................ 92 TMT Control Switch ............................................................................ 95 TMT Velocity Control
(TMT Velocity Control Switch) ...................................................... 95 Tone ........................................................................................................ 32 Tone Chorus Send Level ...................................... 125, 131, 152, 154 Tone Coarse Tune ................................................................................. 96 Tone Coarse Tune
(Rhythm Tone Coarse Tune) ....................................................... 121 Tone Coarse Tune
(Sample Tone Coarse Tune) ......................................................... 130 Tone Delay ......................................................................................... 107 Tone Delay Mode .............................................................................. 107 Tone Delay Time ............................................................................... 108 Tone Env Mode .................................................................................. 108 Tone Env Mode
(Rhythm Tone Envelope Mode) .................................................. 118 Tone Fine Tune ..................................................................................... 96 Tone Fine Tune
(Rhythm Tone Fine Tune) ............................................................ 121 Tone Fine Tune
(Sample Tone Fine Tune) ............................................................. 130 Tone Initialize ....................................................................................... 87 Tone Level .......................................................................................... 100 Tone Level
(Rhythm Tone level) ..................................................................... 124 Tone Level
(Sample Tone level) ...................................................................... 131 Tone On/Off ......................................................................................... 50 Tone Output Assign .............................................. 125, 131, 152, 154 Tone Output Level ................................................ 125, 131, 152, 154 Tone Pan ............................................................................................. 101 Tone Pan
(Rhythm Tone Pan) ....................................................................... 124 Tone Pan
(Sample Tone Pan) ........................................................................ 131 Tone Pan Key Follow ........................................................................ 101 Tone Pitch Bend Range
(Rhythm Tone Pitch Bend Range) .............................................. 118 Tone Random Pitch Depth ............................................................... 121 Tone Receive Bender
(Tone Receive Pitch Bend Switch) .............................................. 108 Tone Receive Expression
(Rhythm Tone Receive Expression Switch) .............................. 118 Tone Receive Expression
(Tone Receive Expression Switch) .............................................. 108 Tone Receive Hold-1
(Rhythm Tone Receive Hold-1 Switch) ...................................... 118 Tone Receive Hold-1
(Tone Receive Hold Switch) ........................................................ 108 Tone Receive Pan Mode ................................................................... 108 Tone Receive Pan Mode
(Rhythm Tone Receive Pan Mode) ............................................. 118
331
Index
Fantom-G_r_e.book 332
Tone Redamper Switch .................................................................... 108 Tone Reverb Send Level ....................................... 125, 131, 152, 154 TONE SEL/SW .................................................................................. 197 Tone Select ................................................................................. 152, 154 Track ....................................................................................................... 37 Track Clear ......................................................................................... 235 TRACK MUTE ................................................................................... 197 Track Name ............................................................................... 209, 235 Transmit Active Sensing
(Transmit Active Sensing Switch) .............................................. 295 Transmit Bank Select
(Transmit Bank Select Switch) ..................................................... 295 Transmit Edit Data
(Transmit Edit Data Switch) ........................................................ 295 Transmit Program Change
(Transmit Program Change Switch) ........................................... 295 Transpose .................................................................................... 22, 245 Trigger Level ...................................................................................... 298 Trigger Mode ............................................................................ 129, 191 Trigger Quantize ...................................................................... 195196 Trimming Switch ............................................................................... 298 Truncate ..................................................................................... 249, 269 Tune Request ..................................................................................... 251 TVA ............................................................................................ 100, 124 TVA
(Time Variant Amplifier) ................................................................ 32 TVA Depth
(LFO1/LFO2 TVA Depth) ........................................................... 104 TVA Env ............................................................................................. 125 TVA Env
(TVA Envelope) ............................................................................. 101 TVA Env Level 13 .................................................................. 102, 125 TVA Env Time 1 Velocity Sens .............................................. 101, 125 TVA Env Time 14 ................................................................... 102, 125 TVA Env Time 4 Velocity Sens .............................................. 102, 125 TVA Env Time Key Follow .............................................................. 102 TVA/TVA Env ......................................................................... 100, 124 TVF ............................................................................................... 98, 122 TVF
(Time Variant Filter) ........................................................................ 32 TVF Cutoff Key follow ........................................................................ 99 TVF Depth
(LFO1/LFO2 TVF Depth) ............................................................ 104 TVF Env .............................................................................................. 124 TVF ENV
(TVF Envelope) .............................................................................. 100 TVF Env Depth ......................................................................... 100, 124 TVF Env Level 04 ............................................................................ 100 TVF Env Level 04
(TVF Envelope Level 04) ............................................................ 124 TVF Env Time 1 Velocity Sens ................................................. 99, 123 TVF Env Time 14 ............................................................................. 100 TVF Env Time 14
