Benutzeranleitung / Produktwartung Fantom-Xa des Produzenten Roland
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As of August 20, 2004 (ROLAND) Information When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as shown below.
This product complies with the requirements of European Directive 89/336/EEC. For EU Countries For Canada This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations. Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.
3 011 • Do not allow any objects (e.g., flammable material, coins, pins); or liquids of any kind (water, soft drinks, etc.) to penetrate the unit. ......................................................................................................
4 IMPORTANT NOTES 291a In addition to the items listed under “USING THE UNIT SAFELY” on pages 2–3, please read and observe the following: Power Supply 301 • Do not connect this unit to same el.
5 IMPORTANT NOTES Before Using Cards Using Memory Cards 704 • Carefully insert the memory card all the way in—until it is firmly in place. 705 • Never touch the terminals of the memory card. Also, avoid getting the terminals dirty. 707 • This unit’s memory card slot accepts CompactFlash or Smart- Media (3.
6 Contents USING THE UNIT SAFELY ...................................................................... 2 IMPORTANT NOTES ............................................................................... 4 Main Features .................................
7 Contents Creating a Rhythm Set ......................................................................... 55 How to Make Rhythm Set Settings ........................................................................................................ 55 Saving Rhythm Sets You’ve Created (Write) .
8 Contents Sampling .............................................................................................. 100 Sampling Procedure .................................................................................................................
9 Contents Adding Effects ..................................................................................... 157 Turning Effects On and Off ............................................................................................................
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11 Main Features The Fantom-Xa is a high-quality workstation synthesizer that makes pro-quality sound, playability, and compositional power available to everyone.
12 Panel Descriptions fig.Front D BEAM Switches D Beam function on/off. You can apply a variety of effects to sounds simply by moving your hand (p. 80). [PAD TRIGGER] You can use the D Beam controller to control the sounding of the pads (p. 82). [SOLO SYNTH] Play the Fantom-Xa as a monophonic synthesizer (p.
13 Panel Descriptions [CHORD MEMORY] Switches the CHORD MEMORY on/off (p. 92). [RPS] Switches RPS on/off (p. 154). * Hold down [SHIFT] and press [CHORD MEMORY] or [RPS] to access the CHORD MEMORY or RPS setting screen. Display This displays information regarding the operation you are performing.
14 Panel Descriptions fig.Rear Ground Terminal 927 Depending on the circumstances of a particular setup, you may experience a discomforting sensation, or perceive that the surface feels gritty to the touch when you touch this device, microphones connected to it, or the metal portions of other objects, such as guitars.
15 Getting Ready Since Fantom-Xa contains no amplifier or speakers, you’ll need to connect it to audio equipment such as a keyboard amplifier, monitor speaker system or home stereo, or use headphones to hear its sound. In order to fully experience the Fantom-Xa’s sound, we recommend using a stereo amp/speaker system.
16 Getting Ready 941 * Once the connections have been completed (p. 15), turn on power to your various devices in the order specified. By turning on devices in the wrong order, you risk causing malfunction and/or damage to speakers and other devices. 1.
17 Listening to the Demo Songs The internal demo songs will feature the Fantom-Xa’s exceptional sounds and effects. 1. Press [MENU] to open the Top Menu Window. fig.TopMenu 2. Press to select “6. Demo Play.” fig.DemoPlay 3. Press [ENTER]. The DEMO MENU screen appears.
18 Various Performance Features Velocity The velocity—the force with which you play the keyboard—can affect the volume or timbre of a sound. Pitch Bend/Modulation Lever While playing the keyboard, move the lever to the left to lower the pitch of the currently selected patch, or to the right to raise its pitch ( pitch bend ).
19 Overview of the Fantom-Xa Broadly speaking, the Fantom-Xa consists of a controller section, a sound generator section, a sequencer section, and a sampler section.
20 Overview of the Fantom-Xa LFO (Low Frequency Oscillator) Use the LFO to create cyclic changes (modulation) in a sound. The Fantom-Xa has two LFOs. You can use the LFO to apply an effect to either the WG (pitch), the TVF (filter), or the TVA (volume).
21 Overview of the Fantom-Xa The Fantom-Xa can play a maximum of 128 sounds simultaneously. The following paragraphs discuss what this means, and what will happen when more than 128 simultaneous voices are requested from the Fantom-Xa. Calculating the Number of Voices Being Used The Fantom-Xa is able to play up to 128 notes simultaneously.
22 Overview of the Fantom-Xa 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.
23 Overview of the Fantom-Xa In Patch Mode Multi-effects can be used individually by each patch and rhythm set..
24 Overview of the Fantom-Xa Tempo Track 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.
25 Overview of the Fantom-Xa 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.
26 Basic Operation of the Fantom-Xa The Fantom-Xa 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- Xa. Use the following procedure to switch between these modes.
27 Basic Operation of the Fantom-Xa 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.
28 Basic Operation of the Fantom-Xa On the Fantom-Xa, you can assign names to each patch, rhythm set, performance, Song, Sample, and Pattern. The procedure is the same for any type of data. fig.PatchName 1. Press to move the cursor to the location where you wish to input a character.
29 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.
30 Playing in Patch Mode The Fantom-Xa has several patch groups, including the User group and Preset groups A–F and GM, with each group storing 128 patches (256 in GM, USER).
31 Playing in Patch Mode 1. Press [PATCH/RHYTHM] to access the PATCH PLAY screen. 2. Press [PATCH SELECT]. The PATCH SELECT screen appears. fig.PatchSelect 3. To select a rhythm set, press [F5 (RHYTHM)] to add a check mark ( ✔ ). If you add a mark, the RHYTHM SELECT screen appears.
32 Playing in Patch Mode The Fantom-Xa 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. 2. Press [F1 (KBD)] or [F2 (PAD)] to select the Keyboard part or Pad part.
33 Playing in Patch Mode The Octave Shift function transposes the pitch of the keyboard in 1 octave units (-3– +3 octaves). For playing a bass part more easily using your right hand, transpose the keyboard down by 1 or 2 octaves. * Octave Shift applies only to the keyboard part.
34 Playing in Patch Mode When using a patch for a naturally monophonic instrument such as sax or flute, it is effective to play in mono. 1. From the PATCH PLAY screen, press [PATCH EDIT]. 2. Press [F1 (COMMON)] and then press [F4 (CTRL)]. 3. Press to move the cursor to “Mono/Poly.
35 Creating a Patch With the Fantom-Xa, 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.
36 Creating a Patch If a number is displayed for the parameter name ( , , , ), you can use the REALTIME CONTROL knobs (C1–C4) to set the value. If you press the button located at the right of the REALTIME CONTROL knobs to make the indicator light, the knobs will control their original functions.
37 Creating a Patch 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) or CARD group (memory card).
38 Creating a Patch * When TYPE 2–10 is selected and one tone of a pair is turned off, the other tone will be sounded as TYPE 1 regardless of the displayed setting.
39 Creating a Patch * If you limit the keyboard area in which a tone will sound (Keyboard Range, p. 42) or limit the range of velocities for which it will sound (Velocity Range, p. 42), the result in areas or ranges where the tone does not sound is just as if the tone had been turned off.
40 Creating a Patch [F1 (GENERAL)] Parameter marked with a “ ★ ” can be controlled using specified MIDI messages (Matrix Control, p. 49) Stretched Tuning fig.
41 Creating a Patch [F3 (PORTMNT)] Portamento is an effect which smoothly changes the pitch from the first-played key to the next-played key. fig.PortaStart.e [F4 (CTRL)] Parameter Value Explanation Portamento Switch OFF, ON Specifies whether the portamento effect will be applied (ON) or not (OFF).
42 Creating a Patch [F5 (KEY RNG)] (TMT KEY RANGE) You can use the note number to control the way each Tone is played. fig.TMT-K.e [F6 (VEL RNG)] (TMT VELO RANGE) You can use the force with which keys are played to control the way each Tone is played.
