User Manual
Table Of Contents
- USING THE UNIT SAFELY
- IMPORTANT NOTES
- Contents
- 01: Introduction (Overview and Basic Operation)
- 02: Sound Generator, Section 1 (Playing Sounds)
- Playing in Single Mode
- About the Single Play Screen
- Selecting a Patch
- Selecting the Tones That Will Sound (Tone On/Off)
- Playing Single Notes (Monophonic)
- Part Settings (Part View)
- Selecting the Parameter Controlled by the Realtime Controllers or D Beam Controller (Control Sett...
- Playing Percussion Instruments (Rhythm Set)
- Playing a Sample Set
- Creating a List of Frequently Used Sounds (Favorite)
- Registering a Sound (Regist)
- Recalling a Sound
- Specifying the Volume for Each Step (Favorite Level)
- Changing the Step in Which You Registered a Sound
- Removing a Sound You Registered (Remove)
- Removing All Sound Registrations from a Bank (Remove Bank)
- Registering a Song (Set Song)
- Importing a Text File (Import Text)
- Removing a Text File (Remove Text)
- Switching the Display Font (Font)
- Playing in Live Mode
- Displaying Live Play (Layer/ Split) Screen
- Functions in the Live Play (Layer/Split) Screen
- Selecting a Live Set
- Using the Live Play (Layer/ Split) Screen
- Using the Live Set Part Mixer Screen
- Using the Layer Edit Screen
- Performing with the Arpeggio
- Performing with the Realtime Controllers and D Beam Controller
- Setting Effects
- Adjusting the Master Level
- Making Detailed Settings for a Live Set
- Playing in Studio Mode
- Playing in Single Mode
- 03: Sound Generator, Section 2 (Controlling Sounds)
- 04: Sound Generator, Section 3 (Creating Sounds)
- Creating a Patch
- How to Make Patch Settings
- Saving Patches You’ve Created (Write)
- Functions of Patch Parameters
- Settings Common to the Entire Patch (General)
- Modifying Waveforms (Wave)
- Changing How a Tone Is Sounded (TMT)
- Modifying Pitch (Pitch/Pitch Env)
- Modifying the Brightness of a Sound with a Filter (TVF/TVF Env)
- Adjusting the Volume (TVA/TVA Env)
- Output
- Modulating Sounds (LFO1/2/Step LFO)
- Apply Portamento or Legato to the Sound (Solo/Porta)
- Miscellaneous Settings (Misc)
- Matrix Control Settings (Control 1–4)
- Setting Effects for a Patch (PFX)
- Creating a Rhythm Set
- How to Make Rhythm Set Settings
- Saving Rhythm Sets You’ve Created (Write)
- Functions of Rhythm Set Parameters
- Making Settings Common to the Entire Rhythm Set (General)
- Modifying Waveforms (Wave)
- Changing How a Rhythm Tone Is Sounded (WMT)
- Modifying Pitch (Pitch/Pitch Env)
- Modifying the Brightness of a Sound with a Filter (TVF/TVF Env)
- Adjusting the Volume (TVA/TVA Env)
- Output Settings (Output)
- Setting Effects for a Rhythm Set (PFX)
- Creating a Sample Set
- Creating a Live/Studio Set
- Adding Effects
- Where Effect Settings are Saved
- Turning Effects On and Off
- Making Effect Settings
- Applying Effects in Single Mode
- Applying Effects in Live Mode
- Applying Effects in Studio Mode
- Making Patch Multi-Effects Settings (PFX)
- Making Multi-Effects Settings (MFX1–2)
- Making Chorus Settings (Chorus)
- Making Reverb Settings (Reverb)
- Mastering Effect
- Effects List
- Creating a Patch
- 05: Pads (Using the Pads)
- Using the Pads
- Common Operations for Pads
- 1 SAMPLE PAD (Using the Pads to Play Samples)
- 2 RHYTHM (Using the Pads to Play a Rhythm Set)
- 3 CHORD MEMORY (Using the Pads to Switch Chord Forms)
- 4 ARPEGGIO (Using the Pads to Switch Arpeggio Styles)
- 5 RPS (Using the Pads to Play Phrases)
- 6 RHYTHM PTN (Using the Pads to Play Rhythm Patterns)
- 7 TONE SEL/SW (Using the Pads to Select Tones or Switch Them On/Off)
- 8 TRACK MUTE (Using the Pads to Mute Tracks)
- 9 BOOKMARK (Using the Pads to Recall Frequently Used Screens)
- 10 MIDI TX SW (Using the Pads to Turn External MIDI Transmit Channels (1–16) On/Off)
- 11 EFFECT SW (Using the Pads to Switch the Effects)
- 12 PATCH MFX SW (Using the Pads to Switch Patch Multi-effects)
- 13 PART SELECT (Using the Pads to Select Parts)
- 14 PART MUTE (Using the Pads to Mute Parts)
- 15 USER GROUP (Using the Pads to Register/Recall User Groups)
- 16 FAVORITE (Using the Pads to Register/Recall Favorite Settings)
- Using the Pads
- 06: Sequencer (Creating a Song)
- Playing Back a Song
- Three Ways to Play Back
- Playing a Song (Song Play)
- Loading a Song (Song List)
- Playing a Song (Song Play)
- Operations in the Song Play Screen
- Fast-forwarding or Rewinding during Playback
- Muting the Playback of a Track (MUTE)
- Accessing the Mixer Screen
- Changing the Playback Tempo of the Song
- Playing a Song Repeatedly (Loop)
- Placing Markers in a Song (Marker)
- Changing the Track Display Zoom and Display Order (Zoom/Track Order)
- Naming a Track (Track Name)
- Specifying a Track’s Output Destination (Output Assign)
- Deleting a Song File (Song Delete)
- Song Automatically Loaded at Power-on (When Loading a Project)
- Erasing the Currently-open Song (Song Clear)
- Playing a Standard MIDI File (SMF)
- Playing Phrases (MIDI Phrase)
- Recording MIDI
- Recording Audio
- Editing Songs
- Three Ways to Edit