(TVF Envelope Time 14) ............................................................. 124 TVF Env Time 4 Velocity Sens ................................................. 99, 123 TVF Env Time Key Follow ............................................................... 100 TVF Env Velocity Curve ........................................................... 99, 123 TVF Env Velocity Sens .............................................................. 99, 123
TVF/TVF Env ............................................................................. 98, 122 Type ........................................................................................................ 75 Type
(Assignable Type) ......................................................................... 145 Type
(Chorus Type) ................................................................................ 159 Type
(Multi-Effects Type) ...................................................................... 158 Type
(Patch Multi-Effects Type) ........................................................... 157 Type
(Reverb Type) ................................................................................ 159
U Unload ................................................................................................. 264 Untie .................................................................................................... 227 USAM ..................................................................................................... 47 USB ...................................................................................................... 296 USB COMPUTER ................................................................................. 24 USB memory ......................................................................................... 35 USB Memory Not Ready! ................................................................. 318 USB MEMORY Slot .............................................................................. 24 USB MOUSE .......................................................................................... 24 USB Offline! ........................................................................................ 318 USB Storage ................................................................................. 35, 281 USB-MIDI Thru Sw
(USB-MIDI Thru Switch) .............................................................. 296 USER ................................................................................. 47, 52, 60, 67 USER GROUP .................................................................................... 201 User Group Screen ............................................................................ 201 User Sample .......................................................................................... 47 Utility .................................................................................................. 132
V VALUE ................................................................................................... 23 VALUE Dial ................................................................................... 23, 41 Variation
(Arpeggio Variation) ....................................................................... 78 Velocity Curve Type ......................................................................... 142 Velocity Fade Width Lower ...................................................... 95, 120 Velocity Fade Width Upper ...................................................... 95, 121 Velocity Range Lower ....................................................... 95, 120, 135 Velocity Range Upper ....................................................... 95, 120, 135 Velocity Sens
(Velocity sensitivity) ............................................................ 195196 Velocity Sens Offset ............................................................................. 91 Vibrato ................................................................................................ 139 View .................................................................................................... 252 V-LINK ......................................................................................... 22, 301 Voice Monitor .................................................................................... 141 Voice Reserve ........................................................................................ 34 VOLUME ............................................................................................... 22 VOLUME Knob .................................................................................... 22
W Wallpaper ........................................................................................... 299 WAV .................................................................................................... 283
332
Index
Fantom-G_r_e.book 333
Wave .................................................................................... 91, 119, 130 Wave Alternate Pan Switch ............................................................. 120 Wave Coarse Tune ............................................................................ 120 Wave Fine Tune ................................................................................. 120 Wave FXM Color ............................................................................... 120 Wave FXM Depth .............................................................................. 120 Wave FXM Switch ............................................................................. 119 Wave Gain .......................................................................... 92, 119, 130 Wave Group ................................................................................ 91, 119 Wave Level ......................................................................................... 120 Wave Number L (Mono) ........................................................... 91, 119 Wave Number R ......................................................................... 91, 119 Wave Pan ............................................................................................ 120 Wave Pitch Key Follow ....................................................................... 96 Wave Random Pan Switch ............................................................... 120 Wave Tempo Sync ...................................................................... 92, 119 Waveform
(LFO1/LFO2 Waveform) ............................................................. 103 WG
(Wave Generator) ............................................................................. 32 Windows ................................................................................................ 40 WMT ................................................................................................... 120 WMT Velocity Control
(WMT Velocity Control Switch) ................................................. 120 Write ............................................................ 23, 79, 88, 116, 128, 148 Write Error! ........................................................................................ 318
Y You Cannot Erase This Message ..................................................... 318 You Cannot Move This Message .................................................... 318
Z Zoom ................................................................................................... 266 Zoom In .............................................................................................. 227 Zoom Out ........................................................................................... 227 Zoom/Track Order ........................................................................... 209
333
This product complies with the requirements of European Directives EMC 89/336/EEC and LVD 73/23/EEC.