43 Creating a Patch [F1 (WG PRM)] Parameter marked with a “ ★ ” can be controlled using specified MIDI messages (Matrix Control, p. 49) Parameter Group [F2 (WG)] Modifying Waveforms/Pitch/Pitch .
44 Creating a Patch [F2 (PITCH)] Parameter marked with a “ ★ ” can be controlled using specified MIDI messages (Matrix Control, p. 49) [F3 (PCH ENV)] Parameter marked with a “ ★ ” can be controlled using specified MIDI messages (Matrix Control, p.
45 Creating a Patch A filter cuts or boosts a specific frequency region to change a sound’s brightness, thickness, or other qualities. [F1 (TVF PRM)] Parameter marked with a “ ★ ” can be controlled using specified MIDI messages (Matrix Control, p.
46 Creating a Patch [F2 (TVF ENV)] Parameter marked with a “ ★ ” can be controlled using specified MIDI messages (Matrix Control, p. 49) Parameter Value Explanation Cutoff V-Curve FIX, 1–7 Cur.
47 Creating a Patch [F1 (TVA PRM)] Parameter marked with a “ ★ ” can be controlled using specified MIDI messages (Matrix Control, p. 49) Parameter Group [F4 (TVA)] Adjusting the Volume (TVA/TVA Envelope) Parameter Value Explanation Tone Level ★ 0–127 Volume of the tone.
48 Creating a Patch [F2 (TVA ENV)] Parameter marked with a “ ★ ” can be controlled using specified MIDI messages (Matrix Control, p. 49) Parameter Value Explanation Random Pan Depth 0–63 Use this parameter when you want the stereo location to change randomly each time you press a key.
49 Creating a Patch [F1 (CTRL1)]–[F4 (CTRL4)] The function which allows you use MIDI messages to make changes in realtime to the tone parameters is called the Matrix Control .
50 Creating a Patch Parameter Value Explanation CTRL 1–4 Sens 1–4 -63– +63 Amount of the Matrix Control’s effect that is applied If you wish to modify the selected parameter in a positive (+) direction—i.e., a higher value, toward the right, or faster etc.
51 Creating a Patch [F5 (MISC)] Tone Delay This produces a time delay between the moment a key is pressed (or released), and the moment the tone actually begins to sound.
52 Creating a Patch An LFO (Low Frequency Oscillator) causes change over a cycle in a sound. Each tone has two LFOs (LFO1/LFO2), and these can be used to cyclically change the pitch, cutoff frequency and volume to create modulation-type effects such as vibrato, wah and tremolo.
53 Creating a Patch Parameter marked with a “ ★ ” can be controlled using specified MIDI messages (Matrix Control, p. 49) How to Apply the LFO Parameter Value Explanation Fade Mode ON <, ON &.
54 Creating a Patch [F3 (STEP)] [F4 (OUTPUT)] For details regarding effect settings, refer to the pages shown below. • Making Effect Settings (p. 157) • Making Multi-Effects Settings (MFX1–3) (p. 162) • Making Chorus Settings (p. 189) • Making Reverb Settings (p.
55 Creating a Rhythm Set With the Fantom-Xa, you have total control over a wide variety of settings. Each item that can be set is known as a parameter .
56 Creating a Rhythm Set “Initialize” means to return the settings of the currently selected sound to a standard set of values. * The Initialize operation will affect only the currently selected sound; the sounds that are stored in user memory will not be affected.
57 Creating a Rhythm Set 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) or CARD group (memory card).
58 Creating a Rhythm Set [F1 (GENERAL)] [F2 (CTRL)] [F3 (RX)] Functions of Rhythm Set Parameters Parameter Group [F1 (COMMON)] Settings Common to the Entire Rhythm Set Parameter Value Description Rhythm Level 0–127 Volume of the rhythm set Rhythm Tone Name You can assign a name of up to 12 characters to the rhythm tone.
59 Creating a Rhythm Set [F1 (WG PRM)] Parameter Group [F2 (WG)] Modifying Waveforms/Pitch/Pitch Envelope Parameter Value Explanation Wave Group INT, EXP, SAMP, MSAM Group containing the waveforms com.
60 Creating a Rhythm Set [F2 (PITCH)] [F3 (PCH ENV)] Parameter Value Explanation Tone Coarse Tune 0 (C -)– 127 (G9) Pitch at which a rhythm tone sounds Set the coarse tuning for Waves comprising the rhythm tones with the Wave Coarse Tune parameter (p.
61 Creating a Rhythm Set [F1 (LV/PAN)] [F2 (TUNE)] [F3 (VEL RNG)] You can use the force with which keys are played to control the way each waveform is played.
62 Creating a Rhythm Set A filter cuts or boosts a specific frequency region to change a sound’s brightness, thickness, or other qualities. [F1 (TVF PRM)] Parameter Group [F4 (TVF)] Modifying the Br.
63 Creating a Rhythm Set [F2 (TVF ENV)] Parameter Value Explanation F-Env Depth -63– +63 Depth of the TVF envelope Higher settings will cause the TVF envelope to produce greater change.
64 Creating a Rhythm Set [F1 (TVA PRM)] [F2 (TVA ENV)] Parameter Group [F5 (TVA)] Adjusting the Volume (TVA/TVA Envelope) Parameter Value Explanation Tone Level 0–127 Volume of the tone This setting is useful primarily for adjusting the volume balance between tones.
65 Creating a Rhythm Set For details regarding effect settings, refer to the pages shown below. • Making Effect Settings (p. 157) • Making Multi-Effects Settings (MFX1–3) (p. 162) • Making Chorus Settings (p. 189) • Making Reverb Settings (p.
66 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.
67 Playing in Performance Mode The Fantom-Xa has two performance groups, including the User group and Preset groups, with each group storing 64 performances, for a total of 128 performances. USER This is the group inside the Fantom-Xa which can be rewritten.
68 Playing in Performance Mode The currently selected part is called the “current part.” 1. From the PERFORM LAYER screen, use or to select the part. fig.PartSelect You can also select the part by pressing [SELECT] to make it light and pressing PART/TRACK [1]–[8].
69 Playing in Performance Mode In Performance mode you can play the sounds of all parts whose Keyboard Switch is on, and all connected parts. Combining the parts will produce, thicker, fatter sounds. fig.Layer.e 1. Press [LAYER/SPLIT] to access the PERFORM LAYER screen.
70 Playing in Performance Mode The currently selected part is called the “current part.” 1. In the PERFORM MIXER screen, press [CURSOR] to move the cursor to the Part number. fig.PartSelect2 2. Use the VALUE dial or [INC] [DEC] to select the part.
71 Playing in Performance Mode When playing along with a song, you can turn off (i.e., mute) parts you don’t want to hear. This allows you to turn off the melody part for karaoke applications or for practicing the muted part. 1. In Performance mode, press [MUTE].
72 Creating a Performance With the Fantom-Xa, you have total control over a wide variety of settings. Each item that can be set is known as a parameter .
73 Creating a Performance 1. Make sure that the performance you wish to save is selected. 2. Press [WRITE]. The WRITE MENU screen appears. fig.PfmWrite 3. Press [F1 (PERF)]. * Alternatively, you can use or to select “Performance,” and then press [ENTER].
74 Creating a Performance [F3 (PITCH)] [F4 (OUTPUT)] [F5 (FX SRC)] [F6 (OFFSET)] Parameter Value Explanation Octave -3– +3 Pitch of the part’s sound (in 1-octave units) Note that when a rhythm set is assigned to a part, you cannot modify this parameter.
75 Creating a Performance [PAGE] - [F1 (VIBRATO)] [PAGE] - [F2 (KEYBORD)] Attack -64– +63 Adjusts the TVA/TVF Envelope Attack Time for the patch or rhythm set assigned to a part. Releas -64– +63 Adjusts the TVA/TVF Envelope Release Time for the patch or rhythm set assigned to a part.
76 Creating a Performance [PAGE] - [F3 (KEY MOD)] [PAGE] - [F4 (S.TUNE1)] [F5 (S.TUNE2)] Parameter Value Explanation Mono/Poly MONO, POLY, PAT 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.
