Information When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as shown below. AFRICA EGYPT Al Fanny Trading Office 9, EBN Hagar A1 Askalany Street, ARD E1 Golf, Heliopolis, Cairo 11341, EGYPT TEL: 20-2-417-1828 Maison FO - YAM Marcel 25 Rue Jules Hermann, Chaudron - BP79 97 491 Ste Clotilde Cedex, REUNION ISLAND TEL: (0262) 218-429 SOUTH AFRICA That Other Music Shop (PTY) Ltd. 11 Melle St., Braamfontein, Johannesbourg, SOUTH AFRICA P.
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.
Reference_e.book 3 ページ 2003年7月14日 月曜日 午後3時25分 USING THE UNIT SAFELY The symbol alerts the user to important instructions or warnings.The specific meaning of the symbol is determined by the design contained within the triangle. In the case of the symbol at left, it is used for general cautions, warnings, or alerts to danger. Used for instructions intended to alert the user to the risk of death or severe injury should the unit be used improperly.
Reference_e.book 4 ページ 2003年7月14日 月曜日 午後3時25分 USING THE UNIT SAFELY 015 109a • Do not force the unit’s power-supply cord to share an outlet with an unreasonable number of other devices. Be especially careful when using extension cords—the total power used by all devices you have connected to the extension cord’s outlet must never exceed the power rating (watts/amperes) for the extension cord. Excessive loads can cause the insulation on the cord to heat up and eventually melt through.
Reference_e.book 5 ページ 2003年7月14日 月曜日 午後3時25分 IMPORTANT NOTES 291b 553 In addition to the items listed under “IMPORTANT SAFETY INSTRUCTIONS” and “USING THE UNIT SAFELY” on pages 2 and 3, please read and observe the following: • Use a reasonable amount of care when using the unit’s buttons, sliders, or other controls; and when using its jacks and connectors. Rough handling can lead to malfunctions.
Reference_e.book 6 ページ 2003年7月14日 月曜日 午後3時25分 Contents USING THE UNIT SAFELY ......................................................................................... 3 IMPORTANT NOTES .................................................................................................. 5 Main Features ........................................................................................................... 13 Panel Descriptions................................................................................
Reference_e.book 7 ページ 2003年7月14日 月曜日 午後3時25分 Contents Creating a Rhythm Set............................................................................................. 64 How to Make the Rhythm Set Settings ................................................................................................. 64 Editing in a Graphic Display (Zoom Edit) ................................................................................ 64 Initializing Rhythm Set Settings (Init)..................................
Reference_e.book 8 ページ 2003年7月14日 月曜日 午後3時25分 Contents Making Realtime Controller Settings ....................................................................................... 101 Using a Pedal to Modify the Sound (Control Pedal)......................................................................... 102 Making Control Pedal Settings ................................................................................................. 102 Playing Arpeggios (ARPEGGIO/RHYTHM Function) ....................
Reference_e.book 9 ページ 2003年7月14日 月曜日 午後3時25分 Contents Editing a Sample .................................................................................................... 122 Selecting a Sample (Sample List).......................................................................................................... 122 Selecting a Sample....................................................................................................................... 122 Loading a Sample..............................
Reference_e.book 10 ページ 2003年7月14日 月曜日 午後3時25分 Contents Recording Songs ................................................................................................... 141 Two Recording Methods............................................................................................................ 141 Before You Record a New Song ........................................................................................................... 141 Select the Sound to be Used for Recording ...............
Reference_e.book 11 ページ 2003年7月14日 月曜日 午後3時25分 Contents Saving a Song with Samples (Save Song+Samples)............................................................... 168 Saving a Song (Save Song) ......................................................................................................... 169 Saving Samples (Save All Samples).......................................................................................... 169 Saving a Song as an SMF File (Save as SMF)................................
Reference_e.book 12 ページ 2003年7月14日 月曜日 午後3時25分 Contents Background .................................................................................................................................. 190 Sync/Temp .................................................................................................................................. 190 Metronome................................................................................................................................... 192 MIDI ...........
Reference_e.book 13 ページ 2003年7月14日 月曜日 午後3時25分 Main Features Speedy music production Mastering functionality The “S” in Fantom-S stands for its advanced studio functionality and its powerful sampling capabilities. Careful attention has been paid to the quality and diversity of its internal sounds. Its rich array of internal sounds can be expanded by installing up to four wave expansion boards (SRX series). In addition, you can utilize the sampling functions to create your own sounds.
Panel Descriptions Front Panel fig.00-01S88 [-OCT], [+OCT] D BEAM Transposes the pitch of the keyboard in 1 octave units (-3- +3 octaves). You can apply a variety of effects to sounds simply by moving your hand. → (p. 98) Switches RPS on/off. [RPS] ASSIGNABLE Turn on the D Beam function for the Keyboard part or pad part. → (p. 98) PAD TRIGGER Instead of striking the pads themselves, you can also use the D Beam controller to control the sounding of the pads. → (p.
Reference_e.book 15 ページ 2003年7月14日 月曜日 午後3時25分 Panel Descriptions [REC] [CURSOR] The display changes to the Recording Standby window. Æ (p. 142) If you press this during recording, the Rehearsal function will be activated. → (p. 145) Moves the cursor location up/down/left/right. 7 Display This displays information regarding the operation you are performing 8 [MENU] Opens the MENU. The contents of the menu will depend on the current mode.
Reference_e.book 16 ページ 2003年7月14日 月曜日 午後3時25分 Panel Descriptions Rear Panel fig.00-02 fig.00-03 DIGITAL OUT Connectors (S/P DIF OPTICAL, S/P DIF COAXIAL) The Fantom-S features both optical and coaxial digital out connectors (conforming to S/P DIF). These connectors output a digital audio signal (stereo). The output signal is identical to the signal that is output from the OUTPUT A (MIX) jacks. POWER ON Switch Press to turn the power on/off. → (Quick Start; p.
How the Fantom-S Is Organized Classification of Fantom-S Sound Types Basic Structure When using the Fantom-S, you will notice that a variety of different categories come into play when working with sounds. What follows is a simple explanation of each sound category. Broadly speaking, the Fantom-S consists of a controller section, a sound generator section, and a sequencer section. These sections are internally connected via MIDI. fig.01-01.
Reference_e.book 18 ページ 2003年7月14日 月曜日 午後3時25分 Overview of the Fantom-S LFO (Low Frequency Oscillator) fig.01-04.e Use the LFO to create cyclic changes (modulation) in a sound. The Fantom-S has two LFOs. Either one or both can be applied to effect the WG (pitch), TVF (filter) and/or TVA (volume). When an LFO is applied to the WG pitch, a vibrato effect is produced. When an LFO is applied to the TVF cutoff frequency, a wah effect is produced.
月曜日 午後3時25分 Overview of the Fantom-S Part Voice Reserve On the Fantom-S, a “part” is something to which you assign a patch or rhythm set. Patch mode has two parts, the Pad part and the Keyboard part, and you can assign a patch or rhythm set to each of these parts. In Performance mode, each performance has sixteen parts, and you can assign a patch or rhythm set to each part.
Reference_e.book 20 ページ 2003年7月14日 月曜日 午後3時25分 Overview of the Fantom-S Temporary Memory Temporary Area This is the area that holds the data for the patch or performance that you’ve selected using the panel buttons. When you play the keyboard or play back a sequence, sound is produced based on data in the temporary area. When you edit a patch or performance, you do not directly modify the data in memory; rather, you call up the data into the temporary area, and edit it there.
月曜日 午後3時25分 Overview of the Fantom-S How Effects Units Work in Different Modes In Patch Mode The multi-effects, chorus and reverb effects can be set up individually for each patch/rhythm set. Adjusting the signal level to be sent to each effects unit (Send Level) provides control over the effect intensity that’s applied to each tone. fig.01-07 Keyboard part Patch TONE Multi-Effects About the Sequencer A sequencer records keyboard performance and controller movements as MIDI messages (sequencer data).
Reference_e.book 22 ページ 2003年7月14日 月曜日 午後3時25分 Overview of the Fantom-S Tempo Track Positions for Storing a Song The Tempo track records tempo changes of a song over time. It can be used for tempo changes during a song. If a song has the same tempo from beginning to end, the Tempo track can be ignored. Internal Memory When a song is first recorded on the Fantom-S, a tempo setting at the time of recording will be stored at the beginning of the Tempo track.
月曜日 午後3時25分 Overview of the Fantom-S About the Sampling Section The Sampling section samples (records) external sounds from an audio device or mic as digital data. Sampled sounds can be played as a patch or rhythm set. You can also import WAV/AIFF format files and use them in the same way. Where Samples are Stored Samples that you record or import are stored in sample memory. This sample memory is temporary, and its data will be lost when you turn off the power.
Reference_e.book 24 ページ 2003年7月14日 月曜日 午後3時25分 Overview of the Fantom-S Basic Operation of the Fantom-S To select the Mixer screen 1. Press [MIXER]. fig.MIXER_50 Switching the Sound Generator Mode The Fantom-S has two sound generating modes: Patch mode, Performance mode. You can select the sound generating mode (state) that is most appropriate for how you are playing the Fantom-S. Use the following procedure to switch between these modes.
月曜日 午後3時25分 Overview of the Fantom-S Moving the Cursor A single screen or window displays multiple parameters or items for selection. To edit the setting of a parameter, move the cursor to the value of that parameter. To select an item, move the cursor to that item. When selected with the cursor, a parameter value or other selection is highlighted. When the cursor is located at a parameter value, press [ENTER] to display a window where you can set the value.
Reference_e.book 26 ページ 2003年7月14日 月曜日 午後3時25分 Playing in Patch Mode In Patch mode, the keyboard and the pads are each used to play a single sound (patch/rhythm set). The keyboard controller section and the pad controller section each have their own sound generator part, and each are connected by their own MIDI channel. This means you can play separate sounds on the keyboard and the pads. 4. Press [7] to switch the Patch Play screen.
Reference_e.book 27 ページ 2003年7月14日 月曜日 午後3時25分 Functions in the Patch Play screen Selecting a Patch fig.02-01.e 7 8 9 The Fantom-S has eight patch groups, including the User group and Preset groups A–E and GM, with each group storing 128 patches (256 in GM, USER). What’s more, you can further expand your options by installing up to four optional Wave Expansion Boards (four SRX series), enabling you to select from a huge assortment of available patches.
Reference_e.book 28 ページ 2003年7月14日 月曜日 午後3時25分 Playing in Patch Mode 1. Press [PATCH/RHYTHM] to access the Patch Play screen. fig.02-00a.e Patch type Patch group Patch number Patch Category Patch name Selecting Favorite Patches (Favorite Sound) You can bring together your favorite and most frequently used patches in one place by registering them in the Favorite sound. By using this function, you can rapidly select favorite patches from internal memory or a Wave Expansion Board.
Reference_e.book 29 ページ 2003年7月14日 月曜日 午後3時25分 fig.01-18_50 Selecting Patches by Category (Patch Finder) The Fantom-S provides a “Patch Search function” (Patch Finder) which allows you to specify a type (category) of patch so that you can quickly find the desired patch. There are a total of 38 categories. 1. Press [PATCH/RHYTHM] to access the Patch Play screen. fig.02-00a.e Patch type Patch group Patch number Patch Category Patch name To switch groups, press [1 (⇑)] [2 (⇓)].
