Workstation Keyboards

Fantom X6/X7/X8

TurboStart

Layering Two Patches
Multiple sounds can be layered together. Use the following procedure to layer Part 1 with Part 2: 1. Press LAYER/SPLIT so its lit. 2. Turn the VALUE dial to select PRST: 01 Seq: Template. 3. Use CURSOR or and the VALUE dial to place a checkmark next to Parts 1 and 2. 4 Press F2 (Part View). 5. Turn the VALUE dial to select PR-B 104 Warm Strings as the patch for Part 2. 6. Press CURSOR to highlight Part 1. 7. Turn the VALUE dial to select PR-A 003 Warm Piano. 8. Play the layered piano and string sounds on the keyboard. Note: Weve selected these two patches for demonstration purposes. You can layer any patches you like.

Welcome

Congratulations on your purchase of the Roland Fantom-X. This TurboStart contains step-by-step instructions that will quickly introduce you to the Fantom-Xs major features.

Playing the Demo Songs

The Fantom-X has six built-in demo songs. To play them: 1. Press MENU. 2. Turn the VALUE dial to select Demo Play. 3. Press ENTER. 4. Turn the VALUE dial to select a song. 5. Press ENTER. 6. When youre done listening, press F8 (Exit).
Selecting and Auditioning Patches
Use the following steps to hear some of the patches in the Fantom-X: 1. Press PATCH/RHYTHM so its lit. 2. Press F7 (Kbd Part). 3. Turn the VALUE dial to select a patch. 4. Play the selected patch.

Creating a Split

After creating a layer, creating a split is easy. Follow these steps to create a split between Parts 1 and 2. 1. Follow Steps 1-7 of Layering Two Patches above. 2. Press LAYER/SPLIT again. 3. Press F3 (Key Range). 4. Press CURSOR or to select PART 1. 5. Use the CURSOR buttons and VALUE dial to change the Lower value to C4. 6. Press CURSOR to select PART 2. 7. Use the CURSOR buttons and VALUE dial to change the Upper value to B3. 8. Play the keyboard to hear the newly created split between PR-B 104 Warm Strings on the left and PR-A 003 Warm Piano on the right.
Selecting Patches by Category
You can quickly select patches from any of 38 different categories. Use the following steps to find patches by category: 1. Press PATCH/RHYTHM so its lit. 2. Press F7 (Kbd Part). 3. Press F1 (Patch List). 4. Press F4 to select Patch Categ. 5. Press F2 () or F1 () to select a category. 6. Turn the VALUE dial to audition the patches in the selected category.
Auditioning Rhythm Sets on the Pads
The Fantom-X has rhythm sets that contain a variety of percussion instruments and special-effect sounds. Use the following steps to audition the different sets while playing the pads in the DYNAMIC PAD BANK: 1. Press PATCH/RHYTHM so its lit. 2. Press F8 (Pad Part). 3. Turn the VALUE dial to select a rhythm set. 4. Play the pads.

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Assigning a Sample to a Pad
Now that weve captured and saved a sample, lets assign it to a pad: 1. Press PATCH/RHYTHM so its lit. 2. Press SAMPLE LIST so its lit. 3. Turn the VALUE dial to select the sample you wish to assignthe currently selected sample is highlighted. Note: To audition a sample, select it, and then press and hold F8 (Preview). 4. 5. 6. 7. 8. Press F7 (Load Utility). Press F2 (To Pad). Press the pad that you want to use. Press F8 (Exec) twiceAssign to pad completed briefly appears in the display. Press the pad to audition its sample.

Sampling

The Fantom-X contains a sampler for recording audio sources from a microphone, CD and so on. Use the following steps to sample: 1. Connect a microphone or CD player to the appropriate input on the back of the Fantom. 2. While holding SHIFT, press MIX IN. 3. Turn the VALUE dial to select the appropriate input selection. Note: If youre using a microphone, first confirm that any connected amplifiers or monitors are turned down before selecting MICROPHONE. 4. 5. 6. Press the SAMPLING button so its flashing. Press F1 (Sampling). Speak into the microphone or play your external sound source while turning the LEVEL control knob clockwise to adjust your input levels.