77 Creating a Performance [PAGE] - [F6 (EXT)] Parameter Value Explanation Bank Sel (MSB) 0–127, OFF If you want a Bank Select number MSB (controller number 0) to also be transmitted when you switch Perfor- mances, specify the value that you want to transmit (0–127) for each part.
78 Creating a Performance The Fantom-Xa 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.
79 Creating a Performance 1. Access the PERFORM LAYER screen, and select the Performance whose settings you wish to modify (p. 67). 2. Press [F6 (MIDI)]. The MIDI FILTER screen appears. fig.MidiFilter MIDI Settings Parameter Value Explanation Rx OFF, ON ( ✔ ) For each part, specify whether MIDI messages will be received (ON), or not (OFF).
80 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.
81 Modifying the Sound in Real Time On the Fantom-Xa you can play a monophonic synthesizer whose pitch is controlled by the D Beam. 1. Hold down [SHIFT] and press D BEAM [SOLO SYNTH]. A screen like the following appears. fig.DBeamSyn 2. Press to select the parameter.
82 Modifying the Sound in Real Time You can use the D Beam controller to control the pads as an alternative to striking the pads themselves. 1. Hold down [SHIFT] and press D BEAM [PAD TRIGGER]. A screen like the following appears. fig.DBeamTrig 2. Press to select the parameter.
83 Modifying the Sound in Real Time You can use the REALTIME CONTROL knobs and ASSIGNABLE SW buttons to modify the sound in real time. 1. Access the Patch Play screen (p. 29). 2. You can select the function of the knobs by pressing the button located at the right of the REALTIME CONTROL knobs.
84 Modifying the Sound in Real Time 1. Hold down [SHIFT] and press one of the ASSIGNABLE SW button. A screen like the following appears. fig.RealtimeSw 2. Press to select the parameter. 3. Use the VALUE dial or [INC] [DEC] to make the setting. 4. If you want to save the settings, press [F6 (WRITE)].
85 Modifying the Sound in Real Time You can modify the sound by pressing a pedal that is connected to the rear panel PEDAL HOLD jack or PEDAL CONTROL jack.
86 Playing Arpeggios The Fantom-Xa’s Arpeggio function lets you produce arpeggios automatically; simply hold down some keys, and a corresponding arpeggio will be played automatically.
87 Playing Arpeggios By using the following procedure, you can produce arpeggios even without continuing to press the keyboard. 1. Press [ARPEGGIO] to turn on the arpeggio. 2. Press [HOLD]. The indicator will light. 3. Play a chord on the keyboard. 4.
88 Playing Arpeggios Parameter Value Explanation (Arpeggio Style) U001–128 (User), P001–128 (Preset) This selects the arpeggio’s basic performance Style.
89 Playing Arpeggios This selects the method used to play sounds (motif) when you have a greater number of notes than programmed for the Arpeggio Style. * When the number of keys played is less than the number of notes in the Style, the highest-pitched of the pressed keys is played by default.
90 Playing Arpeggios In addition to using the built-in arpeggio styles, you are free to create your own. After creating an original arpeggio style, you can store it in the internal user memory. Broadly speaking, there are two ways to create an arpeggio style.
91 Playing Arpeggios In this method, you’ll use the cursor to specify the step or pitch that you want to input, and use the dial or [INC] [DEC] to input values. This method is convenient when you want to edit or modify previously input data. 1. Hold down [SHIFT] and press [ARPEGGIO].
92 Using 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-Xa 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.
93 Using the Chord Memory Function Not only can you use the prepared internal Chord Forms, which determine the constituent notes of chords played using the Chord Memory function, but you can also freely create and rewrite them as well. 1. Hold down [SHIFT] and press [CHORD MEMORY].
94 Playing Rhythms The Fantom-Xa 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.
95 Playing Rhythms This sets the Rhythm Pattern tempo. 1. Press [TEMPO]. The current tempo value appears in the display. fig.Tempo 2. Use the VALUE dial or [INC] [DEC] to set the tempo value (5–300), or set the value by tapping [F4 (TAP)] a number of times with the same rhythm (Tap Tempo).
96 Playing Rhythms 1. Hold down [SHIFT] and press [RHYTHM]. 2. Press [F2 (RHYTHM)]. The RHYTHM PATTERN screen appears. fig.RhyPtn 3. Press to select the parameter. 4. Use the VALUE dial or [INC] [DEC] to make the setting. * You can audition the rhythm pattern by pressing [F4 (PREVU)] to add a check mark ( ✔ ).
97 Playing Rhythms You can use the realtime control knobs to control the rhythm in real time by adjusting the rhythm parameters. 1. Play rhythm. 2. Press the REALTIME CONTROL button so the ARP/RHY indicator lights. fig.RhyKnob 3. Turn the REALTIME CONTROL knobs.
98 Playing Rhythms In this method, you’ll use the cursor to specify the step or pitch that you want to input, and use the dial or [INC] [DEC] to input values. This method is convenient when you want to edit or modify previously input data. 1. Hold down [SHIFT] and press [RHYTHM].
99 Playing Rhythms Not only can you use the prepared internal Rhythm Groups that determine how rhythm are played, but you can also create them as well. This way, you can enjoy performing your own original rhythm group. 1. Hold down [SHIFT] and press [RHYTHM].
100 Sampling The Fantom-Xa lets you sample audio sources, such as an audio device, mic, or CD. This section explains the sampling procedure and what the parameters do. 1. Press [SAMPLING] to access the SAMPLING MENU screen. fig.SmplMenu The upper part of the screen will show the amount of free memory.
101 Sampling 5. Press [F6 (START)] to begin sampling. If Auto Trigger is set to ON, sampling will begin automatically when the input sound is detected. 6. Stop sampling. (If Stop Trigger is set to MANUAL, press [F5 (STOP)].) The SAMPLE EDIT screen appears.
102 Sampling 1. Hold down [SHIFT] and press [MIX IN]. The INPUT SETTING screen appears. 2. When using the Input Effect, add a check mark ( ✔ ) by pressing [F5 (In FX SW)] to turn it on. 3. Press [F6 (In FX SETUP)]. The INPUT FX SETUP screen appears.
103 Sampling Sometimes you may want to preserve a nice phrase that you happened to play a bit earlier. In such cases, you can use the Skip Back Sampling function to sample sounds played earlier in time. When you execute skip-back sampling, several beats of your prior performance are saved as a sample.
104 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. 25). Select a sample from the list. 1. Press [SAMPLE EDIT <-> LIST] to access the SAMPLE LIST screen.
105 Editing a Sample Here’s how you can unload a sample from sample memory. The saved sample file itself will not be deleted. 1. With the SAMPLE LIST screen shown, press or to select the group that contains the sample you want to erase. 2. Use the VALUE dial, [INC] [DEC], or to select a sample.
106 Editing a Sample 1. From the SAMPLE LIST screen, Press [SAMPLE EDIT <-> LIST]. The SAMPLE EDIT screen appears. fig.SampleEdit Samples that you edit will be lost when you turn off the power. If you want to keep them, you must Save them (p. 116).
107 Editing a Sample Automatically calculating a sample’s tempo 1. Move the cursor to “Tempo” and press [F1(CALC)]. The Tempo Calculator window appears. 2. Use [CURSOR] to move the cursor, and use the VALUE dial or [INC] [DEC] to specify the number of measures in the sample and its time signature.
108 Editing a Sample This operation cuts the portions of the sample that are earlier than the Start Point and later than the Loop End Point. * You cannot execute this with more than one sample selected. 1. Press [SAMPLE EDIT <-> LIST] to access the SAMPLE EDIT screen.
109 Editing a Sample This operation raises the level of the entire sample as much as possible without exceeding the maximum level. In some cases, the volume of a phrase you resampled (p. 100) will be lower than the volume of the original phrase. In this case, it is a good idea to boost the volume by executing the Normalize operation.