Reference_e.book 30 ページ 2003年7月14日 月曜日 午後3時25分 Playing in Patch Mode The following categories can be selected. Using [1]–[8] to Register 1. Press [PATCH/RHYTHM] to access the Patch Play screen to select the patch that you wish to register (p. 27). Category Contents --- No Assign No assign PNO AC.Piano Acoustic Piano EP EL.Piano Electric Piano KEY Keyboards Other Keyboards (Clav, Harpsichord etc.
Reference_e.book 31 ページ 2003年7月14日 月曜日 午後3時25分 Registering Favorite Rhythm Sets (Favorite Sound) You can bring together your favorite and most frequently used rhythm sets in one place by registering them in the Favorite sound. By using this function you can rapidly select favorite rhythm sets from internal memory or a Wave Expansion Board. You can register a total of 64 sounds (8 sounds x 8 banks) as favorite sounds.
Reference_e.book 32 ページ 2003年7月14日 月曜日 午後3時25分 Playing in Patch Mode Transposing the Keyboard in Semitone Steps (Transpose) fig.02-09 Transpose changes keyboard pitch in units of semitones. This function is useful when you play transposed instruments such as trumpet or clarinet following a printed score. * Transpose applies only to the keyboard part. 1. Press [PATCH/RHYTHM] to access the Patch Play screen. 2. Press [1 (Kbd Part)] to move the cursor to the keyboard part. 3.
Reference_e.book 33 ページ 2003年7月14日 月曜日 午後3時25分 Creating Smooth Pitch Changes (Portamento) Portamento is an effect which smoothly changes the pitch from the first-played key to the next-played key. By applying portamento when Mono mode is selected (see the preceding item), you can simulate performance effects such as slurring on a violin. 1. Press [PATCH/RHYTHM] to access the Patch Play screen. 2. Press [1 (Kbd Part)] to move the cursor to the keyboard part. 3.
Reference_e.book 34 ページ 2003年7月14日 月曜日 午後3時25分 Playing in Patch Mode Assigning a Parameter to a Controller Here's how to specify the parameter that will be affected when you operate a controller. 1. Press [PATCH/RHYTHM] to access the Patch Play screen. 2. Press [5 (Ctrl Setting)]. 3. Press [5 (Ctrl Setting)]. 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.
Reference_e.book 35 ページ 2003年7月14日 月曜日 午後3時25分 When you press [7 (Panel View)], the Panel View screen will appear, which displays the above parameters in graphical fashion, simulating an analog synthesizer. From the Panel View screen, you can press [2 (Image View)] to open the Image View screen, where you can see a graphical indication of the D Beam output value. Press [EXIT] to leave this screen. To exit from this screen, press [EXIT].
Reference_e.book 36 ページ 2003年7月14日 月曜日 午後3時25分 Playing in Patch Mode D Beam (Assignable) Knob By assigning a variety of functions to the D Beam controller you can apply different effects to the sound in real time. fig.02-25_50 fig.02-23_50 For details on the setting, refer to “Assigning a Parameter to a Controller” (p. 34). For details on the setting, refer to “Assigning a Parameter to a Controller” (p. 34).
Reference_e.book 37 ページ 2003年7月14日 月曜日 午後3時25分 Playing Percussion Instruments Switch fig.02-26_50 In Patch mode, you can play percussion instruments from the keyboard and pad by selecting a rhythm set. As the rhythm tone assigned to each key and pad varies by the rhythm set selected, you can play a wide range of percussion instruments. Selecting a Rhythm Set For details on the setting, refer to “Assigning a Parameter to a Controller” (p. 34).
Reference_e.book 38 ページ 2003年7月14日 月曜日 午後3時25分 Playing in Patch Mode 1. Press [PATCH/RHYTHM] to access the Patch Play screen. Playing a Rhythm Set 2. Press [1 (Kbd Part)] or [2 (Pad Part)] to select the pad part or the keyboard part. 1. Press [PATCH/RHYTHM] to access the Patch Play screen, and then press [7]. fig.02-15.e Patch Type Rhythm set group The Patch Play screen switches. Rhythm set number 2. Press [1 (Kbd Part)] or [2 (Pad Part)] to select the part.
Reference_e.book 39 ページ 2003年7月14日 月曜日 午後3時25分 Creating a Patch fig.03-01_50 Creating a Patch With the Fantom-S, you have total control over a wide variety of settings. Each item that can be set is known as a parameter. When you change the values of parameters, you are doing what is referred to as Editing. This chapter explains the procedures used in creating patches, and the functions of the patch parameters.
Creating a Patch 9. If you wish to save the changes you’ve made, press [WRITE] to perform the Save operation (p. 42). If you do not wish to save changes, press [EXIT] to return to the Patch Play screen. If you return to the Patch Play screen without saving, an “*” will be displayed at the left of the patch number, indicating that the patch settings have been edited. If you turn off the power or select a different sound while the display indicates “*,” your edited patch will be lost.
Reference_e.book 41 ページ 2003年7月14日 月曜日 午後3時25分 Creating a Patch The Compare Function For the Patch Effect Copy and Patch Tone Copy operations, you can use the Compare function. If you want to play the copy-source patch, press [6 (Compare)] to add a check mark. Now you can play the copy-source patch from the keyboard or pad. fig.03-06_50 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.
Creating a Patch Saving Patches You’ve Created (Write) Changes you make to sound settings are temporary, and will be lost if you turn off the power or select another sound. If you want to keep the modified sound, you must save it in the internal USER group (user memory) When you edit the patch settings, an “*” will appear in the Patch Play screen. When you perform the save procedure, the data that previously occupied the save destination will be lost. 1.
Reference_e.book 43 ページ 2003年7月14日 月曜日 午後3時25分 Creating a Patch Functions of Patch Parameters Patch Level 1 This section explains the functions the different patch parameters have, as well as the composition of these parameters. Specifies the volume of the patch. Parameters marked with a “★” can be controlled using specified MIDI messages (Matrix Control). Settings in the Control screen will determine how these parameters are controlled (p. 61).
Reference_e.book 44 ページ 2003年7月14日 月曜日 午後3時25分 Creating a Patch Attack Time Offset fig.Stretch.e Pitch difference from equal temperament 2 Attack Time Offset alters the attack time of the overall patch, while preserving the relative differences between the attack time values set for each tone in the A-Env Time 1 parameters (p. 54), F-Env Time 1 parameters (p. 52).
Reference_e.book 45 ページ 2003年7月14日 月曜日 午後3時25分 Modifying Waveforms (Wave) Wave Tempo Sync fig.03-15_50 When you wish to synchronize a Phrase Loop to the clock (tempo), set this to “ON.” This is valid only when a separately sold wave expansion board is installed, and a waveform that indicates a tempo (BPM) is selected as the sample for a tone.
Reference_e.book 46 ページ 2003年7月14日 月曜日 午後3時25分 Creating a Patch Changing How a Tone Is Sounded (TMT) You can use the force with which keys are played, or MIDI messages to control the way each Tone is played. This is referred to as the Tone Mix Table (TMT). fig.Struct-04 TYPE 4 TONE 1 (3) WG TVA TVF B TONE 2 (4) WG TVF TVA fig.03-14_50 This type applies a booster to distort the waveform, and then combines the two filters.
Reference_e.book 47 ページ 2003年7月14日 月曜日 午後3時25分 Creating a Patch fig.Struct-10 TYPE 10 WG TVF TVA Creating a Patch Booster TONE 1 (3) The Booster is used to distort the incoming signal. R fig.Booster-1.e TONE 2 (4) WG TVF TVA This type passes the filtered sound of each tone through a ring modulator to create new overtones, and also mixes in the sound of tone 2 (4). Since the ring-modulated sound can be mixed with tone 2 (4), tone 1 (3) TVA can adjust the amount of the ring-modulated sound.
Reference_e.book 48 ページ 2003年7月14日 月曜日 午後3時25分 Creating a Patch Key Fade Lower (Keyboard Fade Width Lower) Velo Fade Lower (Velocity Fade Width Lower) This determines what will happen to the tone’s level when a note that’s lower than the tone’s specified keyboard range is played. Higher settings produce a more gradual change in volume. If you don’t want the tone to sound at all when a note below the keyboard range is played, set this parameter to “0.
Reference_e.book 49 ページ 2003年7月14日 月曜日 午後3時25分 Creating a Patch fig.Pitch KF.e Pitch fig.03-16_50 +200 +100 Creating a Patch Modifying Pitch (Pitch/Pitch Env) +50 0 -50 C1 For details on the setting, refer to “How to Make the Patch Settings” (p. 39). Tone Coarse Tune ★ 1 Adjusts the pitch of the tone’s sound up or down in semitone steps (+/-4 octaves).
Creating a Patch 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 Modifying the Brightness of a Sound with a Filter (TVF/TVF Env) fig.03-17_50 fig.Time KF.e For details on the setting, refer to “How to Make the Patch Settings” (p. 39).
Reference_e.book 51 ページ 2003年7月14日 月曜日 午後3時25分 Cutoff Frequency ★ 1 Cutoff Key follow 4 Selects the frequency at which the filter begins to have an effect on the waveform’s frequency components. Use this parameter if you want the cutoff frequency to change according to the key that is pressed.
Reference_e.book 52 ページ 2003年7月14日 月曜日 午後3時25分 Creating a Patch TVF ENV Resonance V-Sens (Resonance Velocity Sensitivity) F-Env Depth (TVF Envelope Depth) 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. Specifies the depth of the TVF envelope.
Reference_e.book 53 ページ 2003年7月14日 月曜日 午後3時25分 Creating a Patch fig.03-18_50 fig.Bias.e LOWER + Level UPPER Level + 0 0 – C-1 For details on the setting, refer to “How to Make the Patch Settings” (p. 39). Bias Position LO&UP + Level + 0 0 – – C-1 – Key Bias Position G9 C-1 ALL Level Bias Position – 0 + Key G9 C-1 Key G9 + 0 – Bias Position Key G9 Bias Level Adjusts the angle of the volume change that will occur in the selected Bias Direction.
Reference_e.book 54 ページ 2003年7月14日 月曜日 午後3時25分 Creating a Patch A-Env Time KF (TVA Envelope Time Key Follow) fig.Pan KF.e Pan 0 Use this setting if you want the TVA envelope times (Time 2–Time 4) to be affected by the keyboard location. Based on the TVA envelope times for the C4 key (center C), positive (+) settings will cause notes higher than C4 to have increasingly shorter times, and negative (-) settings will cause them to have increasingly longer times.
Reference_e.book 55 ページ 2003年7月14日 月曜日 午後3時25分 Creating a Patch Specifies for each patch how the direct sound will be output. • When setting the “MFX,” set the output destination with the MFX Output Assign (p. 179) for the sound after it has passed through the multi-effects. Value: • Chorus and reverb are output in mono at all times. Patch Out Assign MFX: Output in stereo through multi-effects. You can also apply chorus or reverb to the sound that passes through multieffects.
Reference_e.book 56 ページ 2003年7月14日 月曜日 午後3時25分 Creating a Patch Modulating Sounds (LFO) (Example) For a tempo of 120 (120 quarter notes occur in 1 minute (60 seconds)) fig.03-19_50 Setting (half note) LFO Rate 1 second (60 / 60 =1 (second)) (quarter note) 0.5 seconds (60 / 120= 0.5 (seconds)) (eighth note) 0.25 seconds (60 / 240= 0.25 (seconds)) This setting will be ignored if the Waveform parameter is set to “CHAOS.
