User Manual

22
Advanced Operation
How to Use Function Mode
1. Press the [Function] button, and then use the [K] [J] buttons to select the setting you want to change.
* Depending on the item you select, an additional screen may be displayed.
2. Press the [–] [+] buttons to adjust the value.
3. Press the [Exit] button several times to exit the Function mode.
* The FP-60 settings return to their factory defaults when you turn o the power. But if you backup the current settings into internal memory, they
will be restored the next time the power comes on. Refer to “Retaining Settings After Power-O (Memory Backup)” (p. 16).
Indication
[K] [J] buttons
Parameter
[-] [+] buttons
Explanation
Key Touch
Adjusting the Keyboard Response (Key Touch)
The way in which the keyboard responds to your playing strength can be adjusted to your personal taste.
Fix, 1–100
Higher values will make the keyboard feel heavier.
If you’ve specied “Fix,” notes will sound at the same volume regardless of how strongly you play the keyboard.
Master Tuning
Matching the Pitch with Other Instruments (Master Tuning)
When playing ensemble with other instruments and in other such instances, you can match the standard pitch to another instrument.
The reference pitch generally refers to the pitch of the note that’s played when you nger the middle A (A4) key. For a cleaner ensemble sound while
performing with one or more other instruments, ensure that each instrument’s standard pitch is in tune with that of the other instruments.
415.3 Hz–440.0 Hz–466.2 Hz
Temperament
Changing the Tuning Method (Temperament)
You can play classical styles such as Baroque using historic temperaments (tuning methods).
Most modern songs are composed and played with the assumption that equal temperament (the most common tuning in use today) will be used,
but when classical music was composed, there were a wide variety of other tuning systems in existence. Playing a composition with its original
tuning lets you enjoy the sonorities of the chords that the composer originally intended.
Equal
This temperament divides the octave into twelve equal steps. It is the temperament that is most commonly used on
today’s pianos. Every interval has the same slight amount of dissonance.
Just Major
In these temperaments, the primary triads are perfectly consonant. It is unsuited to playing melodies and cannot be
transposed, but is capable of beautiful sonorities.
The Just tunings dier from major and minor keys.
Just Minor
Pythagorean
This tuning, devised by the philosopher Pythagoras, eliminates dissonance in fourths and fths.
Although third chord is slightly dissonant, this tuning is suitable for songs that have a simple melody.
Kirnberger I
As in the Just temperaments, the primary triads are consonant in this tuning. Beautiful sonorities are obtained when
playing songs that are written in keys appropriate for this tuning.
Kirnberger II This is a revision of Kirnberger I that reduces the limitations on the usable keys.
Kirnberger III
This is an improvement of the Meantone and Just tunings that provides a high degree of freedom of modulation.
Performances are possible in all keys. Since the resonance diers depending on the key, chords played in this
temperament resonate in diverse ways when compared to equal temperament.
Meantone
This temperament slightly narrows the fth relative to Just temperaments. While the Just temperaments contains two
types of whole tone (major whole tone and minor whole tone), meantone temperament uses only one type of whole
tone (mean whole tone). Transposition within a limited range of keys is possible.
Werckmeister
This temperament consists of eight perfect fths and four narrowed fths. Performance in all keys is possible. Since
dierent keys produce dierent sonorities, chords will resonate in diverse ways when compared to equal temperament
(Werckmeister I (III)).
Arabic This tuning is suitable for the music of Arabia.
Temperament Key
Specifying a Song’s Tonic (Temperament Key)
When playing with tuning other than equal temperament, you need to specify the temperament key for tuning the song to be performed.
If you choose an equal temperament, there’s no need to select a temperament key.
C–B
Piano Designer
Lets you personalize your piano sound by adjusting various elements that aect the sound: the piano’s physical strings, the resonances produced by
the pedals, the sound of hammers striking the strings, and more.
Refer to “Personalizing Your Piano Sound (Piano Designer)” (p. 13).
Hammer Response O, 1–10 Adjusts the time from when you play the key until the piano sound is heard. Higher values produce a greater delay.
Equalizer
Editing the Equalizer Settings (Equalizer)
You can use the equalizer to modify the tone color by boosting or reducing just the low-frequency or high-frequency range of the sound.
To edit the equalizer settings, use the [K] [J] buttons to select “Equalizer,” and then press the [Function] (Enter) button.
EQ Low Freq
20–400
(Hz)
Frequency point in the low-frequency range.
This changes the level at and under the specied bandwidth.
EQ Mid Freq
200–8000
(Hz)
Frequency point in the mid-frequency range.
This changes the level of the specied bandwidth centered on this frequency.
EQ Mid Q
0.5, 1.0, 2.0,
4.0, 8.0
Changes the bandwidth of the mid-frequency range.
The bandwidth aected narrows as the value increases.
EQ High Freq
2000–
16000 (Hz)
Frequency point in the high-frequency range.
This changes the level at and over the specied bandwidth.
Bluetooth Audio Refer to “Listening to Music Through the Piano’s Speakers” (p. 18).
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Various Settings (Function Mode)