110 Editing a Sample This operation stretches or shrinks the sample to modify the length or tempo. You can stretch or shrink the sample by a factor of one half to double the original length. * You cannot execute this with more than one sample selected.
111 Editing a Sample Automatically Dividing a Sample (Auto Chop) Here’s how you can automatically specify the points at which the sample is to be divided, and then divide the sample. 1. From step 3 of p. 110, press [F4 (AUTO)]. The Auto Chop window will appear.
112 Editing a Sample Here’s how to assign samples as the rhythm tones of a rhythm set. For example, you can create an original rhythm set by replacing certain tones of a preset rhythm set with different samples. * From the SAMPLE LIST screen you can also press [F4 (ASSIGN)]-> [F5 (To PAD)] to execute Assign to Pad.
113 Editing a Sample Here’s how you can use the currently selected sample to create a patch, and assign it to a keyboard part. * From the SAMPLE LIST screen you can also press [F4 (ASSIGN)]-> [F4 (To KBD)] to execute Assign to Keyboard. * You cannot execute this with more than one sample selected.
114 Editing a Sample Here’s how you can use the sample(s) to create a rhythm set. This operation is called Create Rhythm. When you execute Create Rhythm, the sample(s) will become a rhythm set and will be assigned to a part.
115 Editing a Sample 1. Press [SAMPLE EDIT <-> LIST] to access the SAMPLE LIST screen, and select the sample(s) that you want to include in your new multisample. If you want to select two or more samples, press [F2 (MARK)] to add a check mark ( ✔ ) to the samples that you want to select.
116 Editing a Sample 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 <-> LIST] to access the SAMPLE LIST screen.
117 Using the Pads The pads of the Fantom-Xa function in the same way as the keyboard, and can also be used to play RPS and rhythm patterns. You can use the Hold function to make the sound continue even after you take your finger off the pad. This is useful when you want a sound such as a looped (repeating) phrase to play continuously.
118 Using the Pads Quick Setup This lets you make basic pad settings. For the greatest efficiency, use Quick Setup to choose the settings that are closest to what you have in mind. Then make the necessary changes for each pad. 1. In the PAD SETTING screen, press [F2 (QUICK SETUP)].
119 Playing Back a Song This chapter explains how you can use the Fantom-Xa’s sequencer to play back a song. When you play back a song, we recommend that you use the sound generator in Performance mode .
120 Playing Back a Song Fast-forward, rewind, and jump can be performed during playback, as well as while stopped. Use the following procedures for each operation. Fast-forward: Press [ ]. Continuous fast-forward: Press and hold [ ]. Rapid fast-forward: Hold down [ ] and press [ ].
121 Playing Back a Song If the tempo changes while a song is being played back, this is because those tempo changes have been recorded in the Tempo track. If you want to override these tempo changes and play back at a fixed tempo, you can mute the Tempo track.
122 Recording Songs This chapter explains the procedure for using the Fantom-Xa’s sequencer to record a song. Before you begin this procedure, put the sound generator in Performance mode . Normally, when recording or playing back a song, you will put the sound generator in Performance mode.
123 Recording Songs Before you record a new song, you must specify the time signature. However, a time signature of 4/4 is automatically specified when you perform the Song Initialize operation or when the power is turned on, so you will need to make this setting only if you want to record a new song in a different time signature.
124 Recording Songs Realtime Recording is the recording method in which your keyboard playing and controller operations are recorded just as you perform them.
125 Recording Songs 5. When you are finished recording, press [ ]. The [ ] indicator will go dark. If you are not satisfied with the realtime recording you just made, you can press [ERASE/UNDO] to return to the state prior to recording. After executing Undo, you can use Redo to revert to the previous state.
126 Recording Songs The Quantize function automatically corrects inaccuracies in the timing of your keyboard or pad performance, aligning the notes to accurate timing intervals. During realtime recording, you can quantize while you record. Set the following recording parameters in addition to the basic settings described in step 3 of p.
127 Recording Songs When you use realtime recording, all of your sequencer data will normally be recorded. If you want to avoid recording a specific type of data, you can turn its Recording Select setting “OFF.” 1. Press [ ]. 2. Press [F5 (REC SELECT)].
128 Recording Songs 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.
129 Recording Songs 8. Repeat the above steps to continue inputting. The previous value of each parameter is remembered. This means that if you want to use the same settings as the previously input note, there is no need to change the settings.
130 Recording Songs You can create a song by combining previously recorded patterns. This is done using step recording to assign patterns to a phrase track.
131 Editing Songs This chapter explains the procedure for editing songs. When you’re going to edit a song, you have to first load it into the Temporary Area. The Temporary Song will be lost if you turn power off or load another song into Temporary Area.
132 Editing Songs If you have selected a song file (extension “.SVQ”) or Standard MIDI File (extension “.MID”), you can load individual phrase tracks or patterns. 1. After step 3 of “Loading the Song You Want to Edit,” press [F5 (LD TRK)].
133 Editing Songs When using Loop Play or Loop Recording, you can use the loop points you specify here to specify the repeated area, as an alternative to repeating the specified number of measures. * It is not possible to assign a loop point to a pattern.
134 Editing Songs In the chapter “Recording Songs” (p. 122), 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.
135 Editing Songs When Quantize Type is “GRID” fig.Qtz1.e When Quantize Type is “SHUFFLE” fig.Qtz2.e Rate: fig.ShuffleRate.e When Quantize Type is “TEMPLATE” Here is a list of quantize templates. * The templates are designed for a 4/4 time signature.
136 Editing Songs This function erases all the sequencer data inside the specified area. As the erased data is replaced by rests, the original measures will remain. For details on the settings, refer to Basic Operation for Track Editing (p. 133). fig.
137 Editing Songs This function copies a specified area of sequencer data. It is convenient for repeating the same phrase several times. You can copy patterns to a phrase track, or copy data from a phrase track to a pattern. For details on the settings, refer to Basic Operation for Track Editing (p.
138 Editing Songs This function inserts blank measures into a specified song position. As you can set the time signature of the blank measures, this is convenient when inserting a phrase having a different time signature in the middle of a song. For details on the settings, refer to Basic Operation for Track Editing (p.
139 Editing Songs This function changes the keyboard playing dynamics (velocity) of a specified note area. For details on the settings, refer to Basic Operation for Track Editing (p. 133). fig.ChangeVelo This function transfers the MIDI channel of a specified area of sequencer data into a different MIDI channel.
140 Editing Songs This function changes the duration (time from note-on to note-off) of notes within a specified area. Depending on the setting, you can also create staccato or tenuto. For details on the settings, refer to Basic Operation for Track Editing (p.
141 Editing Songs This function extracts a specified sequencer data area from a phrase track or pattern and moves it to the same Song position of another phrase track or pattern.
142 Editing Songs This function shifts the timing of sequencer data backward or forward in time within a specified area in steps of 1 tick. Slight shifts of timing can speed up or drag performance.
143 Editing Songs Continuously variable controllers such as aftertouch, pitch bend, and expression tend to create unexpectedly large amounts of data when operated. Data Thin will strip out redundant data to increase the amount of memory available for the sequencer.
144 Editing Songs Copying or merging may sometimes create blank measures at the beginning of a phrase track or pattern. Truncate deletes silent portions from the beginning of the specified phrase track to the first note-on.
145 Editing Songs For an explanation of each type of sequencer data, refer to “Sequencer Data Handled by a Phrase Track/Pattern,” below. 5. Press to move the cursor to “Ch/Part,” and select the MIDI channel of the sequencer data that you want to view.
146 Editing Songs Pattern Call This is data that causes a pattern to play back. Use the Number parameter to select the pattern number. The pattern name is shown in parentheses ( ). 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.
147 Editing Songs 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. 145). 1. Access the MICROSCOPE screen for the track or pattern into which you want to insert data (p.
148 Editing Songs 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 data you want to copy (p.
149 Editing Songs 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. 1. From the MICROSCOPE screen, press [F5 (TRK/CH)].