Reference_e.book 57 ページ 2003年7月14日 月曜日 午後3時25分 Creating a Patch TVA Depth (LFO1/LFO2 TVA Depth) ★ Delay Time KF (LFO1/LFO2 Delay Time Key Follow) Value: -100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80, +90, +100 fig.Time KF.e Time -100 -50 0 +50 +100 C1 C2 C3 C4 C5 C6 C7 Key Fade Mode (LFO1/LFO2 Fade Mode) Value: -63– +63 Pan Depth (LFO1/LFO2 Pan Depth) ★ Specifies how deeply the LFO will affect the pan.
Creating a Patch ● Apply the LFO immediately when the key is pressed, and then gradually begin to decrease the effect fig.LFO-2.e high (more) Delay Time Apply Portamento or Legato to the Sound (Solo Porta) fig.03-20_50 Fade Time Pitch Cutoff Frequency Level Pan Note on Depth low (less) 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.
Reference_e.book 59 ページ 2003年7月14日 月曜日 午後3時25分 Creating a Patch Let's say you have the Legato Switch set to “ON,” and the Legato Retrigger set to “OFF.” When you try to sound a legato (by pressing a higher key while a lower key is held down), the pitch may sometimes not be able to rise all the way to the intended pitch (stopping instead at an intermediate pitch). This can occur because the limit of pitch rise, as determined at the wave level, has been exceeded.
Reference_e.book 60 ページ 2003年7月14日 月曜日 午後3時25分 Creating a Patch Miscellaneous Settings (Misc) fig.03-13a_50 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.OFF-D.
Reference_e.book 61 ページ 2003年7月14日 月曜日 午後3時25分 Creating a Patch Matrix Control Settings (Ctrl1–4) When a loop waveform (p. 41) 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.” fig.03-13_50 Creating a Patch Tone Env Mode (Tone Envelope Mode) Range: NO SUS, SUST If a one-shot type Wave (p. 41) is selected, it will not sustain even if this parameter is set to “SUST.
Reference_e.book 62 ページ 2003年7月14日 月曜日 午後3時25分 Creating a Patch Matrix Control 1–4 Source Sets the MIDI message used to change the tone parameter with the Matrix Control. Value OFF: Matrix control will not be used. CC01–31, 33–95: Controller numbers 1–31, 33–95 For more information about Control Change messages, please refer to “MIDI Implementation” (Parameter List). PITCH BEND: Pitch Bend AFTERTOUCH:Aftertouch SYS CTRL1–SYS CTRL4: MIDI messages used as common matrix controls.
Reference_e.book 63 ページ 2003年7月14日 月曜日 午後3時25分 ● Changing the TVF Envelope CTRL Tone 1–4 (Tone Control Switch 1–4) TVA ENV A-TIME: Changes the Env Time 1 parameter of the TVA envelope. Matrix Control Tone selects the tone to which the effect is applied when using the Matrix Control. TVA ENV D-TIME: Changes the Env Time 2 and Env Time 3 parameters of the TVA envelope. Value OFF: The effect will not be applied. TVA ENV R-TIME: Changes the Env Time 4 parameter of the TVA envelope.
Reference_e.book 64 ページ 2003年7月14日 月曜日 午後3時25分 Creating a Rhythm Set With the Fantom, you have total control over a wide variety of settings. Each item that can be set is known as a parameter. When you change the values of parameters, you are doing what is referred to as Editing. This chapter explains the procedures used in creating rhythm sets, and the functions of the rhythm set parameters. fig.
Reference_e.book 65 ページ 2003年7月14日 月曜日 午後3時25分 Creating a Rhythm Set The Zoom Edit screen will appear. fig.04-10c_50 Copying Rhythm Tone Settings (Copy) This operation copies the settings of any desired rhythm set to the currently selected rhythm set. You can use this feature to make the editing process faster and easier. Basic Procedure for Rhythm Tone Copy 1.
Reference_e.book 66 ページ 2003年7月14日 月曜日 午後3時25分 Creating a Rhythm Set Saving Rhythm Sets You’ve Created (Write) Cautions When Selecting a Waveform The sounds of the Fantom 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 fall into the following two groups. One-shot: These waveforms contain sounds that have short decays.
Reference_e.book 67 ページ 2003年7月14日 月曜日 午後3時25分 Creating a Rhythm Set The write destination can be either the Fantom-S's internal user area (User), or a memory card (Card). fig.04-08a_50 Functions of Rhythm Set Parameters This section explains the functions the different rhythm set parameters have, as well as the composition of these parameters.
Creating a Rhythm Set Tone Name (Rhythm Tone Name) You can assign a name of up to 12 characters to the rhythm tone. Tone Receive Hold-1 (Rhythm Tone Receive Hold-1 Switch) Value: space, A-Z, a-z, 0-9, ! " # $ % & ' ( ) * + , - . / : ; < = > ? @ [ \ ] ^ _`{|} For each rhythm tone, specify whether MIDI Hold-1 messages will be received (ON), or not (OFF). For details on assigning names, refer to “Assigning a Name” (p. 25) Assign Type If “NO SUS” is selected for Env Mode parameter (p.
Reference_e.book 69 ページ 2003年7月14日 月曜日 午後3時25分 Creating a Rhythm Set The Waves for the bass drum, snare, hi-hat, toms, and other percussion instruments are each assigned to one rhythm tone. When adding 3D effects to the sound, make the Pan settings for each rhythm tone individually. Wave Group Phrase Loop Phrase loop refers to the repeated playback of a phrase that’s been pulled out of a song (e.g., by using a sampler).
Reference_e.book 70 ページ 2003年7月14日 月曜日 午後3時25分 Creating a Rhythm Set Changing How a Rhythm Tone Is Sounded (WMT) The WMT (Wave Mix Table) uses key velocity to control the four waveforms assigned to the rhythm tone. fig.04-12a_50 WMT Velocity Control (Velocity Control Switch) WMT Velocity Control determines whether a different rhythm tone is played (ON) or not (OFF) depending on the force with which the key is played (velocity).
Reference_e.book 71 ページ 2003年7月14日 月曜日 午後3時25分 Velo Fade Upper (Velocity Fade Width Upper) Tone Random Pitch Depth 3 This determines what will happen to the tone’s level when the tone is played at a velocity greater than its specified velocity range. Higher settings produce a more gradual change in volume. If you want notes played outside the specified key velocity range to not be sounded at all, set this to “0.
Reference_e.book 72 ページ 2003年7月14日 月曜日 午後3時25分 Creating a Rhythm Set P-Env Level 0–4 (Pitch Envelope Level 0–4) 3 Specify the pitch envelope levels (Level 0–Level 4). It determines how much the pitch changes from the reference pitch (the value set with Coarse Tune or Fine Tune on the Pitch screen) at each point. Positive (+) settings will cause the pitch to be higher than the standard pitch, and negative (-) settings will cause it to be lower. Value: -63– +63 fig.Pitch Env.
Reference_e.book 73 ページ 2003年7月14日 月曜日 午後3時25分 Creating a Rhythm Set Selects one of the following seven curves that determine how keyboard playing dynamics (velocity) influence the cutoff frequency. Set this to “FIXED” when the Cutoff frequency is not to be changed according to the force with which the keys are pressed. Value: FIXED, 1–7 This allows keyboard dynamics to affect the Time 1 of the TVF envelope.
Reference_e.book 74 ページ 2003年7月14日 月曜日 午後3時25分 Creating a Rhythm Set TVA Alternate Pan Depth 4 Tone Level (Rhythm Tone level) 1 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.
Reference_e.book 75 ページ 2003年7月14日 月曜日 午後3時25分 Creating a Rhythm Set Output Settings If the Mix/Parallel parameter is set to “MIX,” all sounds are output from the OUTPUT A (MIX) jacks in stereo (p. 193). • When setting the “MFX,” set the output destination with the MFX Output Assign (p. 179) for the sound after it has passed through the multi-effects. • Chorus and reverb are output in mono at all times.
Reference_e.book 76 ページ 2003年7月14日 月曜日 午後3時25分 Playing in Performance Mode A performance contains settings that apply to each individual part, such as the patch (rhythm set) assigned to each part, and its volume and pan. Broadly speaking, Performance mode consists of two screens: Layer screen and Mixer screen. Use the Layer screen (p. 76) when you want to combine multiple sounds (patches or rhythm sets) to create complex sounds.
Reference_e.book 77 ページ 2003年7月14日 月曜日 午後3時25分 Playing in Performance Mode Functions in the PERFORMANCE Layer/Mixer Screen Playing in Performance Mode fig.05-02.e LAYER screen MIXER screen 2 4 4 1 5 3 9 2 1 5 3 7 6 7 8 11 10 18 16 11 12 13 14 17 12 15 1 Indicates the current sound generating mode. 2 Indicates the name of the currently selected song, the measure location, the time signature, and the sequencer status.
Reference_e.book 78 ページ 2003年7月14日 月曜日 午後3時25分 Playing in Performance Mode Selecting a Performance The Fantom-S has two performance groups, including the User group and Preset groups, with each group storing 64 performances, for a total of 128 performances. Selecting Performances from the List You can display a list of performances and select a performance from that list. 1. Press [LAYER/SPLIT] or [MIXER]. 2. Press [5 (Perf List)]. USER The Performance List screen appears.
Reference_e.book 79 ページ 2003年7月14日 月曜日 午後3時25分 Registering a Favorite Performance (Favorite Sound) Selecting the Part that You want to Sound You can bring together your favorite and most frequently used Performances in one place by registering them in the Favorite sound. By using this function you can rapidly select favorite Performances from internal memory or a Wave Expansion Board. You can register a total of 64 Performances (8 sounds x 8 banks) as favorite sounds.
Reference_e.book 80 ページ 2003年7月14日 月曜日 午後3時25分 Playing in Performance Mode Playing Different Sounds in Different Areas of the Keyboard (Split) fig.01-18_50 In Performance mode you can divide the keyboard and play a different patch in each area (this is called “split”). As the note range that plays each part can be specified individually, you can split the keyboard into a maximum of 16 sections.
Reference_e.book 81 ページ 2003年7月14日 月曜日 午後3時25分 Playing in Performance Mode Using the Mixer Screen Selecting the Sound for a Part Selecting a Part The currently selected part is called the “current part.” Selecting from a list display 1. From the Mixer screen, Use 1. Select the part whose sound you want to switch. or to select the part. fig.05-21 Playing in Performance Mode If you don’t like the patch that is assigned to a part, it’s easy to switch the patch. 2. Press [1 (Patch List)].
Reference_e.book 82 ページ 2003年7月14日 月曜日 午後3時25分 Playing in Performance Mode Selecting the Rhythm Set 1. Press [MIXER] to access the Mixer screen, and use [CURSOR] to move the cursor to the following location. fig.05-25 Selecting a Part to Play Individually (Solo) You can have only the performance of a specific part be played when playing back a song. 1. Press [MIXER] to access the Mixer screen. 2. Press [3 (Mute/Solo)]. The Mute Solo window appears. fig.07-07 2.
Reference_e.book 83 ページ 2003年7月14日 月曜日 午後3時25分 Viewing the Part Settings as a List (Performance Part View) Confirming MIDI Information for Each Part (Part Information) In Performance mode you can view the part settings as a list. This is called the “Part View” screen. In this screen you can view a list that shows settings for all parts at once, such as the patch assigned to each part, and its volume and pan settings.