For EU Countries
For Canada
This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.
Cet appareil numrique de la classe B respecte toutes les exigences du Rglement sur le matriel brouilleur du Canada.
NOTICE
AVIS
For the USA
FEDERAL COMMUNICATIONS COMMISSION RADIO FREQUENCY INTERFERENCE STATEMENT
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:
Reorient or relocate the receiving antenna. Increase the separation between the equipment and receiver. Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. Consult the dealer or an experienced radio/TV technician for help.
This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions: (1) this device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation.
Unauthorized changes or modification to this system can void the users authority to operate this equipment. This equipment requires shielded interface cables in order to meet FCC class B Limit.
For the USA
DECLARATION OF CONFORMITY Compliance Information Statement
Model Name : Type of Equipment : Responsible Party :
Address : Telephone :
Fantom-G6/G7/G8 Synthesizer Keyboard Roland Corporation U.S. 5100 S. Eastern Avenue, Los Angeles, CA 90040-2938 (323) 890-3700
For EU Countries
For China
Fantom-G_r_e.book 334
CAUTION RISK OF ELECTRIC SHOCK
DO NOT OPEN
ATTENTION: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK,
DO NOT REMOVE COVER (OR BACK).
NO USER-SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
The lightning flash with arrowhead symbol, within an equilateral triangle, is intended to alert the user to the presence of uninsulated dangerous voltage within the products enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons.
The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product.
INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS.
IMPORTANT SAFETY INSTRUCTIONS SAVE THESE INSTRUCTIONS
WARNING - When using electric products, basic precautions should always be followed, including the following:
1. Read these instructions. 2. Keep these instructions. 3. Heed all warnings. 4. Follow all instructions. 5. Do not use this apparatus near water. 6. Clean only with a dry cloth. 7. Do not block any of the ventilation openings.
Install in accordance with the manufacturers instructions. 8. Do not install near any heat sources such as
radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat.
9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet.
WARNING: IMPORTANT:
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug, proceed as follows:
The wire which is coloured GREEN-AND-YELLOW must be connected to the terminal in the plug which is marked by the letter E or by the safety earth symbol or coloured GREEN or GREEN-AND-YELLOW.
The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.
THIS APPARATUS MUST BE EARTHED THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE. GREEN-AND-YELLOW: EARTH, BLUE: NEUTRAL, BROWN: LIVE
For the U.K.
10. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus.
11. Only use attachments/accessories specified by the manufacturer.
12. Use only with the cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over.
13. Unplug this apparatus during lightning storms or when unused for long periods of time.
14. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.
WARNING: To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture.
As of Oct. 1, 2007 (ROLAND)
Information When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as shown below.