150 Saving/Loading a Song (Save/Load) Songs you record are initially held in Temporary Area. A song in Temporary Area 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.
151 Saving/Loading a Song (Save/Load) When samples are saved, they will automatically be overwritten onto the same numbers of the same bank in the sample list. The samples will be saved with a file name of “smpl****.wav (aif)” in the “ROLAND/SMPL” folder of user memory or memory card.
152 Saving/Loading a Song (Save/Load) Here’s how to convert and save an Temporary Song as an SMF file. 1. From the SONG EDIT screen, press [F3 (UTILITY)]. 2. Press [F5 (SAVE AS SMF)]. The SAVE AS SMF screen appears. fig.SaveAsSMF 3. Assign a file name to the song.
153 Saving/Loading a Song (Save/Load) 1. Hold down [SHIFT] and press [WRITE]. The SAVE/LOAD MENU screen appears. fig.SaveLoadMenu 2. Press [F4]–[F6] to select the format in which you want to load the song. • Load Song+Smpls: Loads a song into Temporary Area.
154 Playing a Phrase at the Touch of a Finger (RPS) The RPS (Realtime Phrase Sequence) function lets you assign patterns to the keyboard or Pad, and play a pattern by pressing a single note.
155 Playing a Phrase at the Touch of a Finger (RPS) * Pattern parameter, Playback Mode parameter, and Mute Group parameter are set for each key. Although the Fantom-Xa has a 61-note keyboard, you can also make settings for all keys in the range of A-1 to G9.
156 Playing a Phrase at the Touch of a Finger (RPS) Normally, when playing patterns individually, the song containing the patterns must be loaded into Temporary Area. However, when using the RPS function to play back patterns, you can use Quick Play. 1.
157 Adding Effects This section explains the procedures and settings for applying effects in each mode. For details of the Fantom-Xa’s onboard effects, refer to About the Onboard Effects (p. 22). The Fantom-Xa’s onboard effects can be turned on/off as a whole.
158 Adding Effects In Patch mode you can use two multi-effects (MFX1, MFX2), one chorus, and one reverb. Multi-effect 1 (MFX1) will operate according to the effect settings of the patch or rhythm set assigned to the Keyboard part.
159 Adding Effects MFX Reverb Send Level 0–127 Amount of reverb for the sound passed through multi-effects Chorus Source KBD, PAD Chorus parameter settings KBD: Settings of the patch or rhythm set assigned to the Keyboard part PAD: Settings of the patch or rhythm set assigned to the Pad part Chorus Type 0–3 Selects either chorus or delay.
160 Adding Effects In Performance mode you can use three multi-effects (MFX1, MFX2, MFX3), one chorus, and one reverb. For each of the three multi-effects, the chorus, and the reverb, you can specify .
161 Adding Effects Chorus Source PRF, P1–P16 Chorus parameter settings used by the performance PRF: Performance settings P1–P16: Settings of the patch/rhythm set assigned to one of the parts (Select the part number.) Chorus Type 0–3 Selects either chorus or delay.
162 Adding Effects Here we will explain how to make multi-effects settings in Performance mode. fig.MFXSetting For details on these settings, refer to Making Effect Settings (p. 157). * In this setting screen, you can edit the parameters of the multi-effects that is selected by the Multi-effects Type setting.
163 Adding Effects multi-effects control, confirm that any MIDI messages used for the multi-effects control will be received. If the Fantom-Xa is set up such that reception of MIDI messages is disabled, then the multi-effects control will not function.
164 Adding Effects The multi-effects feature 78 different kinds of effects. Some of the effects consist of two or more different effects connected in series. Parameters marked with a sharp “#” can be controlled using a specified controller (Two setting items will change simultaneously for “#1” and “#2”).
165 Adding Effects 01: EQUALIZER This is a four-band stereo equalizer (low, mid x 2, high). fig.MFX-01 02: SPECTRUM This is a stereo spectrum. Spectrum is a type of filter which modifies the timbre by boosting or cutting the level at specific frequencies.
166 Adding Effects 05: SUPER FILTER This is a filter with an extremely sharp slope. The cutoff frequency can be varied cyclically. fig.MFX-05 06: STEP FILTER This is a filter whose cutoff frequency can be modulated in steps. You can specify the pattern by which the cutoff frequency will change.
167 Adding Effects 08: AUTO WAH Cyclically controls a filter to create cyclic change in timbre. fig.MFX-08 09: HUMANIZER Adds a vowel character to the sound, making it similar to a human voice. fig.MFX-09 10: SPEAKER SIMULATOR Simulates the speaker type and mic settings used to record the speaker sound.
168 Adding Effects 11: PHASER A phase-shifted sound is added to the original sound and modulated. fig.MFX-11 12: STEP PHASER The phaser effect will be varied gradually. fig.MFX-12 13: MULTI STAGE PHASER Extremely high settings of the phase difference produce a deep phaser effect.
169 Adding Effects 15: RING MODULATOR This is an effect that applies amplitude modulation (AM) to the input signal, producing bell-like sounds. You can also change the modulation frequency in response to changes in the volume of the sound sent into the effect.
170 Adding Effects 19: STEP PAN This uses a 16-step sequence to vary the panning of the sound. fig.MFX-19 20: SLICER By applying successive cuts to the sound, this effect turns a conventional sound into a sound that appears to be played as a backing phrase.
171 Adding Effects 22: VK ROTARY This type provides modified response for the rotary speaker, with the low end boosted further. This effect features the same specifications as the VK-7’s built-in rotary speaker. fig.MFX-22 23: CHORUS This is a stereo chorus.
172 Adding Effects 25: STEP FLANGER This is a flanger in which the flanger pitch changes in steps. The speed at which the pitch changes can also be specified in terms of a note-value of a specified tempo. fig.MFX-25 26: HEXA-CHORUS Uses a six-phase chorus (six layers of chorused sound) to give richness and spatial spread to the sound.
173 Adding Effects 29: 3D CHORUS This applies a 3D effect to the chorus sound. The chorus sound will be positioned 90 degrees left and 90 degrees right. fig.MFX-29 30: 3D FLANGER This applies a 3D effect to the flanger sound. The flanger sound will be positioned 90 degrees left and 90 degrees right.
174 Adding Effects 32: 2BAND CHORUS A chorus effect that lets you apply an effect independently to the low-frequency and high-frequency ranges. fig.MFX-32 33: 2BAND FLANGER A flanger that lets you apply an effect independently to the low- frequency and high-frequency ranges.
175 Adding Effects 34: 2BAND STEP FLANGER A step flanger that lets you apply an effect independently to the low- frequency and high-frequency ranges. fig.MFX-34 35: OVERDRIVE Creates a soft distortion similar to that produced by vacuum tube amplifiers.
176 Adding Effects 39: GUITAR AMP SIMULATOR This is an effect that simulates the sound of a guitar amplifier. fig.MFX-39 Specifications for each Speaker Type The speaker column indicates the diameter of each speaker unit (in inches) and the number of units.
177 Adding Effects 42: GATE Cuts the reverb’s delay according to the volume of the sound sent into the effect. Use this when you want to create an artificial- sounding decrease in the reverb’s decay. fig.MFX-42 43: DELAY This is a stereo delay. When Feedback Mode is NORMAL: fig.
178 Adding Effects 45: SERIAL DELAY This delay connects two delay units in series. Feedback can be applied independently to each delay unit, allowing you to produce complex delay sounds. fig.MFX-45 46: MODULATION DELAY Adds modulation to the delayed sound.
179 Adding Effects 48: 4TAP PAN DELAY This effect has four delays. fig.MFX-48a fig.MFX-48b Stereo location of each delay 49: MULTI TAP DELAY This effect provides four delays. Each of the Delay Time parameters can be set to a note length based on the selected tempo.
180 Adding Effects 51: SHUFFLE DELAY Adds a shuffle to the delay sound, giving the sound a bouncy delay effect with a swing feel. fig.MFX-51 52: 3D DELAY This applies a 3D effect to the delay sound. The delay sound will be positioned 90 degrees left and 90 degrees right.