Reference_e.book 84 ページ 2003年7月14日 月曜日 午後3時25分 Creating a Performance With the Fantom-S, you have total control over a wide variety of settings. Each item that can be set is known as a parameter. When you change the values of parameters, you are doing what is referred to as Editing. This chapter explains the procedures used in creating Performances, and the functions of the Performance parameters. Adjusting the Parameters of Each Part 1. Access the Part View screen (p. 95). 2.
Creating a Performance Mute Switch Temporarily mutes (✔) or releases the mute (OFF) for the Performance of 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. Creating a Performance Value: OFF, ON (✔) The Mute Switch parameter does not turn the part off, but sets the volume to minimum so that no sound is heard. Therefore, MIDI messages are still received.
Creating a Performance [3 (Pitch)] Part Mono/Poly fig.06-21_50 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. When using the setting of the patch assigned to each part (p. 49), set this to “PAT.” Value: MONO, POLY, PAT For the part to which the rhythm set is assigned, this setting is ignored. Part Legato Switch For details on the setting, refer to “Adjusting the Parameters of Each Part” (p.
Reference_e.book 87 ページ 2003年7月14日 月曜日 午後3時25分 Creating a Performance [4 (Offset)] Part Release Time Offset fig.06-22_50 Adjusts the TVA/TVF Envelope Release Time for the patch or rhythm set assigned to a part. Patches also contain a Release Time Offset setting (p. 44). The final TVA Envelope release time value is therefore the sum of the tone’s TVA Envelope Time 4 setting, the patch’s Release Time Offset, and the part’s Release Time Offset.
Creating a Performance Keyboard Range Upper (Part Keyboard Range Upper) Specifies the highest note that the tone will sound for each part. Value: LOWER–G9 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 When the Key Range (p.
Reference_e.book 89 ページ 2003年7月14日 月曜日 午後3時25分 Creating a Performance Receive Switch 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-S employs equal temperament when the Scale Tune Switch is set to “OFF.” For each part, specify whether MIDI messages will be received (ON), or not (OFF). If this is “OFF,” the part will not respond.
Creating a Performance Ext Pan (External Pan) If you want Pan messages to also be transmitted when you select a Performance, specify the desired value (L64–0–63R) for the part. If you do not want this message to be transmitted, set this to “OFF.” Value: L64–0–63R, OFF The data of the part for which the Keyboard Switch is turned off will not be transmitted. [8 (MIDI Filter)] fig.
Reference_e.book 91 ページ 2003年7月14日 月曜日 午後3時25分 Creating a Performance The Fantom-S 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. the display will indicate “*,” reminding you that the Performance settings have been modified.
Reference_e.book 92 ページ 2003年7月14日 月曜日 午後3時25分 Creating a Performance Control Knob (Control Knob Switch) D Beam (Solo Synth) Specifies whether each part will be controlled by the control knob. You can use the D Beam controller to perform in a way similar to on a mono synth. Value: OFF, ON fig.06-12_50 Make Settings for the Realtime Controllers and D Beam Controller (Ctrl) fig.
Creating a Performance OSC1 Sync Switch LFO Osc 2 Pitch Depth Turning this switch on produces a complex sound with many harmonics. This is effective when the OSC1 pitch is higher than the OSC2 pitch. Specifies the depth to which the LFO will modulate the OSC2 pitch. Value: OFF, ON LFO Osc 1 Pulse Width Depth Filter Type Specifies the depth to which the LFO will modulate the pulse width of the OSC1 waveform. OFF: No filter is used. LPF: Low Pass Filter.
Reference_e.book 94 ページ 2003年7月14日 月曜日 午後3時25分 Creating a Performance Type (Assignable Type) Specifies the function controlled by the D Beam controller. Knob Assign 1–4 (Realtime Control Knob Assign 1–4) Value Specify the functions that will be controlled by the [ CC01–31, 33–95: Controller numbers 1–31, 33–95 Value ] knobs. CC01–31, 33–95: Controller numbers 1–31, 33–95 For more information about Control Change messages, please refer to “MIDI Implementation” (Parameter List).
Reference_e.book 95 ページ 2003年7月14日 月曜日 午後3時25分 Creating a Performance Tempo fig.06-28a_50 Setting Effects for a Performance (Effects/MFX/MFX Control/Chorus/ Reverb) For details regarding effect settings, refer to the pages shown below. • “Applying Effects in Performance Mode” (p. 178) • “Making Chorus Settings (Chorus)” (p. 182) • “Making Reverb Settings (Reverb)” (p.
Reference_e.book 96 ページ 2003年7月14日 月曜日 午後3時25分 Creating a Performance Initializing Performance Settings (Init) Saving Performance You’ve Created (Write) “Initialize” means to return the settings of the currently selected sound to a standard set of values. Changes you make to sound settings are temporary, and will be lost if you turn off the power or select another sound. If you want to keep the modified sound, you must save it in the internal User memory.
Reference_e.book 97 ページ 2003年7月14日 月曜日 午後3時25分 Creating a Performance 5. When you have finished inputting the name, press [8 (Write)]. A screen will appear, allowing you to select the write-destination patch. 6. Turn the VALUE dial or use [INC][DEC] and the write destination and patch number. Creating a Performance fig.06-07_50 to select The write destination can be either the Fantom-S's internal user area (User), or a memory card (Card). 7. Press [8 (Write)].
Reference_e.book 98 ページ 2003年7月14日 月曜日 午後3時25分 Modifying the Sound in Real Time You can use the D Beam controller, realtime controllers, assignable switches or a pedal to modify the sound while you perform. Here we will explain the procedures and settings for using these functions in Patch mode. The operations are the same in Performance mode. If Performance mode is selected, the D Beam controller on/off setting is saved for each performance as part of the performance settings.
Reference_e.book 99 ページ 2003年7月14日 月曜日 午後3時25分 Modifying the Sound in Real Time Assignable Type Specifies the function controlled by the D Beam controller. Value CC01–31, 33–95: Controller numbers 1–31, 33–95 PAD Trigger settings (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 [JUMP] and press D BEAM [PAD TRIGGER]. Bend Up: Raises the pitch in semitone steps (up to 4 octaves higher).
Reference_e.book 100 ページ 2003年7月14日 月曜日 午後3時25分 Modifying the Sound in Real Time SOLO SYNTH Value: 0–127 On the Fantom-S you can play a monophonic synthesizer whose pitch is controlled by the D Beam. OSC1 Sync Switch 1. Hold down [JUMP] and press D BEAM [SOLO SYNTH]. The Solo Synth screen appears. fig.13-02d_50 Turning this switch on produces a complex sound with many harmonics. This is effective when the OSC1 pitch is higher than the OSC2 pitch.
Reference_e.book 101 ページ 2003年7月14日 月曜日 午後3時25分 Modifying the Sound in Real Time LFO Osc 2 Pitch Depth Making Realtime Controller Settings Value: -63–+63 Realtime Controller Knob Settings LFO Osc 1 Pulse Width Depth You can select the function of the realtime control knobs by pressing the button located at the right of the knobs. 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. 1.
Reference_e.book 102 ページ 2003年7月14日 月曜日 午後3時25分 Modifying the Sound in Real Time Assignable Switch Settings 1. Hold down [JUMP] and press a ASSIGNABLE SW button. Using a Pedal to Modify the Sound (Control Pedal) The Switch screen appears. You can modify the sound by pressing a pedal that is connected to the rear panel PEDAL HOLD jack or PEDAL CONTROL jack. fig.
Reference_e.book 103 ページ 2003年7月14日 月曜日 午後3時25分 Modifying the Sound in Real Time Control Pedal Assign This specifies the function of each pedal connected to the PEDAL CONTROL jacks. Value CC01–31, 33–95: Controller numbers 1–31, 33–95 Modifying the Sound in Real Time For details on control change messages, refer to “MIDI Implementation” (Parameter List). BEND UP:The pitch will rise in semitone steps (maximum 4 octaves) each time you press the pedal.
Reference_e.book 104 ページ 2003年7月14日 月曜日 午後3時25分 Playing Arpeggios (ARPEGGIO/RHYTHM Function) About Arpeggio The Fantom-S’s Arpeggio function lets you perform arpeggios (chords in which notes are played in succession, one note at a time) just by playing the chords, using the notes in the chords you play. Not only can you use the factory-set Arpeggio Styles, which determine the way the arpeggio is played, but you can also freely rewrite Styles and enjoy performing your own original arpeggios.
Reference_e.book 105 ページ 2003年7月14日 月曜日 午後3時25分 Playing Arpeggios (ARPEGGIO/RHYTHM Function) 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/RHYTHM [ON/OFF] to turn on the arpeggio. 3. Play a chord while pressing the hold pedal. 4.
Reference_e.book 106 ページ 2003年7月14日 月曜日 午後3時25分 Playing Arpeggios (ARPEGGIO/RHYTHM Function) Changing the Beat and Shuffle (Grid) UP (L&H): This sets the particular note division and resolution in a “single grid” used in creating the arpeggio in an Arpeggio Style, and how much of a “shuffle” syncopation is to be to applied (none/weak/ strong) to it (grid type). Notes from both the lowest and highest pressed keys are sounded each time, and the notes play in order from the lowest of the pressed keys.
Playing Arpeggios (ARPEGGIO/RHYTHM Function) fig.Arp knob Here’s how to specify the part that will use the arpeggio in Performance mode. You can specify only one part for playing arpeggios. If a rhythm set is assigned to a part in Performance mode, you can play a rhythm pattern along with the arpeggios. The part you select here functions for both the arpeggio and the chord memory functions. For details on the settings, refer to “Arpeggio Settings” (p.
Reference_e.book 108 ページ 2003年7月14日 月曜日 午後3時25分 Playing Arpeggios (ARPEGGIO/RHYTHM Function) • Tie: [2 (Tie)] Input a tie at the cursor location and proceed to the next step. • Rest (Clear): [3 (Rest (Clear))] Input a rest at the cursor location and proceed to the next step. • Zoom In: [4 (Zoom In)] Show the Arpeggio Style input screen at a higher magnification. • Zoom Out: [5 (Zoom Out)] Show the Arpeggio Style input screen at a lower magnification.
Reference_e.book 109 ページ 2003年7月14日 月曜日 午後3時25分 Playing Arpeggios (ARPEGGIO/RHYTHM Function) Playing Arpeggios (ARPEGGIO/RHYTHM Function) Saving the Styles You Have Created (WRITE) The Styles you create are temporary; they are deleted as soon as you turn off the power or select some other Style. You can store 128 arpeggio styles in the User memory. Arpeggio style settings are saved as independent data, not as part of the data for each patch.
Reference_e.book 110 ページ 2003年7月14日 月曜日 午後3時25分 Using the Chord Memory Function (CHORD MEMORY) About the Chord Memory Function Chord Memory is a function that allows you to play chords based on pre-programmed Chord Forms, just by pressing a single key on the keyboard. The Fantom-S can store 64 preset chord forms and 64 user chord forms. If you wish, you can overwrite any of the 64 user (factory set) chord forms. The chord memory function operates on the arpeggio part in Performance mode.
Reference_e.book 111 ページ 2003年7月14日 月曜日 午後3時25分 Creating Your Own Chord Forms Saving the Chord Forms You Have Created 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. The Chord Form you create are temporary; they are deleted as soon as you turn off the power or select some other Style.
Reference_e.book 112 ページ 2003年7月14日 月曜日 午後3時25分 Playing Rhythms About Rhythm Patterns The Fantom-S contains 256 preset rhythm patterns. You can play a variety of rhythm patterns simply by pressing the pads. In addition to using these built-in rhythm patterns, you can also create your own. The 256 rhythm patterns are maintained as independent data; they are not part of a performance’s data. This means that any one rhythm pattern can be shared by various rhythm sets or performances.