EGYPT Al Fanny Trading Office 9, EBN Hagar Al Askalany Street, ARD E1 Golf, Heliopolis, Cairo 11341, EGYPT TEL: (022)-418-5531
REUNION Maison FO - YAM Marcel 25 Rue Jules Hermann, Chaudron - BP79 97 491 Ste Clotilde Cedex, REUNION ISLAND TEL: (0262) 218-429
SOUTH AFRICA T.O.M.S. Sound & Music (Pty)Ltd. 2 ASTRON ROAD DENVER JOHANNESBURG ZA 2195, SOUTH AFRICA TEL: (011)417 3400
Paul Bothner(PTY)Ltd. Royal Cape Park, Unit 24 Londonderry Road, Ottery 7800 Cape Town, SOUTH AFRICA TEL: (021) 799 4900
CHINA Roland Shanghai Electronics Co.,Ltd. 5F. No.1500 Pingliang Road Shanghai 200090, CHINA TEL: (021) 5580-0800
Roland Shanghai Electronics Co.,Ltd. (BEIJING OFFICE) 10F. No.18 3 Section Anhuaxili Chaoyang District Beijing 100011 CHINA TEL: (010) 6426-5050
HONG KONG Tom Lee Music Co., Ltd. Service Division 22-32 Pun Shan Street, Tsuen Wan, New Territories, HONG KONG TEL: 2415 0911
Parsons Music Ltd. 8th Floor, Railway Plaza, 39 Chatham Road South, T.S.T, Kowloon, HONG KONG TEL: 2333 1863
INDIA Rivera Digitec (India) Pvt. Ltd. 411, Nirman Kendra Mahalaxmi Flats Compound Off. Dr. Edwin Moses Road, Mumbai-400011, INDIA TEL: (022) 2493 9051
INDONESIA PT Citra IntiRama Jl. Cideng Timur No. 15J-15O Jakarta Pusat INDONESIA TEL: (021) 6324170
KOREA Cosmos Corporation 1461-9, Seocho-Dong, Seocho Ku, Seoul, KOREA TEL: (02) 3486-8855
MALAYSIA Roland Asia Pacific Sdn. Bhd. 45-1, Block C2, Jalan PJU 1/39, Dataran Prima, 47301 Petaling Jaya, Selangor, MALAYSIA TEL: (03) 7805-3263
VIET NAM Suoi Nhac Company, Ltd 370 Cach Mang Thang Tam St. Dist.3, Ho Chi Minh City, VIET NAM TEL: 9316540
PHILIPPINES G.A. Yupangco & Co. Inc. 339 Gil J. Puyat Avenue Makati, Metro Manila 1200, PHILIPPINES TEL: (02) 899 9801
SINGAPORE SWEE LEE MUSIC COMPANY PTE. LTD. 150 Sims Drive, SINGAPORE 387381 TEL: 6846-3676
TAIWAN ROLAND TAIWAN ENTERPRISE CO., LTD. Room 5, 9fl. No. 112 Chung Shan N.Road Sec.2, Taipei, TAIWAN, R.O.C. TEL: (02) 2561 3339
THAILAND Theera Music Co. , Ltd. 100-108 Soi Verng Nakornkasem, New Road,Sumpantawongse, Bangkok 10100 THAILAND TEL: (02) 224-8821
AUSTRALIA/ NEW ZEALAND Roland Corporation Australia Pty.,Ltd. 38 Campbell Avenue Dee Why West. NSW 2099 AUSTRALIA
For Australia Tel: (02) 9982 8266 For New Zealand Tel: (09) 3098 715
ARGENTINA Instrumentos Musicales S.A. Av.Santa Fe 2055 (1123) Buenos Aires ARGENTINA TEL: (011) 4508-2700
BARBADOS A&B Music Supplies LTD 12 Webster Industrial Park Wildey, St.Michael, Barbados TEL: (246)430-1100
BRAZIL Roland Brasil Ltda. Rua San Jose, 780 Sala B Parque Industrial San Jose Cotia - Sao Paulo - SP, BRAZIL TEL: (011) 4615 5666
CHILE Comercial Fancy II S.A. Rut.: 96.919.420-1 Nataniel Cox #739, 4th Floor Santiago - Centro, CHILE TEL: (02) 688-9540
COLOMBIA Centro Musical Ltda. Cra 43 B No 25 A 41 Bododega 9 Medellin, Colombia TEL: (574)3812529