181 Adding Effects 54: LONG TIME CTRL DELAY A delay in which the delay time can be varied smoothly, and allowing an extended delay to be produced. fig.MFX-54 55: TAPE ECHO A virtual tape echo that produces a realistic tape delay sound. This simulates the tape echo section of a Roland RE-201 Space Echo.
182 Adding Effects 57: LOFI COMPRESS This is an effect that intentionally degrades the sound quality for creative purposes. fig.MFX-57 58: LOFI RADIO In addition to a Lo-Fi effect, this effect also generates radio noise.
183 Adding Effects 61: PITCH SHIFTER (Feedback Pitch Shifter) A stereo pitch shifter. fig.MFX-61 62: 2VOICE PITCH SHIFTER Shifts the pitch of the original sound. This 2-voice pitch shifter has two pitch shifters, and can add two pitch shifted sounds to the original sound.
184 Adding Effects 64: REVERB Adds reverberation to the sound, simulating an acoustic space. fig.MFX-64 65: GATED REVERB This is a special type of reverb in which the reverberant sound is cut off before its natural length. fig.MFX-65 66: OVERDRIVE → CHORUS fig.
185 Adding Effects 68: OVERDRIVE → DELAY fig.MFX-68 69: DISTORTION → CHORUS The parameters are essentially the same as in “66: OVERDRIVE → CHORUS,” with the exception of the following two. Overdrive Drive → Distortion Drive, Overdrive Pan → Distortion Pan fig.
186 Adding Effects 73: ENHANCER → FLANGER fig.MFX-73 74: ENHANCER → DELAY fig.MFX-74 75: CHORUS → DELAY fig.MFX-75 Parameter Value Explanation Enhancer Sens # 0–127 Sensitivity of the enhancer Enhancer Mix # 0–127 Level of the overtones generat- ed by the enhancer Flanger Pre Delay 0.
187 Adding Effects 76: FLANGER → DELAY fig.MFX-76 77: CHORUS → FLANGER fig.MFX-77 78: SYMPATHETIC RESONANCE On an acoustic piano, holding down the damper pedal allows other strings to resonate in sympathy with the notes you play, creating rich and spacious resonances.
188 Adding Effects note: fig.MFX-note2.e_88 When Using 3D Effects The following 3D effects utilize RSS (Roland Sound Space) technology to create a spaciousness that cannot be produced by delay, reverb, chorus, etc.
189 Adding Effects * The Fantom-Xa’s Chorus effect unit can also be used as a stereo delay unit. fig.Chorus For details on these settings, refer to Making Effect Settings (p. 157). note: fig.MFX-note2.e Making Chorus Settings Parameter Value Explanation (Chorus Type) 00 (OFF)–03 Selects either chorus or delay.
190 Adding Effects fig.Reverb For details on these settings, refer to Making Effect Settings (p. 157). Making Reverb Settings Parameter Value Explanation (Reverb Type) 00 (OFF)–05 Type of Reverb Rev.
191 Adding Effects This is a stereo compressor (limiter) that is applied to the final output of the Fantom-Xa. It has independent high, mid, and low ranges.
192 Settings Common to All Modes (System Function) Settings that affect the entire operating environment of the Fantom- Xa, 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.
193 Settings Common to All Modes (System Function) This section explains what the different System parameters do, and also how these parameters are organized. [F1 (COMMON)] [F2 (AUTO LD)] Functions of System Parameters System Menu [F1 (GENERAL)] Parameter Value Explanation System Common LCD Contrast 1–20 Adjusts the contrast of the display.
194 Settings Common to All Modes (System Function) [F3 (SOUND)] [F4 (USB)] You must switch the USB Mode before you connect the Fantom-Xa to your computer via the USB cable. If you change this setting while the Fantom-Xa is connected, the computer may fail to recognize it correctly.
195 Settings Common to All Modes (System Function) [F1 (KBD)] [F2 (PDL BND)] System Menu [F2 (KBD/CTRL)] Parameter Value Explanation Keyboard Velocity REAL, 1–127 Velocity value that will be transmitted when you play the keyboard REAL: Actual keyboard velocity will be transmitted.
196 Settings Common to All Modes (System Function) [F3 (KNOB SW)] [F4 (CTRL)] Parameter Value Explanation Realtime CTRL Knob Knob Part Select KBD, PAD Part controlled by the realtime control knobs Kno.
197 Settings Common to All Modes (System Function) [F1 (GENERL)] System Menu [F3 (MIDI)] Parameter Value Explanation Local Switch OFF, ON Determines whether the internal sound generator is disconnecte.
198 Settings Common to All Modes (System Function) [F2 (TX)] [F3 (RX)] [F4 (MMC MTC)] Parameter Value Explanation Transmit Program Change OFF, ON Specifies whether Program Change messages will be transmitted (ON) or not (OFF). Transmit Bank Se- lect OFF, ON Specifies whether Bank Select messages will be transmitted (ON) or not (OFF).
199 Settings Common to All Modes (System Function) MTC Offset Time Frame 0–29 (frames) Coordinates the playback timing of the Fantom-Xa and the external device in a frame units. MTC Error Level 0–10 Determines how often the reception status is checked when MTC is being received from an ex- ternal device.
200 Settings Common to All Modes (System Function) [F1 (METRO)] [F2 (REC TRK)] [F3 (SYNC)] System Menu [F4 (SEQ/TEMPO)] Parameter Value Explanation Metronome Mode OFF, PLAY-ONLY, REC-ONLY, PLAY&REC, ALWAYS Specifies when you want the metronome to sound.
201 Settings Common to All Modes (System Function) [F1 (GENERL)] [F2 (TRIGGER)] [F3 (ASSIGN)] System Menu [F5 (D BEAM)] Parameter Value Explanation SENSIBILITY D Beam Sens 0–127 This sets the D Beam controller’s sensitivity. The higher the value set, the more readily the D Beam Controller goes to into erect.
202 Settings Common to All Modes (System Function) [F4 (DB SYN)] Parameter Value Explanation Level & Range Level 0–127 Sets the volume. Chorus Send Level 0–127 Level of the signal sent to chor.
203 Data Management Functions/ Reset to Factory Settings (Factory Reset) UTILITY MENU screen fig.UtilityMenu Here’s how all user data in the user area can be saved on a memory card. The following user data will be saved. * In order to execute User Backup, the memory card must have approximately 16MB or more free area.
204 File-Related Functions (File Utility) Here you can perform a variety of operations related to the files stored in the Fantom-Xa’s user memory, and on memory cards. You can copy, delete, or move files, as well as format memory cards. The folder structure of the user area and memory card is as follows.
205 File-Related Functions (File Utility) Here’s how you can copy a file to a different folder. 1. As described in the basic procedure, select the file that you want to copy. [F1 (USER)] [F2 (CARD)]: Select the memory , : Select the folder , : Move between folder levels 2.
206 Connecting to Your Computer via USB The Fantom-Xa has two modes of USB functionality: storage mode for transferring files, and MIDI mode for sending and receiving MIDI messages. You must switch between these two modes on the Fantom-Xa; they cannot be used simultaneously.
207 Connecting to Your Computer via USB By connecting the Fantom-Xa with your computer via a USB cable, you can transfer files from Internal user area or a memory card to and from the hard disk or other media of your computer, in order to back up your data.
208 Connecting to Your Computer via USB Windows Me/2000/XP Users 1. In My Computer, right-click the “removable hard disk” icon and execute “Remove.
209 Connecting to Your Computer via USB Driver Installation and Settings In order to use the Fantom-Xa as a USB MIDI device from your computer, you must first install the USB MIDI driver. The USB MIDI driver is on the included “Fantom-X Editor CD-ROM.
210 Using Fantom-X Editor To help you take even greater advantage of its functionality, the Fantom-Xa comes with Fantom-X Editor software. Fantom-X Editor assigns parameters to sliders and knobs in the computer screen, allowing you to work efficiently in a graphical editing environment.