Reference_e.book 113 ページ 2003年7月14日 月曜日 午後3時25分 Playing Rhythms Rhythm Pattern Settings Using a controller to adjust the playback tempo Since tempo control is assigned to one of the Fantom-S’s realtime control knobs, it’s easy to adjust the tempo at which the rhythm pattern will play back. 1. Press ARPEGGIO/RHYTHM [SELECT/EDIT]. 2. Press [2 (Rhythm)]. A screen like the one below appears. If Performance mode is selected, (PERFORMANCE) will appear at the right of “Rhythm.” fig.09-04ab fig.
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Reference_e.book 115 ページ 2003年7月14日 月曜日 午後3時25分 Playing Rhythms Creating Your Own Styles (Rhythm Pattern Edit) Not only can you use the prepared internal Rhythm Pattern that determine how rhythm patterns are played, but you can also create them as well. This way, you can enjoy performing your own original rhythm pattern. A rhythm pattern you create can be stored in internal user memory.
Reference_e.book 116 ページ 2003年7月14日 月曜日 午後3時25分 Playing Rhythms Initializing the Rhythm Pattern that You are Editing (Init) Creating Your Own Styles (Rhythm Group Edit) 1. Access the Rhythm Pattern Edit screen. 2. While holding down [SHIFT], press [1 (Init)]. A message will ask you for confirmation. 3. Press [8 (Exec)] to execute the Initialize operation. The initialization will be carried out. To cancel, press [7 (Cancel)].
Reference_e.book 117 ページ 2003年7月14日 月曜日 午後3時25分 Playing Rhythms Saving the Rhythm Group You Have Created (WRITE) The Rhythm Group you create are temporary; they are deleted as soon as you turn off the power or select some other Style. You can store 32 Rhythm Groups in the User memory. 1. Confirm that the current Style is the one you want to save. 2. Press [1 (Rhythm Group)]. 3. Press [WRITE]. The name entry screen will appear (p. 42). 4. When you have finished entering the name, press [WRITE].
Reference_e.book 118 ページ 2003年7月14日 月曜日 午後3時25分 Sampling The Fantom-S lets you sample audio sources, such as an audio device, mic, or CD. This section explains the sampling procedure and what the parameters do. Making Input Source Settings (INPUT SETTING) 1. Connect the input device whose sound you will sample (e.g., CD player or mic) to the AUDIO INPUT jacks located on the rear panel of the Fantom-S.
Reference_e.book 119 ページ 2003年7月14日 月曜日 午後3時25分 Sampling Input Effect Setup Settings Sampling Procedure 1. Press [INPUT SETTING], and then press [7 (In FX Setup)]. 1. Press [SAMPLING/RESAMPLING] to access the Sampling Menu screen. The Input Effect Setup screen appears. fig.SMPL03 2. Press or to move the cursor. 3. Turn the VALUE dial, or press [INC] /[DEC] to set the value. • Type (Input Effect Type) Selects the input effect type.
Reference_e.book 120 ページ 2003年7月14日 月曜日 午後3時25分 Sampling • Solo sampling:[5 (Solo)] While playing the internal sound generator as usual, sample only the sound from the external input. * Effects cannot be applied to the external input sound. • Auto Trigger Level Specifies the volume at which sampling will begin if you have pressed [2 (Auto Trig)] to turn Auto Trig ON. Value: 0–7 (A setting of 0 is the minimum.) • Gap Time fig.
Reference_e.book 121 ページ 2003年7月14日 月曜日 午後3時25分 Sampling When you finish sampling, the sample will automatically be added to the sample list. Press [SAMPLE LIST] to view the sample list. Samples you record will be lost when you turn off the power. If you want to keep your sample, press [WRITE] to save it (p. 134). Samples shown as “NEW” in the sample list have not yet been saved. fig.
Reference_e.book 122 ページ 2003年7月14日 月曜日 午後3時25分 Editing a Sample This section explains how you can edit a sample that you sampled/ imported Editing is performed in sample memory—a memory area dedicated to samples (p. 23). The sample list shows the current state of the samples. fig.SMPL13 Selecting a Sample (Sample List) Select a sample from the list. Selecting a Sample 1. Press [SAMPLE LIST]. The Sample List display appears. fig.SMPL07_50 NEW: This is a sample that you sampled.
Reference_e.book 123 ページ 2003年7月14日 月曜日 午後3時25分 Editing a Sample Loading a Sample Unloading a Sample Here’s how you can load a sample from the user area, a memory card, or a preset into sample memory. Here’s how you can unload a sample from sample memory. The saved sample file itself will not be deleted. 1. Press [SAMPLE LIST]. 1. With the Sample List screen shown, choose [1 (Preset)]–[3 (Card)] to select the group that contains the sample you want to erase. The Sample List display appears. 2.
Reference_e.book 124 ページ 2003年7月14日 月曜日 午後3時25分 Editing a Sample Importing a Audio File fig.SMPL06_50 Here’s how an audio file (WAV/AIFF) can be loaded into memory as a sample. Place the audio files in the “TMP/AUDIO_IMPORT” folder on the user memory or memory card. For details on how you can use your computer to copy a file into the user area or memory card, refer to p. 184. 1. From the Sample List screen or Sample Edit screen (p. 124), press [MENU] to select “Import Audio”, and then press [ENTER].
f Editing a Sample Setting the Start/End Points of the Sample You can specify the portion of the sample that will actually sound. You can also specify the region that is to be looped. 1. Press [SAMPLE LIST] and select the sample that you want to edit (p. 122). 2. Press [SAMPLE EDIT]. fig.SMPL12_50 Sample modify operations (Chop, Normalize, etc.) apply to the entire sample. Even if you specify a start point or end point, they will be ignored.
Reference_e.book 126 ページ 2003年7月14日 月曜日 午後3時25分 Editing a Sample ONE-SHOT The sample will be played back only once, from the Start point to the End point. Assigning Samples to a Pad (Assign To Pad) fig.loop2 Start P. Loop Start P. End P. * From the Sample List screen you can also press [7 (Load Utility)]→ [2 (Assign to Pad)] to execute Assign To Pad.
Reference_e.book 127 ページ 2003年7月14日 月曜日 午後3時25分 Editing a Sample From Patch Mode fig.SMPL18_50 1. Press [SAMPLE LIST] to select a sample, and then press [SAMPLE EDIT] to access the Sample Edit screen. 2. Press [6 (Assign KB/Pad)]. Assign to Kbd/Pad window appears. fig.SMPL17_50 4. Press (Select)].
Reference_e.book 128 ページ 2003年7月14日 月曜日 午後3時25分 Editing a Sample A message will ask you for confirmation. 6. Press [8 (Exec)]. The sample will be assigned (as a patch) to the specified part. To cancel, press [7 (Cancel)]. 7. Press [EXIT] to return to the previous screen. If you select another patch, the patch you assigned will be replaced by that patch. If you want to keep the patch you created, press [WRITE] and save it.
Reference_e.book 129 ページ 2003年7月14日 月曜日 午後3時25分 Editing a Sample If you want to select two or more samples from the sample list, press [5 (Mark Set)] to add a check mark (✔) to each sample. Pressing [4 (Mark Clear)] will clear the check mark. You can press [8 (Preview)] to audition the selected sample. If the total number of marks exceeds 128, the multisample will be created from the 128 lowest-numbered samples. You cannot create a multisample using samples from more than one bank. 2.
Reference_e.book 130 ページ 2003年7月14日 月曜日 午後3時25分 Editing a Sample Boosting or Limiting the Highfrequency Range of the Sample (Emphasis) In some cases, the audio quality will be improved if you boost the highfrequency 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.
Reference_e.book 131 ページ 2003年7月14日 月曜日 午後3時25分 Editing a Sample Amp This operation applies an envelope (time-variant change) to the volume of the sample. You can also adjust the volume of the entire sample. * You cannot execute this with more than one sample selected. 1. Press [SAMPLE EDIT] to access the Sample Edit screen. 2. Press [3 (Sample Modify)] to access the Sample Modify window. 3. Press [4 (Amp)]. fig.
Reference_e.book 132 ページ 2003年7月14日 月曜日 午後3時25分 Editing a Sample Dividing a Sample into Notes (Chop) Automatically Dividing a Sample (Auto Chop) The chop function divides a sample waveform into separate notes. Here’s how you can automatically specify the points at which the sample is to be divided, and then divide the sample. * The Create Rhythm function (p. 128) makes it easy to create a rhythm set from a chopped sample. * You cannot execute this with more than one sample selected. 1.
Editing a Sample Auditioning the Divided Samples After dividing the sample, you can press the velocity pads to audition each of the divided samples. Joining Two or More Samples (Combine) From the sample nearest to the start point, the samples will be played by pads [1], [2],...[16] This operation combines multiple samples into a single sample. You can combine as many as sixteen samples. You can also place silent spaces between the samples. Moving a Dividing Point 1.
Reference_e.book 134 ページ 2003年7月14日 月曜日 午後3時25分 Editing a Sample Saving a Sample 5. Assign a name to the sample. • [1 (Change Type)]:Selects the type of character. A newly loaded sample, as well as any changes you’ve made in the settings for a sample will be lost as soon as you turn off the power. If you want to keep such data, you must save it as follows. 1. Press [SAMPLE EDIT]. 1. Press [1 (Sample List)]. Samples displayed as “NEW” or “EDIT” have not yet been saved. 2.
Using the Pads The pads of the Fantom-S function in the same way as the keyboard, and can also be used to play RPS and rhythm patterns. You can add dynamics to the sound by varying the force with which you strike the pads. Using the Roll Function to Play Sounds Using the Hold Function to Sustain a Sound 1. Hold down [ROLL] and press a pad. You can use the Hold function to make the sound continue even after you take your finger off the pad.
Reference_e.book 136 ページ 2003年7月14日 月曜日 午後3時25分 Using the Pads Using the Clipboard to Copy Pad Settings Adjusting the Pad Settings (PAD SETTING) The “clipboard” temporarily stores pad velocity and note number settings. This provides an easy way to copy settings from one pad to another, and also lets you swap (exchange) the settings of two pads. fig.Pad01_50 1. Press [PAD SETTING]. * The clipboard is available when the Pad Set parameter is set to “USER.” Copying one Pad Setting 1.
Reference_e.book 137 ページ 2003年7月14日 月曜日 午後3時25分 Using the Pads Multi-Velocity • Note (Pad Note) Specifies the note number of the pad when Pad Set is set to “User.” Value: C-1–G9 • Velocity (Pad Velocity) You can use the sixteen pads to play a specified note at sixteen velocity levels. The same note number will be sounded by all sixteen pads. This function can be useful when you are having difficulty inputting the velocities you intend.
Reference_e.book 138 ページ 2003年7月14日 月曜日 午後3時25分 Playing Back a Song This chapter explains how you can use the Fantom-S’s sequencer to play back a song. * The User/Card setting is shown below the song name when you return to the Song Play screen. • [3 (View Svq)]: View SVQ files. When you play back a song, we recommend that you use the sound generator in Performance mode (p. 76).
Reference_e.book 139 ページ 2003年7月14日 月曜日 午後3時25分 Playing Back a Song By holding down [SHIFT] and pressing or jump to the beginning or end of the song list. you can If you want to perform Chain Play repeatedly, press [7 (Repeat All)] and assign a check mark (✔). If you press [6 (Auto Step)] to assign a check mark (✔), playback will ends, and the next song will begin playing automatically. 4. Press [PLAY] to start Chain Play. Starting from the song of step 1.