COSTA RICA JUAN Bansbach Instrumentos Musicales Ave.1. Calle 11, Apartado 10237, San Jose, COSTA RICA TEL: 258-0211
CURACAO Zeelandia Music Center Inc. Orionweg 30 Curacao, Netherland Antilles TEL:(305)5926866
DOMINICAN REPUBLIC Instrumentos Fernando Giraldez Calle Proyecto Central No.3 Ens.La Esperilla Santo Domingo, Dominican Republic TEL:(809) 683 0305
ECUADOR Mas Musika Rumichaca 822 y Zaruma Guayaquil - Ecuador TEL:(593-4)2302364
EL SALVADOR OMNI MUSIC 75 Avenida Norte y Final Alameda Juan Pablo II, Edificio No.4010 San Salvador, EL SALVADOR TEL: 262-0788
GUATEMALA Casa Instrumental Calzada Roosevelt 34-01,zona 11 Ciudad de Guatemala Guatemala TEL:(502) 599-2888
HONDURAS Almacen Pajaro Azul S.A. de C.V. BO.Paz Barahona 3 Ave.11 Calle S.O San Pedro Sula, Honduras TEL: (504) 553-2029
MARTINIQUE Musique & Son Z.I.Les Mangle 97232 Le Lamantin Martinique F.W.I. TEL: 596 596 426860
Gigamusic SARL 10 Rte De La Folie 97200 Fort De France Martinique F.W.I. TEL: 596 596 715222
MEXICO Casa Veerkamp, s.a. de c.v. Av. Toluca No. 323, Col. Olivar de los Padres 01780 Mexico D.F. MEXICO TEL: (55) 5668-6699
NICARAGUA Bansbach Instrumentos Musicales Nicaragua Altamira D'Este Calle Principal de la Farmacia 5ta.Avenida 1 Cuadra al Lago.#503 Managua, Nicaragua TEL: (505)277-2557
PANAMA SUPRO MUNDIAL, S.A. Boulevard Andrews, Albrook, Panama City, REP. DE PANAMA TEL: 315-0101
PARAGUAY Distribuidora De Instrumentos Musicales J.E. Olear y ESQ. Manduvira Asuncion PARAGUAY TEL: (595) 21 492147
PERU Audionet Distribuciones Musicales SAC Juan Fanning 530 Miraflores Lima - Peru TEL: (511) 4461388
TRINIDAD AMR Ltd Ground Floor Maritime Plaza Barataria Trinidad W.I. TEL: (868) 638 6385
NORWAY Roland Scandinavia Avd. Kontor Norge Lilleakerveien 2 Postboks 95 Lilleaker N-0216 Oslo NORWAY TEL: 2273 0074
POLAND ROLAND POLSKA SP. Z O.O. UL. Gibraltarska 4. PL-03 664 Warszawa POLAND TEL: (022) 679 4419
PORTUGAL Roland Iberia, S.L. Portugal Office Cais das Pedras, 8/9-1 Dto 4050-465, Porto, PORTUGAL TEL: 22 608 00 60
ROMANIA FBS LINES Piata Libertatii 1, 535500 Gheorgheni, ROMANIA TEL: (266) 364 609
RUSSIA MuTek Dorozhnaya ul.3,korp.6 117 545 Moscow, RUSSIA TEL: (095) 981-4967
SLOVAKIA DAN Acoustic s.r.o. Povazsk 18. SK - 940 01 Nov Zmky TEL: (035) 6424 330
SPAIN Roland Iberia, S.L. Paseo Garca Faria, 33-35 08005 Barcelona SPAIN TEL: 93 493 91 00
SWEDEN Roland Scandinavia A/S SWEDISH SALES OFFICE Danvik Center 28, 2 tr. S-131 30 Nacka SWEDEN TEL: (0)8 702 00 20
SWITZERLAND Roland (Switzerland) AG Landstrasse 5, Postfach, CH-4452 Itingen, SWITZERLAND TEL: (061) 927-8383
UKRAINE EURHYTHMICS Ltd. P.O.Box: 37-a. Nedecey Str. 30 UA - 89600 Mukachevo, UKRAINE TEL: (03131) 414-40
UNITED KINGDOM Roland (U.K.) Ltd. Atlantic Close, Swansea Enterprise Park, SWANSEA SA7 9FJ, UNITED KINGDOM TEL: (01792) 702701