211 Using Fantom-X Editor • Operating System Microsoft® Windows® XP Microsoft® Windows® Me Microsoft® Windows® 2000 Professional Microsoft® Windows® 98 • CPU/Clock Pentium®/Celeron™ pro.
212 About V-LINK V-LINK ( ) is a function that allows music and images to be performed together. By using MIDI to connect two or more V-LINK compatible devices, you can easily enjoy performing a wide range of visual effects that are linked to the expressive elements of a music performance.
213 About V-LINK 1. In the V-LINK screen, press [F3 (CLIP)] or [F4 (ALL)]. * For details on clips/palettes, dissolve time, color difference signals (Cb/Cr), refer to the Edirol DV-7PR manual. * The Fantom-Xa does not support the Edirol DV-7PR’s dual stream mode.
214 Installing the Wave Expansion Board An optional Wave Expansion Board (SRX series; sold separately) can be installed in the Fantom-Xa. Wave Expansion Boards store Wave data, patches, and rhythm sets, and by equipping the Fantom-Xa with these boards, you can greatly expand your sound palette.
215 Installing the Wave Expansion Board 3. 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.
216 Expanding the Memory The Fantom-Xa comes with 4 MB of memory into which audio samples can be loaded. However, in some cases, 4 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).
217 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. fig.DIMM2 * If you have difficulty inserting the memory module, try tilting it a bit and inserting one end at a time.
218 Using a Memory Card The Fantom-Xa features a PC card slot, allowing you to use CompactFlash or SmartMedia via the appropriate PC card adaptor. Make sure that the correct side of the card is facing upward, and insert it into the Fantom-Xa’s PC card slot.
219 Troubleshooting If the Fantom-Xa 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 (p.
220 Troubleshooting When I press a pad, the sound does not stop sounding. Could the PAD [0] (HOLD) be lit? Press the PAD [0] (HOLD) once again so the light goes out.
221 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]/[F6 (SWITCH)] to turn them on.
222 Troubleshooting 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 Receive GM System ON/Receive GM2 System ON parameter (SYSTEM/MIDI/RX) to “ON” (p.
223 Troubleshooting • Is there a Program Change at the point where the song performance is sluggish? Change the position of the Program Change. When Program Changes are inserted in songs, processing time for switching patches increases, which may then cause the performance to become sluggish.
224 Troubleshooting External input sound cannot be heard/volume is too low. Check the following points. • Could [MIX IN] be unlit? Press [MIX IN] so it is lit. • The level of the external input may be lowered. When you sample, use the LEVEL knob to adjust the level appropriately.
225 Error Messages If an incorrect operation is performed, or if processing could not be performed as you specified, an error message will appear. Refer to the explanation for the error message that appears, and take the appropriate action. Message Meaning Action Cannot Edit Preset Sample! This is a preset sample, and therefore cannot be edited.
226 Performance List USER (User Group) PRST (Preset Group) CC#0 = 85, CC#32 = 0 CC#0 = 85, CC#32 = 64 No. Name 001 Bump It Up! 002 Save Some 003 Auto Slicer 004 High-Nrg 005 2-byte 006 *Graceful 007 Merry Festa 008 AutoNoiseOSC 009 Rocker Set 010 Sound Alarm 011 Grand Orch 012 Ac.
227.
228 Patch List PR-A (Preset A Group) PR-B (Preset B Group) CC#0 = 87, CC#32 = 64 CC#0 = 87, CC#32 = 65 No. Name Voices Category 001 So true... 2 AC.PIANO 002 ConcertPiano 3 AC.PIANO 003 Warm Piano 2 AC.PIANO 004 Warm Pad Pno 4 AC.PIANO 005 Warm Str Pno 6 AC.
229 Patch List PR-C (Preset C Group) PR-D (Preset D Group) CC#0 = 87, CC#32 = 66 CC#0 = 87, CC#32 = 67 No. Name Voices Category 001 FS Flute 2 FLUTE 002 Atk Flute 2 FLUTE 003 Piccolo 2 FLUTE 004 Andes Mood 1 FLUTE 005 Pan Pipes 2 FLUTE 006 Solo Tp 2 AC.
230 Patch List PR-E (Preset E Group) PR-F (Preset F Group) CC#0 = 87, CC#32 = 68 CC#0 = 87, CC#32 = 69 No. Name Voices Category 001 Digital Aahs 3 SOFT PAD 002 FreezinNight 5 SOFT PAD 003 FS MovinPad .
231 Patch List GM (GM2 Group) Voice: number of voice LSB: Bank Select LSB (CC#32), MSB (CC#0) is all 121 PC: Program Change Number No. Name Voice LSB PC 001 Piano 1 4 0 1 002 Piano 1w 4 1 1 003 European Pf 4 2 1 004 Piano 2 4 0 2 005 Piano 2w 4 1 2 006 Piano 3 2 0 3 007 Piano 3w 2 1 3 008 Honky-tonk 2 0 4 009 Honky-tonk 2 2 1 4 010 E.
232 USER (User Group) CC#0 = 86, CC#32 = 0 PRST (Preset Group) CC#0 = 86, CC#32 = 64 GM2 (GM2 Group) CC#0 = 120, CC#32 = 0 CARD (Card Group) CC#0 = 86, CC#32 = 32 * The Rhythm Set with * mark to the head of its name uses the Preset Samples. Therefore, in order to play this Rhythm Set, the Preset Samples need to be loaded to Fantom-Xa.
233 Rhythm Set List 100 101 103 102 28 29 31 33 35 30 32 34 39 40 41 43 45 47 42 44 46 36 38 37 87 88 84 86 85 51 52 53 55 57 59 54 56 58 48 50 49 63 64 65 67 69 71 66 68 70 60 62 61 75 76 77 79 81 83 78 80 82 72 74 73 C2 C3 C4 C5 C6 96 89 91 93 95 90 92 94 C7 98 97 Note No.
234 Rhythm Set List 100 101 103 102 28 29 31 33 35 30 32 34 39 40 41 43 45 47 42 44 46 36 38 37 87 88 84 86 85 51 52 53 55 57 59 54 56 58 48 50 49 63 64 65 67 69 71 66 68 70 60 62 61 75 76 77 79 81 83 78 80 82 72 74 73 C2 C3 C4 C5 C6 96 89 91 93 95 90 92 94 C7 98 97 Note No.
235 Rhythm Set List 100 101 103 102 28 29 31 33 35 30 32 34 39 40 41 43 45 47 42 44 46 36 38 37 87 88 84 86 85 51 52 53 55 57 59 54 56 58 48 50 49 63 64 65 67 69 71 66 68 70 60 62 61 75 76 77 79 81 83 78 80 82 72 74 73 C2 C3 C4 C5 C6 96 89 91 93 95 90 92 94 C7 98 97 Note No.
236 Rhythm Set List 100 101 103 102 28 29 31 33 35 30 32 34 39 40 41 43 45 47 42 44 46 36 38 37 87 88 84 86 85 51 52 53 55 57 59 54 56 58 48 50 49 63 64 65 67 69 71 66 68 70 60 62 61 75 76 77 79 81 83 78 80 82 72 74 73 C2 C3 C4 C5 C6 96 89 91 93 95 90 92 94 C7 98 97 Note No.
237 Rhythm Set List 100 101 103 102 28 29 31 33 35 30 32 34 39 40 41 43 45 47 42 44 46 36 38 37 87 88 84 86 85 51 52 53 55 57 59 54 56 58 48 50 49 63 64 65 67 69 71 66 68 70 60 62 61 75 76 77 79 81 83 78 80 82 72 74 73 C2 C3 C4 C5 C6 96 89 91 93 95 90 92 94 C7 98 97 Note No.