Reference_e.book 140 ページ 2003年7月14日 月曜日 午後3時25分 Playing Back a Song 2. Turn the VALUE dial or press [INC]/[DEC] to set the playback tempo. • If you press [7 (Click)] to display the check mark (✔), a click will sound at the specified tempo. This will switch on/off each time you press the button. • By pressing [6 (Tap)] you can set the tempo to the timing at which you press the button (Tap Tempo). Press the button three or more times at quarter-note intervals of the desired tempo. 3.
Reference_e.book 141 ページ 2003年7月14日 月曜日 午後3時25分 Recording Songs This chapter explains the procedure for using the Fantom-S’s sequencer to record a song. Normally, when recording or playing back a song, you will put the sound generator in Performance mode.
Reference_e.book 142 ページ 2003年7月14日 月曜日 午後3時25分 Recording Songs If you are recording to a phrase track, see “Recording Your Performance as You Play It (Realtime Recording)” (p. 142). Specifying the Time Signature of a Pattern Each pattern has a Pattern Beat setting that manages the time signature of that pattern. The pattern beat acts as a guide when the pattern is played or recorded, and is handled independently of the time signature of the song (i.e., the time signature recorded in the beat track).
Recording Songs Value REPLACE: Replace-recording will be carried out. If a performance has already been recorded on the recordingdestination track, it will be erased as you record your new performance. Use this when you want to re-record. • Count In Select how recording is to begin. Value OFF: Recording will begin immediately when you press [PLAY].
Recording Songs AUTO PUNCH: Auto punch-in recording will be performed. You must pre-specify the area (punch points) in which recording is to take place. This is convenient when you want to re-record over a mistake. The song will play back when you begin recording. When you reach the punch-in point, playback will switch to record mode. MANUAL PUNCH: Manual punch-in recording will be performed. Recording takes place (erasing the existing data) in the area that you specify by pressing a pedal or button.
Reference_e.book 145 ページ 2003年7月14日 月曜日 午後3時25分 Recording Songs Shuffle Resolution When you are using Shuffle Quantize, make this setting to specify the note value used for quantization. Value: , Rate (Shuffle Quantize Rate) Make this setting when using Shuffle Quantize. It specifies the degree to which the backbeat will be separated from the downbeat specified by the Shuffle Resolution parameter. With a setting of “50%,” the backbeat will be exactly between adjacent downbeats.
Reference_e.book 146 ページ 2003年7月14日 月曜日 午後3時25分 Recording Songs Inputting Data One Step at a Time (Step Recording) fig.10-11_50 Step Recording is the method of inputting notes and rests individually, as if you were writing them onto a musical staff. In addition to inputting notes, this method can also be used to create a song by joining patterns. Inputting Notes and Rests 1. Make sure that the preparations for recording have been performed as described in “Before You Record a New Song” (p. 141). 5.
Reference_e.book 147 ページ 2003年7月14日 月曜日 午後3時25分 Recording Songs Moving the display region • Step Back Cancel the previously input note. Pressing or will move the displayed region of notes upward or downward. • Tie Extend the length of the previously input note by the current setting. • Rest Inputs a rest. First set the Note Type parameter to a length that is the same as the rest you want to input, and then press [3 (Rest)]. • Zoom In Narrow the range of keys shown in the display.
Reference_e.book 148 ページ 2003年7月14日 月曜日 午後3時25分 Recording Songs Assigning a Pattern to a Phrase Track You can create a song by combining previously recorded patterns. This is done using step recording to assign patterns to a phrase track. However, please be aware that the patterns themselves are not placed in the phrase track. Rather, Pattern Call messages are placed in the phrase track to specify which pattern should be played back.
Reference_e.book 149 ページ 2003年7月14日 月曜日 午後3時25分 Editing Songs This chapter explains the procedure for editing songs. fig.11-02.e Indicates the name of the currently selected song, the measure location, the time signature, and the sequencer status. Output destination of each track Track number Loading the Song You Want to Edit Status of each track When you edit a song, you’re modifying a song that’s already recorded into internal memory.
Reference_e.book 150 ページ 2003年7月14日 月曜日 午後3時25分 Editing Songs Using Different Sound Generators for Each Track By specifying the output destination for each track, you can use a variety of sound generators when playing back a song. 1. Press [SEQUENCER] to access the Song Play screen. 2. Use [CURSOR] to move the cursor for the track whose output destination you want to specify. fig.
Reference_e.book 151 ページ 2003年7月14日 月曜日 午後3時25分 Editing Songs Moving to a Locate Position Use the following procedure to change the song location to a Locate Position. Editing Sequencer Data Over the Specified Range (Track Edit) 1. Access the Locate window. 2. Press [1 (Jump1)] – [4 (Jump4)]. You will move to the specified locate position. You can hold down [SHIFT] and press [BWD] to jump to the preceding location position, or hold down [SHIFT] and press [FWD] to jump to the next locate position.
Reference_e.book 152 ページ 2003年7月14日 月曜日 午後3時25分 Editing Songs 3. Press or , and then press [8 (Exec)] to select the desired function. Quantize➝p. 152 Erase➝p. 154 Delete➝p. 155 Copy➝p. 155 Insert Measure➝p. 156 Transpose➝p. 156 Change Velocity➝p. 157 Aligning a Song’s Timing (Quantize) In the chapter “Recording Songs” (p. 141), we explained Recording Quantize, which lets you quantize during realtime recording. Alternatively, it is also possible to quantize a song that has already been recorded.
Reference_e.book 153 ページ 2003年7月14日 月曜日 午後3時25分 Editing Songs SHUFFLE: Shuffle Quantize will be applied to recording. Use this when you want to produce a “shuffle” or “swing” rhythmic feel. fig.10-06.e Quantize Template (Quantize Template) Specifies the template you wish to use. Here is a list of preset groove templates. TEMPLATE: The Fantom-S provides 71 quantize templates. These templates contain various quantize settings for applying rhythmic ‘feels’ of many different musical categories.
Reference_e.book 154 ページ 2003年7月14日 月曜日 午後3時25分 Editing Songs 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. Erasing Unwanted Performance Data (Erase) This function erases all the sequencer data inside the specified area. As the erased data is replaced by rests, the original measures will remain. fig.
Reference_e.book 155 ページ 2003年7月14日 月曜日 午後3時25分 Editing Songs Range Min, Range Max Copying Phrases (Copy) 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. This function copies a specified area of sequencer data. It is convenient for repeating the same phrase several times.
Reference_e.book 156 ページ 2003年7月14日 月曜日 午後3時25分 Editing Songs 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.
Reference_e.book 157 ページ 2003年7月14日 月曜日 午後3時25分 Editing Songs Track / Pattern (Source Track) Sets the phrase track(s) or pattern that is to be transposed. Value Changing the Velocity (Volume) (Change Velocity) ALL: Phrase Tracks 1–16 This function modifies the keyboard playing dynamics (velocity) of a specified note area. TRK 1–TRK 16: The specified phrase track fig.11-20_50 PTN001–PTN100: The specified pattern Measure, For (Edit Range) Sets the range of measures that are to be transposed.
Reference_e.book 158 ページ 2003年7月14日 月曜日 午後3時25分 Editing Songs Changing the MIDI Channel (Change Channel) This function transfers the MIDI channel of a specified area of sequencer data into a different MIDI channel. fig.11-21_50 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.
Reference_e.book 159 ページ 2003年7月14日 月曜日 午後3時25分 Editing Songs 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%.
Reference_e.book 160 ページ 2003年7月14日 月曜日 午後3時25分 Editing Songs Status fig.11-25_50 Selects the type of data to be extracted. Value ALL: All types of sequencer data NOTE: Note P.AFT: Polyphonic Aftertouch C.C: Controller numbers PROG: Program numbers C.AFT: Channel Aftertouch For details on the settings, refer to “Basic Operation for Track Editing” (p.
Reference_e.book 161 ページ 2003年7月14日 月曜日 午後3時25分 Editing Songs Data Thin Time • 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.
Editing Songs Adjusting the Song’s Playback Time (Time Fit) This function calculates the playback time of a song or allows you to modify the tempo track data so that the song will play back in a specified time. fig.11-28_50 Editing Individual Items of Sequencer Data (Micro Edit) Micro Edit lets you edit individual items of sequencer data recorded in a song, such as MIDI messages and tempo data.
Reference_e.book 163 ページ 2003年7月14日 月曜日 午後3時25分 Editing Songs 7. Press or want to edit. 8. Press or to select the performance data that you to select the parameter that you want to edit. 9. Turn the VALUE dial or press [INC]/[DEC] to set the value. When editing the Note Number of note or polyphonic aftertouch data, or the On Velocity or Off Velocity of a note, you can also specify the value by playing a key on the keyboard.
Reference_e.book 164 ページ 2003年7月14日 月曜日 午後3時25分 Editing Songs Viewing Sequencer Data (View) • If the pattern called by the Pattern Call message extends beyond the last measure of the song, the pattern playback will be interrupted at that point. • Only one pattern can be played at a time by Pattern Call messages in a given phrase track.
Reference_e.book 165 ページ 2003年7月14日 月曜日 午後3時25分 Editing Songs Inserting Sequencer Data (Create) You can insert new sequencer data into a desired location of a phrase track or pattern. For details on the sequencer data that can be inserted, refer to “Sequencer Data Handled by a Phrase Track/Pattern” (p. 163). 1. Access the Microscope screen for the track or pattern into which you want to insert sequencer data (p. 162). 3. Press [2 (Erase)] to erase the sequencer data.
Reference_e.book 166 ページ 2003年7月14日 月曜日 午後3時25分 Editing Songs Copying Sequencer Data (Copy) Sequencer data can be copied to the desired location. This is convenient when you want to use the same sequencer data at multiple locations. Data recorded in the tempo track or beat track can also be copied in this way. 1. Access the Microscope screen for the track or pattern whose sequencer data you want to copy (p. 162). 2. Press or to move the cursor to the sequencer data that you want to copy 3.
Reference_e.book 167 ページ 2003年7月14日 月曜日 午後3時25分 Editing Songs Changing the Time Signature Midway Through the Song If you want to change the time signature midway through the song, insert a new Beat Change. The song will play back using that time signature for measures following the inserted beat change. • It is not possible to change the time signature in the middle of a measure. You must change the time signature at the beginning of a measure.
Reference_e.book 168 ページ 2003年7月14日 月曜日 午後3時25分 Saving/Loading a song (SAVE/LOAD) Songs you record are initially held in internal memory. A song in internal memory will be lost when you turn off the power or when you load a different song. If you want to keep the song, you must save it to user memory or a memory card. Conversely in order to edit a song (p. 149), you must first load it into internal memory.
Reference_e.book 169 ページ 2003年7月14日 月曜日 午後3時25分 Saving/Loading a song (SAVE/LOAD) File Name and Song Name MRC Pro songs and Standard MIDI Files have a song name in addition to a file name. The file name is used to distinguish between files, and must be assigned when you save a file. It will help you manage songs if you use the file name to distinguish between types of song, and use the song name to assign a title. Use the Song Name screen to assign a song name (p. 167).
Reference_e.book 170 ページ 2003年7月14日 月曜日 午後3時25分 Saving/Loading a song (SAVE/LOAD) Saving a Song as an SMF File (Save as SMF) Here’s how to convert and save an internal song as an SMF file. 1. From the Save/Load Menu screen, press [4 (Save as SMF)]. The Song File Name screen will appear.