- Editing a Song (Song Edit)
- Song Utility (Song Util)
- Editing a Phrase (Phrase Edit)
- Phrase Modify Menu
- Aligning a Phrase’s Timing (Quantize)
- Erasing Unwanted Performance Data (Erase)
- Deleting Unwanted Measures (Delete)
- Copying Phrases (Copy)
- Inserting a Blank Measure (Insert)
- Transpose the Key (Transpose)
- Changing the Velocity (Change Velocity)
- Changing the MIDI Channel (Change Channel)
- Modifying the Length of Notes (Change Duration)
- Shifting Performance Data Forward and Back (Shift Clock)
- Thinning Out the Sequencer Data (Data Thin)
- Deleting Blank Measures (Truncate)
- Editing Individual Items of Sequencer Data (Microscope)
- Saving a Song (Song Save)
- Playing Back a Song
- 07: Sampler
- Sampling
- Editing a Sample
- Selecting a Sample (Sample List)
- Displaying Sample Edit Screen (Sample Edit)
- Setting the Start/End Points of the Sample
- Making Settings for Sample (Sample Parameters)
- Removing Unwanted Portions of a Sample (Truncate)
- Boosting or Limiting the High-frequency Range of the Sample (Emphasis)
- Maximizing the Volume of a Sample (Normalize)
- Amp
- Stretching or Shrinking a Sample (Time Stretch)
- Dividing a Sample into Notes (Chop)
- Saving a Sample (Save)
- Saving all samples (Save All)
- 08: Various Settings (Menu and System)
- Menu Reference
- System Settings (Settings Common to All Modes)
- About V-LINK
- 09: Appendix
34
Overview of the Fantom-G
fig.04-005.j
Part
On the Fantom-G, a “Part” is a kind of location or slot to which you
can assign a patch, rhythm set, or sample set.
Live mode gives you eight parts, and you can assign a patch, rhythm
set, or sample set to each part. This means that you can play up to
eight sounds together.
Studio mode gives you sixteen parts, and you can assign a patch,
rhythm set, or sample set to each part.
Part group
In addition to the internal parts (the internal sound generator), the
Fantom-G provides part groups for expansion boards 1 and 2, and
for the external MIDI output.
The Fantom-G has a maximum polyphony of 128 simultaneous
notes. Here we’ll explain how the polyphony is counted, and what
happens when the limit of 128 notes is exceeded.
How polyphony is counted
The Fantom-G can produce up to 128 notes simultaneously. This
number of notes will vary depending not only on the number of
notes you’re actually playing, but also on the number of tones used
by each patch, and the number of waves used by each tone. When
playing a patch, the polyphony is calculated as follows.
(number of patches that are sounding) x (number of tones used in the
currently sounding patches) x (number of waves used by those tones)
For example, if a patch consists of four tones, and each of these tones
uses two waves, it will use a total of eight notes of polyphony. If
you’re playing in Live mode (multi) or in Studio mode, count the
polyphony for each part to obtain the total polyphony of all parts.
* If you’re using realtime time stretch, twice as much polyphony will be
used.
Patch polyphony
If you attempt to play more than 128 notes simultaneously on the
Fantom-G, existing notes will be turned off, starting with the note
having the lowest priority of the currently sounding notes. This
priority is specified by the
Patch Priority
setting (p. 90).
You can choose either “LAST” or “LOUDEST” as the patch priority.
If you choose “LAST,” notes will be turned off starting with the first-
played of the currently sounding notes when you exceed the 128
note limit. If you choose “LOUDEST,” notes will be turned off
starting with the note whose volume is least. Normally, you will
probably want to select “LAST.”
If you’re using multiple patches to play an ensemble, it’s important
to specify which part gets priority for its notes over the others. This
is specified by the
Voice Reserve
setting (p. 141). The
patch priority
setting (p. 90) will determine how the notes of a patch are turned off.
Voice reserve
The Fantom-G provides a
Voice Reserve
setting, which lets you
reserve a minimum number of notes for each part. For example, if
you specify a voice reserve setting of “10” for part 16, ten notes of
polyphony will be guaranteed to be available for the sound being
played by part 16 even when the overall Fantom-G reaches its 128
note limit. When making voice reserve settings, you’ll need to
consider the number of notes you actually want to play and the
number of tones in the patches you’re using (p. 141).
You can make voice reserve settings for up to a total of 64 notes
for all parts.
When the audio tracks of a song are playing back, the audio
tracks take priority over the voice reserve settings.
Part group
Explanation Number of parts
Internal
Internal
(internal sound generator)
Live mode: 8
Studio mode: 16
EXP 1 Expansion board 1 Up to 16
* Depends on the expansion
board
EXP 2
Expansion board 2 Up to 16
* Depends on the expansion
board
External
External MIDI output 16
Studio set
Part 16
Part 1
Patch /
Rhythm set /
Sample set
About Polyphony
Fantom-G_r_e.book 34 ページ 2008年1月31日 木曜日 午後12時15分