Note: If the levels are too high, the PEAK indicator next to the LEVEL control knob lights. If this occurs, reduce the input level. 7. 8. 9. 10. Press F8 (Start). Perform or play whatever it is youre sampling. Press F7 (Stop) when youre finished. Press and hold F8 (Preview) to hear the sample.
Note: If you wish to keep your new sample-playing rhythm set, write it to user or card memory as described in the Fantom-X Owners Manual.

Assigning the D Beam

You can assign various functions to the D Beam. Use the following steps to set up the D Beam for controlling the resonance in a patch. 1. Press PATCH/RHYTHM so its lit. 2. Press F7 (Kbd Part). 3. Turn the VALUE dial to select PR-A: 029 Remember. 4. Press ASSIGNABLE under the D Beam so its lit. 5. Press F4 (Ctrl Setting). 6. Press F1 () or F2 () to select D Beam (Asgn). 7. Use CURSOR or to highlight the Type box. 8. Turn VALUE to select CC71:RESONANCE. 9. Play the keyboard while slowly raising and lowering your hand over the D Beam and listen to how the sound changes.
Writing a Sample into Memory
Newly recorded samples must be written into the memory before turning off the Fantom-X otherwise, the sample will be lost. Use the following procedure to save a sample: 1. Press SAMPLE LIST so its lit. 2. Turn VALUE to select the desired sample. 3. Press WRITE. 4. Press F3 (Sample). 5. Use the VALUE dial and CURSOR buttons to name the sample. 6. Press F8 (Write). 7. Press F2 to select Userif youre using a SmartMedia card, press F3 to select Card. 8. Turn the VALUE dial to select a destination for the sample. 9. Press F8 (Write). 10. Press F8 (Exec).

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Before using this unit, carefully read the sections entitled: IMPORTANT SAFETY INSTRUCTIONS (p. 2), USING THE UNIT SAFELY (p. 34), and IMPORTANT NOTES (p. 45). These sections provide important information concerning the proper operation of the unit. Additionally, in order to feel assured that you have gained a good grasp of every feature provided by your new unit, Handbook and Owners manual should be read in its entirety. The manual should be saved and kept on hand as a convenient reference.

Non-Rewritable Memory Preset Memory
Data in Preset memory cannot be rewritten. However, you can call up settings from preset memory into the temporary area, modify them and then store the modified data in rewritable memory (except GM2).

Mastering Effect

This is a stereo compressor (limiter) that is applied to the final output of the Fantom-X. It has independent high, mid, and low ranges. Independently for the high-frequency, mid-frequency, and low-frequency regions, this compresses any sounds that exceed the specified level, making the volume more consistent.
Wave Expansion Boards (SRX Series; sold separately)
The Fantom-X can be equipped with up to four Wave Expansion Boards (SRX series; sold separately). Wave Expansion Boards contain Wave data, as well as patches and rhythm sets that use this Wave data, which can be called directly into the temporary area and played.

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How Effects Units Work in Different Modes In Patch Mode
Multi-effects can be used individually by each patch and rhythm set. Chorus and reverb are each shared by patches and rhythm sets; the same effect applies to each tone. Adjusting the signal level to be sent to each effects unit (Send Level) provides control over the effect intensity thats applied to each tone.

fig.04-007

About the Sequencer
A sequencer records keyboard performance and controller movements as MIDI messages (sequencer data). As the data plays back, the recorded MIDI messages are sent to a sound generator which will produce the required sounds. The sequencer actually plays instruments instead of the musician, and since it can record a musical performance, it is a tape recorder as well. But in reality a sequencer doesnt record sound, but actually the steps that cause the sound generator to produce sound, so it offers several advantages. Sound quality is always excellent, the equivalent of first-generation tape, no matter how many times the data plays back; tempo changes have no effect on pitch; detailed editing is possible, etc.