Reference_e.book 171 ページ 2003年7月14日 月曜日 午後3時25分 Saving/Loading a song (SAVE/LOAD) Loading a Song with Samples (Load Song+Samples) Here’s how you can load a song into internal memory and all samples into sample memory. 1. From the Save /Load Menu screen, press [5 (Load S+S)]. Importing a WAV/AIFF File (Import Audio) Here’s how you can load an audio file (WAV/AIFF) into sample memory as a sample. fig.SL06_50 In order to import a file, it must be located in the following folder on your computer.
Reference_e.book 172 ページ 2003年7月14日 月曜日 午後3時25分 Playing a Phrase at the Touch of a Finger (RPS Function) The RPS (Realtime Phrase Sequence) function lets you assign patterns to the keyboard, and play a pattern by pressing a single note. For example, a complex phrase that would be difficult to play live can be assigned to a note of the keyboard, and played with one finger at the appropriate moment.
Reference_e.book 173 ページ 2003年7月14日 月曜日 午後3時25分 Playing a Phrase at the Touch of a Finger (RPS Function) • Velocity Sens (Velocity Sensitivity) Turn this “OFF” if you want the pattern to play back at the volume at which it was recorded. If you want to vary the pattern playback volume according to the strength with which you pressed the key, select either “LOW,” “MID,” or “HIGH.” Value: OFF, LOW, MID, HIGH • Keyboard Note Specify the key to which the pattern will be assigned.
Reference_e.book 174 ページ 2003年7月14日 月曜日 午後3時25分 Playing a Phrase at the Touch of a Finger (RPS Function) Recording a Performance Using the RPS Function A performance that uses the RPS function can be recorded in real time in the same way as a conventional performance. This provides an easy way to remix patterns and create a song. If you use the RPS function during realtime recording, the pattern performance will be recorded just as it occurs. 1.
Reference_e.book 175 ページ 2003年7月14日 月曜日 午後3時25分 This section explains the procedures and settings for applying effects in each mode. For details of the Fantom-S’s onboard effects, refer to “About the Onboard Effects” (p. 20). Turning Effects On and Off Making Effect Settings 1. In the appropriate mode, select the sound to which you want to apply effects. 2. Press [EFFECTS] to access the Effects screen. 3. Press one of the [1 (Routing)]–-[7 (Mastering)] tabs to select the effect that you want to edit.
Reference_e.book 176 ページ 2003年7月14日 月曜日 午後3時25分 Adding Effects Signal Flow Diagram and Parameters Value: fig.14-04 MFX: Output in stereo through multi-effects. You can also apply chorus or reverb to the sound that passes through multi-effects. 1 A, B: Output to the OUTPUT A (MIX) jack or OUTPUT B jack in stereo without passing through multi-effects. 19 20 2 7 3 8 1–4: Output to the INDIVIDUAL 1–4 jacks in mono without passing through multi-effects.
Reference_e.book 177 ページ 2003年7月14日 月曜日 午後3時25分 8 MFX Output Level (Multi-Effects Output Level) Adjusts the volume of the sound that has passed through the multieffects. Value: 0–127 15 Chorus Output Assign Selects the pair of OUTPUT jacks to which the chorus sound is routed when Chorus Output Select ( 13 ) 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.
Reference_e.book 178 ページ 2003年7月14日 月曜日 午後3時25分 Adding Effects Applying Effects in Performance Mode MFX: Output in stereo through multi-effects. You can also apply chorus or reverb to the sound that passes through multieffects. In Performance mode you can use three multi-effects (MFX1, MFX2, MFX3), one chorus, and one reverb.
Reference_e.book 179 ページ 2003年7月14日 月曜日 午後3時25分 7 MFX Type (Multi-Effects Type) Use this parameter to select from among the 77 (Fantom-S88; 78) available multi-effects. For details on multi-effects parameters, refer to “Multi-Effects Parameters” (Parameter List). Value: 0 (Through)–77 (Fantom-S88; 78) When set to “MAIN” or “M+R,” the OUTPUT jack from which the sound is output is set in Chorus Output Assign ( 15 ). 14 Chorus Level Adjusts the volume of the sound that has passed through chorus.
Reference_e.book 180 ページ 2003年7月14日 月曜日 午後3時25分 Adding Effects assigned to one of the parts, select the part number. Value: PRF, P1–P16 When Patch or Rhythm Set Settings Are Selected Making Multi-Effects Settings (MFX1–3) Here we will explain how to make multi-effects settings in Performance mode. fig.
Reference_e.book 181 ページ 2003年7月14日 月曜日 午後3時25分 Making Multi-Effects Settings (MFX Control) fig.14-07a_50 Destination 1–4 (Multi-Effects Control Destination 1–4) Sets the multi-effects parameters to be controlled with the multieffects control. The multi-effects parameters available for control will depend on the multi-effects type. For details, refer to “Multi-Effects Parameters” (Parameter List).
Reference_e.book 182 ページ 2003年7月14日 月曜日 午後3時25分 Adding Effects Specifying the multi-effect structure (MFX Structure) Here's how to specify how MFX 1–3 will be connected. * This parameter is not found in Patch mode. fig.14-07b_50 You can use the REALTIME CONTROL knobs to edit up to four of the most important parameters, which have been pre-selected for each type of chorus.
Reference_e.book 183 ページ 2003年7月14日 月曜日 午後3時25分 ATTACK You can use the REALTIME CONTROL knobs to edit up to four of the most important parameters, which have been pre-selected for each type of Reverb. When you enter the MFX 1–3 screen, the indicator at the right of the Realtime Control knobs will go out, and the Realtime Control knobs can be used to edit the MFX parameters.
Transferring Data to/from Your Computer via USB The Fantom-S allows a USB-connected computer to handle files stored in the internal user memory or a memory card. Conversely, WAV/AIFF files can be imported into the Fantom-S and used as samples. Bitmap data can also be loaded into the Fantom-S.
月曜日 午後3時25分 Transferring Data to/from Your Computer via USB Importing Audio file (Import Audio) Using a Bitmap File as a Background in the Display Here’s how to import an audio file (WAV/AIFF). For example, you can import a favorite bitmap file into the FantomS, and use it as a background in the display screen. In order to import a file, it must be located in the following folder on your computer.
Reference_e.book 186 ページ 2003年7月14日 月曜日 午後3時25分 Transferring Data to/from Your Computer via USB Canceling USB Communication Windows Me/2000/XP Users 1. Use the device eject button shown in the taskbar at the lower right of the screen to cancel the connection with the Fantom-S. 2. Then press [8 (Exit)] on the Fantom-S. Macintosh Users 1. Drag the Fantom-S drive icon into the trash. 2. Then press [8 (Exit)] on the Fantom-S.
月曜日 午後3時25分 File-Related Functions (File Utility) Here you can perform a variety of operations related to the files stored in the Fantom-S’s user memory, and on memory cards. You can copy, delete, or move files, as well as format memory cards. Basic Procedure or Here’s how you can delete an unwanted file from a folder. 1. As described in the basic procedure, select the file that you want to delete. [1 (User)] [2 (Card)]: Select the memory 1. Press [MENU]. 2.
Reference_e.book 188 ページ 2003年7月14日 月曜日 午後3時25分 Settings Common to All Modes (System Function) Settings that affect the entire operating environment of the FantomS, such as tuning and MIDI message reception, are referred to as system functions. This section explains how to make settings for the System functions and describes the functions of the different System parameters. How to Make the System Function Settings 1. Press [MENU] to open the Menu window. 2.
月曜日 午後3時25分 Settings Common to All Modes (System Function) Functions of System Parameters This section explains what the different System parameters do, and also how these parameters are organized. For details on the setting, refer to “How to Make the System Function Settings” (p. 188). 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.
Reference_e.book 190 ページ 2003年7月14日 月曜日 午後3時25分 Settings Common to All Modes (System Function) System Ctrl Sync/Temp Sys Ctrl 1–4 Source Sync Mode System Control Assign selects the MIDI message used as the System Control. Specify the synchronization message that the Fantom-S’s sequencer will use for operation.
月曜日 午後3時25分 Settings Common to All Modes (System Function) Arpeggio/Rhythm Sync Switch Specifies whether the arpeggio or rhythm pattern will start/stop in synchronization with the sequencer. This parameter does nothing if the sequencer is stopped. Value OFF: Start/stop will not synchronize to the synthesizer. While the sequencer is running, the arpeggiator will start at the beginning of the next measure. When you stop the sequencer, the arpeggios will also stop.
Reference_e.book 192 ページ 2003年7月14日 月曜日 午後3時25分 Settings Common to All Modes (System Function) 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.
月曜日 午後3時25分 Settings Common to All Modes (System Function) Remote Keyboard Sw (Remote Keyboard Switch) Master Level Set this parameter “ON” when you want to use an external MIDI keyboard instead of the Fantom-S’s keyboard. In this case, the MIDI transmit channel of the external MIDI keyboard can be set to any channel. Normally you will leave this parameter “OFF.” Adjusts the volume of the entire Fantom-S. Value: 0–127 * You can also perform this operation by pressing [MENU].
Reference_e.book 194 ページ 2003年7月14日 月曜日 午後3時25分 Settings Common to All Modes (System Function) Preview Scale Tune Preview Mode Scale Tune Switch SINGLE: The notes specified by Note Number 1–4 parameter will sound successively one by one. Turn this on when you wish to use a tuning scale other than equal temperament. CHORD: The notes specified by Note Number 1–4 parameter will sound simultaneously. Value: OFF, ON PHRASE: The Phrase associated with the patch’s type/category is played.
月曜日 午後3時25分 Settings Common to All Modes (System Function) Sampling Sample Default Load Default File Type Specifies whether the samples of the user area and memory card will be loaded into memory at power-on (ON) or not (OFF). Specifies the file format used when saving a sample. Value: OFF, ON Value: WAV, AIFF Pre Sample Time Power Up Mode 0–1000 ms This setting allows you to choose the mode that you want the Fantom-S to be in when it is powered up.
Reference_e.book 196 ページ 2003年7月14日 月曜日 午後3時25分 Data Management Functions Reset to Default Factory Settings (Factory Reset) Basic Procedure 1. Press [MENU]. 2. Press or to select “Utility.” 3. Press [ENTER]. The Utility menu screen will appear. ffig.17-04_50 Restoring User Data that You Backed Up (User Restore) Here’s how user data saved on a memory card by the User Backup operation can be reloaded back into the user memory of the Fantoms.
Reference_e.book 197 ページ 2003年7月14日 月曜日 午後3時25分 Playing in Piano Mode The Fantom-S88 has a Piano mode that use the instrument as a dedicated piano. This chapter explains the procedures used in piano mode, and the functions of the parameters. Selecting from the Patch List Screen You can display a list of piano patches and select a patch from that list. 1. In the Piano Mode screen, press [1 (List)]. Cautions for Piano mode fig.
Reference_e.book 198 ページ 2003年7月14日 月曜日 午後3時25分 Playing in Piano Mode Adjusting the Keyboard Touch (Key Touch) Adjusting the Depth of Resonance (Resonance) You can vary the touch of the keyboard when you play the When you hold down the damper pedal on an acoustic piano, the strings (notes) you play will cause the other strings to resonate sympathetically, creating a rich and spacious resonance. You can adjust the depth of this resonance. keys. 1. In the Piano Mode screen press [3 (Key Touch)]. fig.