238 Rhythm Set List 100 101 103 102 28 29 31 33 35 30 32 34 39 40 41 43 45 47 42 44 46 36 38 37 87 88 84 86 85 51 52 53 55 57 59 54 56 58 48 50 49 63 64 65 67 69 71 66 68 70 60 62 61 75 76 77 79 81 83 78 80 82 72 74 73 C2 C3 C4 C5 C6 96 89 91 93 95 90 92 94 C7 98 97 Note No.
239 Rhythm Set List 28 29 31 33 35 30 32 34 39 40 41 43 45 47 42 44 46 36 38 37 87 88 84 86 85 51 52 53 55 57 59 54 56 58 48 50 49 63 64 65 67 69 71 66 68 70 60 62 61 75 76 77 79 81 83 78 80 82 72 74 73 C2 C3 C4 C5 C6 Note No. 27 GM (GM2 Group) 001 (PC: 1) GM2 STANDARD High-Q Slap ScratchPush ScratchPull Sticks SquareClick Mtrnm.
240 Rhythm Set List 28 29 31 33 35 30 32 34 39 40 41 43 45 47 42 44 46 36 38 37 87 88 84 86 85 51 52 53 55 57 59 54 56 58 48 50 49 63 64 65 67 69 71 66 68 70 60 62 61 75 76 77 79 81 83 78 80 82 72 74 73 C2 C3 C4 C5 C6 Note No. 27 GM (GM2 Group) 007 (PC: 41) GM2 BRUSH High-Q Slap ScratchPush ScratchPull Sticks SquareClick Mtrnm.
241 Waveform List No. Wave Name 0001 Ac.Pno p A L 0002 Ac.Pno p A R 0003 Ac.Pno p B L 0004 Ac.Pno p B R 0005 Ac.Pno p C L 0006 Ac.Pno p C R 0007 Ac.Pno f A L 0008 Ac.
242 Waveform List No. Wave Name 0451 Vcs Pizz C 0452 VcsPizzRev A 0453 VcsPizzRev B 0454 VcsPizzRev C 0455 Unison Saw A 0456 Unison Saw B 0457 Unison Saw C 0458 Super Saw A 0459 Super Saw B 0460 Super.
243 Waveform List No. Wave Name 0901 BmbCmp Snr 0902 MrchCmp Snr 0903 Frenzy Snr 1 0904 Frenzy Snr 2 0905 Slap Snr 1 0906 Keen Snr 1 0907 Reggae Snr 0908 DR660 Snr 0909 Pop Snr p 0910 Pop Snr f 0911 P.
244 Arpeggio Style List/Chord Form List USER (User Group) PRST (Preset Group) No. Arpeggio Name 001 Basic 1 002 Basic 2 003 Basic 3 004 Basic 4 005 2 Tone Up 006 3 Tone Up 007 4 Tone Up 008 2 Tone Dow.
245 Rhythm Group List USER (User Group) PRST (Preset Group) * The sound data (Rhythm Group and Rhythm Set) with * mark to the head of their names use the Preset Samples. Therefore, in order to play these sound data, the Preset Samples need to be loaded to Fantom-Xa.
246 Rhythm Pattern List No. Pattern Name Recommended Rhythm Set Recommended Tempo (BPM) 001 Pop 1-1 002 Pop 1-2 003 Pop 1-3 004 Pop 1-4 PRST:002 StandardKit2 BPM112 005 Pop 1-5 (USER:001 StandardKit3).
247 Rhythm Pattern List USER (User Group) * The sound data (Rhythm Pattern and Rhythm Set) with * mark to the head of their names use the Preset Samples.
248 About MIDI MIDI (Musical Instruments Digital Interface) is a standard specification that allows musical data to be exchanged between electronic musical instruments and computers.
249 MIDI Implementation Chart MIDI Implementation Chart Function... Basic Channel Mode Note Number : Velocity After Touch Pitch Bend Control Change Program Change System Exclusive System Common System.
250 MIDI Implementation Chart Function... Basic Channel Mode Note Number : Velocity After Touch Pitch Bend Control Change Program Change System Exclusive System Common System Real Time Aux Messages No.
251 Specifications Fantom-Xa: Synthesizer Keyboard (Conforms to General MIDI 2 System) Keyboard 61 keys (with velocity) Sound Generator Section Maximum Polyphony 128 voices (shared with the sampling s.
252 Specifications Others Arpeggiator Preset: 128 User: 128 Rhythm Pattern Preset: 256 (32 groups) User: 256 (32 groups) Chord Memory Preset: 64 User: 64 Display 240 x 64 dots graphic LCD (with backli.
253 Index Symbols .MID ................................................................................ 24 .SVQ ................................................................ 24, 204, 207 .WAV ........................................................
254 Index Color Cb Ctrl ................................................................ 213 Color Cr Ctrl ................................................................ 213 COMBINE ...................................................................
255 Index F-Env Level 0–4 Patch .......................................................................... 46 Rhythm Set ............................................................... 63 F-Env T1 V-Sens Patch .......................................
256 Index L LAYER ............................................................................ 26 Layer ............................................................................... 69 LCD Contrast ...................................................
257.
258 Index P Pad Sample ..................................................................... 112 Pad Common Velo ...................................................... 117 Pad Control Mode ......................................................... 82 Pad Exchange .
259 Index R Rand Pitch Depth .......................................................... 44 Random Pan Depth ....................................................... 64 Patch .......................................................................... 48 Range Solo Synth .
260 Index Sens ........................................................................ 102, 162 Sequencer ....................................................................... 23 Sequencer Section ...................................................
261 Index Tone Fine Tune Patch .......................................................................... 44 Rhythm Set ............................................................... 60 Tone Level Patch ...............................................
262 Index Wave No. L (Mono) Patch .......................................................................... 43 Rhythm Set ............................................................... 59 Wave No. R Patch ............................................
This product complies with the requirements of European Directive 89/336/EEC. For EU Countries For Canada This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations. Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.
As of August 20, 2004 (ROLAND) Information When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as shown below.
Ein wichtiger Punkt beim Kauf des Geräts Roland Fantom-Xa (oder sogar vor seinem Kauf) ist das durchlesen seiner Bedienungsanleitung. Dies sollten wir wegen ein paar einfacher Gründe machen:
Wenn Sie Roland Fantom-Xa noch nicht gekauft haben, ist jetzt ein guter Moment, um sich mit den grundliegenden Daten des Produkts bekannt zu machen. Schauen Sie zuerst die ersten Seiten der Anleitung durch, die Sie oben finden. Dort finden Sie die wichtigsten technischen Daten für Roland Fantom-Xa - auf diese Weise prüfen Sie, ob das Gerät Ihren Wünschen entspricht. Wenn Sie tiefer in die Benutzeranleitung von Roland Fantom-Xa reinschauen, lernen Sie alle zugänglichen Produktfunktionen kennen, sowie erhalten Informationen über die Nutzung. Die Informationen, die Sie über Roland Fantom-Xa erhalten, werden Ihnen bestimmt bei der Kaufentscheidung helfen.
Wenn Sie aber schon Roland Fantom-Xa besitzen, und noch keine Gelegenheit dazu hatten, die Bedienungsanleitung zu lesen, sollten Sie es aufgrund der oben beschriebenen Gründe machen. Sie erfahren dann, ob Sie die zugänglichen Funktionen richtig genutzt haben, aber auch, ob Sie keine Fehler begangen haben, die den Nutzungszeitraum von Roland Fantom-Xa verkürzen könnten.
Jedoch ist die eine der wichtigsten Rollen, die eine Bedienungsanleitung für den Nutzer spielt, die Hilfe bei der Lösung von Problemen mit Roland Fantom-Xa. Sie finden dort fast immer Troubleshooting, also die am häufigsten auftauchenden Störungen und Mängel bei Roland Fantom-Xa gemeinsam mit Hinweisen bezüglich der Arten ihrer Lösung. Sogar wenn es Ihnen nicht gelingen sollte das Problem alleine zu bewältigen, die Anleitung zeigt Ihnen die weitere Vorgehensweise – den Kontakt zur Kundenberatung oder dem naheliegenden Service.