Keyboard part Patch TONE

What Is a Song?
For the Fantom-X, musical performance data for one song or composition is referred to as a song. A song combines sequencer data recorded on Phrase tracks 116, a Tempo track, a Beat track and a Pattern, as discussed below.

fig.04-009.e

Pad part Rhythm Set

RHYTHM TONE

Multi-Effects + + Chorus Reverb
Pattern Pattern 1 Pattern 2

Phrase track 16

To each part you can assign either a Patch or a Rhythm Set.
Phrase track 2 Phrase track 1

In the Performance Mode

The multi-effects, chorus and reverb effects can be set individually for each performance. The intensity of each effect will be set for each part. When you apply effects in Performance mode, the effect settings of the patch or rhythm set assigned to each part will be ignored, and the effect settings of the performance will be used. Thus, the effects for the same patch or rhythm set may differ when played in Patch mode and in Performance mode. However, depending on the settings, you can have effect settings for a patch or rhythm set assigned to a part applied to the entire performance. In addition, when using the multieffects settings of a performance, you can use three different multieffects simultaneously, depending on the effect type.

Realtime controller settings are saved independently for each performance as part of the performance settings. This lets you create performances that make effective use of controller settings.

Switch Assign

Specify the function that will be controlled by the assignable switch. Value

TRANSPOSE DOWN:

TRANSPOSE UP: TAP TEMPO: MONO/POLY:
Lowers the key range in semitone steps (up to 5 semitones lower). Raises the key range in semitone steps (up to 6 semitones higher). Tap tempo (a tempo specified by the interval at which you press the button). Pressed to toggle between polyphonic (POLY) and monophonic (MONO) play of a patch. Portamento On/Off Hold play On/Off Multi-effect 13 switch Chorus switch Reverb switch Mastering switch Loop play On/Off Rhythm pattern playback On/Off
For more information about Control Change messages, please refer to MIDI Implementation (p. 298). PITCH BEND: AFTERTOUCH: ARP STYLE: ARP GRID: ARP MOTIF: CHORD FORM: Pitch Bend Aftertouch Arpeggio Style Arpeggio Grid Arpeggio Motif Chord form of the Chord Memory function PORTAMENTO: HOLD: MFX13 SW: CHORUS SW: REVERB SW: MASTERING SW: LOOP: RHY START/STOP:
ARP DURATION: Adjusts the duration of each arpeggiated note
MASTER LEVEL: The volume of the entire Fantom-X * Master Level adjusts the volume both of the OUTPUT A jacks and the DIGITAL OUT jack. The panel VOLUME knob only adjusts the volume of the OUTPUT A jacks. Controls the playback position of the arpeggio pattern. Input level from DIGITAL IN.

ARP STEP: DIGITAL IN:

If Patch mode is selected, assignable switches are available when the keyboard part is selected.

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BEND UP:
Using a Pedal to Modify the Sound (Control Pedal)
You can modify the sound by pressing a pedal that is connected to the rear panel PEDAL HOLD jack or PEDAL CONTROL jack. Pedal such as expression pedals (DP-8; available separately), pedal switches (DP series; available separately), or foot switches (BOSS FSU; available separately) can be connected to the Fantom-X. 1. 2. Access the Patch Play screen (p. 38). While playing the keyboard to produce sound, operate a pedal. The sound will change according to the function that is assigned to the control pedal.

Continuous Hold Pedal

This setting determines whether the HOLD PEDAL jack will provide support for half-pedaling (ON), or not (OFF). When this is set to support use of half-pedaling techniques, you can then connect an optional expression pedal (DP-8, etc.), and employ pedal work to achieve even finer control in performances in which piano tones are used. Value: OFF, ON
For details on control change messages, refer to MIDI Implementation (p. 298).