Using Fantom-S Editor Installing Fantom-S Editor into Your Computer Detailed instructions on installing the software can be found in the online manual contained on the Fantom-S Editor CD-ROM. • Windows users In the Fantom-S Editor CD-ROM, open the Readme_E.txt. Using Fantom-S Librarian Fantom-S Librarian is software that lets you manage libraries of Fantom-S parameter data on your computer. It provides an efficient way to manage patch, rhythm set, and performance data.
Reference_e.book 200 ページ 2003年7月14日 月曜日 午後3時25分 Using Fantom-S Editor System Requirements (Mac OS) • Operating System: Mac OS 8.6 and 9.x • CPU/Clock: PowerPC G3 / 233 MHz or higher • Memory (RAM): 128 M bytes or more 256 M bytes or more (recommended) • Display/Colors: 800 x 600 or higher/32,000 colors or more 1024 x 768 or higher (recommended) • Hard Disk: 80 M bytes or more • Others OMS 2.0 or more *207 * Apple and Macintosh are registered trademark of Apple Computer, Inc.
About V-LINK Turning the V-LINK ON/OFF V-LINK ( ) is a function that provides for the play of music and visual material. By using V-LINK-compatible video equipment, visual effects can be easily linked to, and made part of the expressive elements of a performance. 1. The V-LINK button will light, and the V-LINK setting will be on. In this state, you can operate the velocity pads and turntable emulation slider to manipulate images in sync with the playback of the Fantom-S.
Reference_e.book 202 ページ 2003年7月14日 月曜日 午後3時25分 About V-LINK V-LINK Parameters Clip filter Note Tx Ch Clips that are checked can be switched. Enable/disable switching for each clip Value: 1-16 MIDI channel that will switch Edirol DV-7PR clips/palettes and will control dissolve time. (check boxes 1-32) Value: OFF, ON Clip 1 Note No. Using the Clip Filter Pads 1–16 correspond to Edirol DV-7PR clips (or palettes).
Installing the Wave Expansion Board Up to three optional Wave Expansion Boards (one SR-JV80 series, two SRX series) can be installed in the Fantom. Wave Expansion Boards store Wave data, patches, and rhythm sets, and by equipping the Fantom-S/Fantom-S88 with these boards, you can greatly expand your sound palette.
Installing the Wave Expansion Board 3. There are four slots inside. As shown in the following illustration, plug the connector of the Wave Expansion Board into the connector of the relevant slot, and at the same time insert the board holder through the hole of the Wave Expansion Board. fig.18-04.
Installation de la carte d’expansion Wave Les cartes d’expansion Wave emmagasinent des données Wave, correctifs et rythmes, et en ajoutant ces cartes au Fantom-S/FantomS88, il est possible d’élargir considérablement la palette de sons. Précautions à prendre lors de l’installation d’une carte d’expansion Wave ● Veuillez suivre attentivement les instructions suivantes quand vous manipulez la carte afin d’éviter tout risque d’endommagement des pièces internes par l’électricité statique.
Installation de la carte d’expansion Wave 3. Il y a quatre emplacements à l'intérieur. Comme le montre l’illustration ci-dessous, branchez le connecteur de la carte d’expansion Wave dans la fente appropriée et, en même temps, insérez le support de carte de circuits imprimés dans l’ouverture de la carte d’expansion Wave. fig.18-04.
Expanding the Memory The Fantom-S/Fantom-S88 comes with 32 MB of memory into which audio samples can be loaded. However, in some cases, 32 MB of memory will be insufficient for loading large amounts of data. In such a case, you will have to add separately sold memory (DIMM). Memory can be expanded up to 64/128/256/512 MB. How to Expand the Memory Install the memory module after removing the bottom panel cover. 1.
Reference_e.book 208 ページ 2003年7月14日 月曜日 午後3時25分 Expanding the Memory 4. Paying attention to the location of the notch on the memory module and the orientation, insert it vertically within the guides at either side of the socket. Checking that memory is installed correctly fig.DIMM-02 1. Turn on the power, as described in “Turning On the Power” (Quick Start; p. 4). 2. Press [MENU] to open the Menu window. 3. Press or [ENTER]. to select “System,” and then press 4. Press [ENTER]. 5.
Reference_e.book 209 ページ 2003年7月14日 月曜日 午後3時25分 Ajouter de la mémoire (French Language for Canadian Safety Standard) Précautions à prendre lors de l’ajout de mémoire Installation du module de mémoire 901 (F) • Veuillez suivre attentivement les instructions suivantes quand vous manipulez la carte afin d’éviter tout risque d’endommagement des pièces internes par l’électricité statique. Installez le module de mémoire après avoir retiré le couvercle inférieur. 1 1.
Reference_e.book 210 ページ 2003年7月14日 月曜日 午後3時25分 Ajouter de la mémoire 4. Prenez bien note de l’emplacement et de l’orientation de l’encoche du module de mémoire et insérez-le verticalement à l’intérieur des guides qui se trouvent de chaque côté de la prise. fig.DIMM-02 Vérifier que la mémoire est installée correctement 1. Mettre sous tension de la façon décrite sous “Turning On the Power” (Quick Start; p. 4). 2. Appuyez sur la touche [MENU] pour ouvrir la fenêtre Menu. 3. Press or [ENTER].
Reference_e.book 211 ページ 2003年7月14日 月曜日 午後3時25分 Troubleshooting If the Fantom-S does not function in the way you expect, first check the following points. If this does not resolve the problem, consult your dealer or a nearby Roland Service Station. * If any sort of message is being displayed on the screen during an operation, refer to “Error Messages” (Parameter List). Problems Concerning the Entire Fantom-S The power does not turn on.
Reference_e.book 212 ページ 2003年7月14日 月曜日 午後3時25分 Troubleshooting 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. 189). When I press a pad, the sound does not stop sounding. Could the [HOLD] pad be lit? Press the [HOLD] pad once again so the light goes out. The sound cuts off when I switch Patches in Patch mode...
Reference_e.book 213 ページ 2003年7月14日 月曜日 午後3時25分 Troubleshooting Effects not applied. Check the following points. • The “MFX,” “CHO,” “REV” or “MASTER” effect switches located in the upper part of the PLAY screen may have been turned off. Press [EFFECTS]/[8 (Effect Sw)] to turn them on. • Are the various effect settings correct? (p. 175) • If the send level of each effect is set to 0, the effect will not be applied. Check the settings.
Reference_e.book 214 ページ 2003年7月14日 月曜日 午後3時25分 Troubleshooting Issues Related to Sequencer Song data does not play back correctly Check the following points. • Has the Receive General MIDI/General MIDI 2 System On Switch been turned ON? Set the Rx GM System ON/Rx GM2 System ON parameter (SYSTEM/MIDI) to “ON” (p. 193). • 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.
Reference_e.book 215 ページ 2003年7月14日 月曜日 午後3時25分 Troubleshooting • Is there an Aftertouch or other such large Control Change at the point where the song performance is sluggish? Move the location of the data. If the data is no longer needed, delete the data. In some cases, when using a keyboard that features aftertouch to input data, you may end up inputting huge amounts of data before realizing this is happening. Such large amounts of data can place an excessive load on your sequencer and sound module.
Reference_e.book 216 ページ 2003年7月14日 月曜日 午後3時25分 Troubleshooting External input sound is not stereo/is not monaural Issues Related to a Memory Card Can’t select data from a memory card Check the following points. • Stereo Switch parameter (p. 120) may be set to monaural (stereo). • Could the Input Select parameter be set to “LINE IN L,” or “Microphone”? Press [INPUT SETTING], and set it to “LINE IN L/R.” Mic sound is not output/is too weak Check the following points.
Reference_e.book 217 ページ 2003年7月14日 月曜日 午後3時25分 Specifications SRX expansion boards: 4 slots *1 Sampling memory expansion DIMM: 1 slot (128 MB or 256 MB [3.3 V] recommended) Memory card expansion SmartMedia card: 1 slot (supports 8 M bytes/16M bytes/32M bytes/ 64M bytes/128M bytes (3.
Reference_e.book 218 ページ 2003年7月14日 月曜日 午後3時25分 Index Numerics [4 (Mark Clear)] ....................................................................................123 [4 (Mark Clr All)] ..................................................................................123 [5 (Mark Set All)] ..................................................................................123 [5 (Mark Set)] ........................................................................................
Reference_e.book 219 ページ 2003年7月14日 月曜日 午後3時25分 Index D D Beam ASSIGNABLE ..................................................................................98 PAD Trigger .....................................................................................99 SOLO SYNTH ................................................................................100 D Beam controller ...................................................................................98 D Beam range lower (patch) .......................
Reference_e.book 220 ページ 2003年7月14日 月曜日 午後3時25分 Index FXM Depth (tone) ...................................................................................45 FXM Switch (rhythm wave) ..................................................................69 FXM Switch (tone) ..................................................................................45 G Gap Time ...............................................................................................120 Gap Time (system) .........................
Reference_e.book 221 ページ 2003年7月14日 月曜日 午後3時25分 Index MTC Frame Rate ...................................................................................191 MTC offset time frame .........................................................................191 MTC offset time hour ...........................................................................191 MTC offset time minute ......................................................................191 MTC offset time second .................................
Reference_e.book 222 ページ 2003年7月14日 月曜日 午後3時25分 Index P Pad Common Velo ...............................................................................137 Pad Common Velocity .........................................................................137 Pad Control Mode ............................................................................34, 99 Pad Control Mode (performance) ........................................................92 Pad Mode .........................................................
Reference_e.book 223 ページ 2003年7月14日 月曜日 午後3時25分 Phase lock switch (performance) .........................................................90 Phrase loop ........................................................................................45, 69 Phrase preview .......................................................................................29 Piano mode (fFantom-S88) ..................................................................197 Pitch Patch ..................................................
Reference_e.book 224 ページ 2003年7月14日 月曜日 午後3時25分 Index Reverb Output Assign (patch) ...........................................................177 Reverb Output Assign (performance) ...............................................179 Reverb Output Assign (rhythm set) ..................................................177 Reverb Send Level ..........................................................................35, 100 Reverb Send Level (Solo Synth) .........................................................
Reference_e.book 225 ページ 2003年7月14日 月曜日 午後3時25分 Source 1–4 ..............................................................................................181 Split Frequency High ...........................................................................183 Split Frequency Low ............................................................................183 SRX Information ...................................................................................195 SRX/RAM Mode ....................................
Reference_e.book 226 ページ 2003年7月14日 月曜日 午後3時25分 Index TVA envelope time 1 velocity sensitivity (tone) ................................54 TVA envelope time 1–4 (rhythm tone) ................................................74 TVA envelope time 1–4 (tone) ..............................................................54 TVA envelope time 4 velocity sensitivity (rhythm tone) .................74 TVA envelope time 4 velocity sensitivity (tone) ................................54 TVA envelope time key follow ...
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.
Information When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as shown below. AFRICA EGYPT Al Fanny Trading Office 9, EBN Hagar A1 Askalany Street, ARD E1 Golf, Heliopolis, Cairo 11341, EGYPT TEL: 20-2-417-1828 Maison FO - YAM Marcel 25 Rue Jules Hermann, Chaudron - BP79 97 491 Ste Clotilde Cedex, REUNION ISLAND TEL: (0262) 218-429 SOUTH AFRICA That Other Music Shop (PTY) Ltd. 11 Melle St., Braamfontein, Johannesbourg, SOUTH AFRICA P.