BAHRAIN Moon Stores No.1231&1249 Rumaytha Building Road 3931, Manama 339 BAHRAIN TEL: 17 813 942
IRAN MOCO INC. No.41 Nike St., Dr.Shariyati Ave., Roberoye Cerahe Mirdamad Tehran, IRAN TEL: (021)-2285-4169
ISRAEL Halilit P. Greenspoon & Sons Ltd. 8 Retzif Ha'alia Hashnia St. Tel-Aviv-Yafo ISRAEL TEL: (03) 6823666
URUGUAY Todo Musica S.A. Francisco Acuna de Figueroa 1771 C.P.: 11.800 Montevideo, URUGUAY TEL: (02) 924-2335
VENEZUELA Instrumentos Musicales Allegro,C.A. Av.las industrias edf.Guitar import #7 zona Industrial de Turumo Caracas, Venezuela TEL: (212) 244-1122
AUSTRIA Roland Elektronische Musikinstrumente HmbH. Austrian Office Eduard-Bodem-Gasse 8, A-6020 Innsbruck, AUSTRIA TEL: (0512) 26 44 260
BELGIUM/FRANCE/ HOLLAND/ LUXEMBOURG Roland Central Europe N.V. Houtstraat 3, B-2260, Oevel (Westerlo) BELGIUM TEL: (014) 575811
CROATIA ART-CENTAR Degenova 3. HR - 10000 Zagreb TEL: (1) 466 8493
CZECH REP. CZECH REPUBLIC DISTRIBUTOR s.r.o Voctrova 247/16 CZ - 180 00 PRAHA 8, CZECH REP. TEL: (2) 830 20270
DENMARK Roland Scandinavia A/S Nordhavnsvej 7, Postbox 880, DK-2100 Copenhagen DENMARK TEL: 3916 6200
FINLAND Roland Scandinavia As, Filial Finland Elannontie 5 FIN-01510 Vantaa, FINLAND TEL: (0)9 68 24 020
GERMANY Roland Elektronische Musikinstrumente HmbH. Oststrasse 96, 22844 Norderstedt, GERMANY TEL: (040) 52 60090
GREECE/CYPRUS STOLLAS S.A. Music Sound Light 155, New National Road Patras 26442, GREECE TEL: 2610 435400
HUNGARY Roland East Europe Ltd. Warehouse Area DEPO Pf.83 H-2046 Torokbalint, HUNGARY TEL: (23) 511011
IRELAND Roland Ireland G2 Calmount Park, Calmount Avenue, Dublin 12 Republic of IRELAND TEL: (01) 4294444
ITALY Roland Italy S. p. A. Viale delle Industrie 8, 20020 Arese, Milano, ITALY TEL: (02) 937-78300
JORDAN MUSIC HOUSE CO. LTD. FREDDY FOR MUSIC P. O. Box 922846 Amman 11192 JORDAN TEL: (06) 5692696
KUWAIT EASA HUSAIN AL-YOUSIFI & SONS CO. Al-Yousifi Service Center P.O.Box 126 (Safat) 13002 KUWAIT TEL: 00 965 802929
LEBANON Chahine S.A.L. George Zeidan St., Chahine Bldg., Achrafieh, P.O.Box: 16-5857 Beirut, LEBANON TEL: (01) 20-1441
OMAN TALENTZ CENTRE L.L.C. Malatan House No.1 Al Noor Street, Ruwi SULTANATE OF OMAN TEL: 2478 3443
QATAR Al Emadi Co. (Badie Studio & Stores) P.O. Box 62, Doha, QATAR TEL: 4423-554
SAUDI ARABIA aDawliah Universal Electronics APL Behind Pizza Inn Prince Turkey Street aDawliah Building, PO BOX 2154, Alkhobar 31952 SAUDI ARABIA TEL: (03) 8643601
SYRIA Technical Light & Sound Center Rawda, Abdul Qader Jazairi St. Bldg. No. 21, P.O.BOX 13520, Damascus, SYRIA TEL: (011) 223-5384
TURKEY ZUHAL DIS TICARET A.S. Galip Dede Cad. No.37 Beyoglu - Istanbul / TURKEY TEL: (0212) 249 85 10
U.A.E. Zak Electronics & Musical Instruments Co. L.L.C. Zabeel Road, Al
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