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Playing Arpeggios

About Arpeggio
The Fantom-Xs Arpeggio function lets you produce arpeggios automatically; simply hold down some keys, and a corresponding arpeggio will be played automatically. 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. An Arpeggio Style is not part of any Performance, but rather independent data; you can store up to 128 Arpeggio Styles. Therefore you can use a single Arpeggio Style in different Patches and Performances. Arpeggio settings can be saved independently for each performance. However, they cannot be saved as part of a patch. Whats more, you can perform in ensemble using these arpeggios and rhythm patterns (p. 135). * You cannot play the arpeggio from the pads. * 3.
Determining the Tempo for Arpeggio Performances
This sets the arpeggio tempo. You can save the arpeggio tempo settings individually in each Patch, Rhythm Set, or Performance. 1. Press [TEMPO]. The current tempo value appears in the display.

fig.11-002_50

Press VALUE dial or [INC], [DEC] to set the tempo value (5 300), or set the value by tapping [F6 (Tap)] a number of times with the same rhythm (Tap Tempo). If you press [F7 (Click)] to light it in red, the click will sound. When you have made the setting, press [F8 (Close)].
Turning Arpeggio On and Off
1. Press [ARPEGGIO] to turn it on. The button will light.
Using a controller to adjust the playback tempo Since tempo control is assigned to one of the Fantom-Xs realtime control knobs, its easy to adjust the tempo while playing arpeggios.

UP (L&H):

Selecting the Part that Will Play Arpeggios in Performance Mode (Arp Part)
Heres 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. Value: Part116

UP (_): DOWN (L):

DOWN (L&H):
DOWN (_): UP&DOWN (L):
Changing the Accent Strength (Arp Accent)
When you play arpeggios, the velocity of each arpeggiated note is determined by the velocity of the notes programmed within the arpeggio style. You can adjust the amount (spread) of this dynamic variation. With a setting of 100%, the arpeggiated notes will have the velocities that are programmed by the arpeggio style. With a setting of 0%, all arpeggiated notes will be sounded at a fixed velocity. Value: 0-100%
UP&DOWN (L&H): 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 and then back again in the reverse order. UP&DOWN (_): The notes play in order from the lowest of the pressed keys, and then back again in the reverse order. No note is played every time.
You can also use a REALTIME CONTROL knob to control this.

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Hanging the Range of the Arpeggio (Oct Range)
This adds an effect that shifts arpeggios one cycle at a time in octave units (octave range). You can set the shift range upwards or downwards (up to three octaves up or down). Value: -30+3

Step-recording

In this method, you use the keyboard and pads to step-record your arpeggio. Each time you input a note, you will advance to the next step. This method is convenient when you want to create an arpeggio from scratch using a Style that contains no data.
Using the Realtime Control Knobs to Edit the Arpeggio Settings
You can use the realtime control knobs to change the arpeggio settings by editing the parameters in real time. 1. 2. Play arpeggios. Press the REALTIME CONTROL button to select ARP/ RHY. The ARP/RHY indicator will light.
If you want to create from scratch, youll need to initialize the Style. In the Arpeggio Style Edit screen, hold down [SHIFT] and press [F1 (Init)]. A message will ask whether you want to initialize; press [F8 (Exec)] to execute initialization. 1. 2. Hold down [SHIFT] and press [ARPEGGIO]. Press [F7 (Edit)]. The Arpeggio Style Edit screen will appear. Press [F1 (Arp Setup)]. The Arpeggio Setup screen will appear. Move the cursor to End Step, and specify the number of steps for the arpeggio style you want to create.

Rec Mode (Recording Mode) Select how recording is to take place.
If you are not satisfied with the realtime recording you just made, you can press [MENU], and from the Menu window that appears, select Undo/Redo to return to the state prior to recording (Undo/Redo). After executing Undo, you can use Redo to revert to the previous state. After executing Undo, you can execute Redo by performing the above procedure the above procedure once again.

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Recording Tempo Changes in a Song (Tempo Recording)
If you want the tempo to change during the song, you can record those tempo changes in the Tempo track. If tempo changes have already been recorded in the tempo track, they will be rewritten. Set the following recording parameters in addition to the basic settings described in step 3 of Basic Operation for Realtime Recording (p. 170).
press a pedal or button, playback will switch to record mode, and will switch back to play mode when you press the pedal or button once again. By pressing the pedal or button, you can toggle between record and play modes.

Start Point

Specify the measure and beat at which loop recording or auto punchin recording is to begin. It is not possible to specify the Tick.

End Point

Specify the measure and beat at which loop recording or auto punchin recording is to Stop. It is not possible to specify the Tick.
Tempo Rec Sw (Tempo Recording Switch)
Specify whether tempo changes will be recorded (ON), or not (OFF). Value: OFF, ON
The minimum loop length is four quarter notes.
You will be able to use realtime control knob ([ movements to control the tempo easily (p. 140).
Using Auto Punch-In Recording
1. In the Realtime Rec Standby window, set the Loop/Punch parameter to AUTO PUNCH. Set the Start Point/End Point parameters to the desired punch points. Move to a measure earlier than the specified Start Point, and press [PLAY]. The song will begin playing. Recording will begin at the location specified by the Start Point parameter. Playback will resume at the location specified by the End Point parameter. Press [STOP] to stop playback.
Loop Recording and Punch-In Recording
You can record repeatedly over a specified area (Loop recording), or re-record just that area (Punch-in recording). Set the following recording parameters in addition to the basic settings described in step 3 of Basic Operation for Realtime Recording (p. 142).

Loop/Punch

Specify how loop recording or punch-in recording is to take place. Value OFF: LOOP (POINT): LOOP (1 MEAS): LOOP (2 MEAS): LOOP (4 MEAS): LOOP (8 MEAS): LOOP (16 MEAS): LOOP SONG ALL: AUTO PUNCH: Loop recording or punch-in recording will not occur. Recording takes place repeatedly, according to the loop point settings. The one-measure area starting at the recordstart measure will be recorded repeatedly. The two-measure area starting at the recordstart measure will be recorded repeatedly. The four-measure area starting at the recordstart measure will be recorded repeatedly. The eight-measure area starting at the recordstart measure will be recorded repeatedly. The sixteen-measure area starting at the recordstart measure will be recorded repeatedly. The entire song from beginning to end will be recorded repeatedly. 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 punchin point, playback will switch to record mode. 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. This is convenient when you want to re-record more than one location in which you made a mistake. The song will play back when you begin recording. When you
Using Manual Punch-In Recording
If you want to use a pedal connected to the PEDAL CONTROL jack to specify the area for recording, you must first set the Pedal 1 or 2 Assign parameter to PUNCH I/O (p. 226). 1. In the Realtime Rec Standby window, set the Loop/Punch parameter to MANUAL PUNCH. Press [PLAY]. Song playback will begin, and the Realtime Recording window will appear.
At the point where you want to begin recording, press [F5 (Punch In)] or step on the pedal. Playback will switch to record mode. At the point where you want to stop recording, once again press [F5 (PUNCH OUT)] or step on the pedal. You will return to playback mode. Press [STOP] to stop playback.

MANUAL PUNCH:

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Correct the Timing of Your Playing as You Record (Recording Quantize)
The Quantize function automatically corrects inaccuracies in the timing of your keyboard or pad performance, aligning the notes to accurate timing intervals. During realtime recording, you can quantize while you record. Set the following recording parameters in addition to the basic settings described in step 3 of Basic Operation for Realtime Recording (p. 170).
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. With a setting of 0%, the backbeat will be moved to the same timing as the preceding downbeat. With a setting of 100%, the backbeat will be moved to the same timing as the following downbeat. Value: 0100

In Patch mode, the Keyboard part can use MFX1 and the Pad part can use MFX2.

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Destination 14 (Multi-Effects Control Destination 14)
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 Parameter (p. 270).

Multi-Effects Control

If you wanted to change the volume of multi-effects sounds, the delay time of Delay, and the like, using an external MIDI device, you would need to send System Exclusive messages-MIDI messages designed exclusively for the Fantom-X. However, System Exclusive messages tend to be complicated, and the amount of data that needs to be transmitted can get quite large. For that reason, a number of the more typical of the Fantom-Xs multi-effects parameters have been designed so they accept the use of Control Change (or other) MIDI messages for the purpose of making changes in their values. For example, you can use the Pitch Bend lever to change the amount of distortion, or use the keyboards touch to change the delay time of Delay. The parameters that can be changed are predetermined for each type of multi-effect; among the parameters described in MultiEffects Parameter (p. 270), these are indicated by a #. In the multi-effect setting screen, a c symbol will be shown at the left of the parameter. The function that allows you use MIDI messages to make these changes in realtime to the multi-effects parameters is called the Multi-effects Control. Up to four multi-effects controls can be used in a single patch/rhythm set/performance. When the multi-effects control is used, you can select the amount of control (Sens parameter) applied, the parameter selected (Destination parameter), and the MIDI message used (Source parameter).
Sens 14 (Multi-Effects Control Sensitivity 14)
Sets the amount of the multi-effects controls effect that is applied. To make an increase in the currently selected value (to get higher values, move to the right, increase rates, and so on), select a positive value; to make a decrease in the currently selected value (to get lower values, move to the left, decrease rates, and so on), select a negative value. For either positive or negative settings, greater absolute values will allow greater amounts of change. Set this to 0 if you don't want to apply the effect. Value: -63+63
MFX Control Channel (Multi-Effects Control Channel)

Displays the name of the wave expansion board that is installed.
Version Info (Version Information)
Displays the version of the Fantom-X.
Rec Track Select (Recording Track Select)
This specifies whether track selection will be automatic or manual when recording on the sequencer. Value Manual: Youll be able to select the track number manually. This is convenient when you want to record a performance that consists of more than one channel. The phrase track of the same number as the current part will be selected automatically. This is convenient when you want to record only one channel in a track.

Power Up Mode

This setting allows you to choose the mode that you want the Fantom-X to be in when it is powered up. Value PATCH: The Fantom-X will be in Patch mode when you turn on the power.
PERFORMANCE: The Fantom-X will be in Performance mode when you turn on the power.

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Data Management Functions Reset to Default Factory Settings (Factory Reset)
1. 2. 3. Press [MENU]. Press or to select Utility. Fantom-X backup data must not be used to perform a Restore into other models in the Fantom-X series (i.e., models other than the Fantom-X6/X7/X8).
Press [ENTER]. The Utility menu screen will appear.
Restoring User Data that You Backed Up (User Restore)
Heres how user data saved on a memory card by the User Backup operation can be reloaded back into the user memory of the Fantom-X. When you execute User Restore, the current contents of the user area will be completely erased. 1. Into the slot, insert the memory card on which user data has been saved. In the Utility screen, press [F2 (User Restre)]. A message will ask you for confirmation. To proceed with the restoration, press [F8 (Exec)]. To cancel, press [F7 (Cancel)]. When the display indicates Please Power Off, turn the power off, then on again.

fig.26-001_50

3. 4. Press [F1][F4] to select the operation that you want to execute. [F1 (User Backup)] Save user data to a memory card. [F2 (User Restre)] Load user data from a memory card. [F3 (Factry Reset)] Restore the factory settings. [F4 (Librarian)] When you want to use the included Fantom-X Librarian software, or when you want to receive system exclusive messages from an external device to rewrite the user memory, press [F4 (Librarian)] to put the Fantom-X in Librarian mode. * For details on using Fantom-X Librarian, refer to Using Fantom-X Librarian (p. 236). * 4.

INT, EXP, SAMP, MSAM When the wave group is INT: A or B, EXP: AD, When the wave group is SAMP: PRST, USER, CARD, When the wave group is MSAM: USER, CARD ----, 11228 (The upper limit will depend on the wave group.) ----, 11228 (The upper limit will depend on the wave group.) -6, 0, +6, +12 OFF, ON OFF, ON 14 016
Wave No. L (Mono) Wave No. R Wave Gain Wave Tempo Sync FXM Switch FXM Color FXM Depth
Wave Number L (Mono) Wave Number R

TMT Group (P.63)

Structure Type 1 & 2, 3 & 4 Booster 1 & 2, 3 & 4 Key Fade Lower Key Range Lower Key Range Upper Key Fade Upper TMT Velocity Control Velo Fade Lower Velo Range Lower Velo Range Upper Velo Fade Upper TMT Control Sw Booster Gain 1 & 2, 3 & 4 Keyboard Fade Width Lower Keyboard Range Lower Keyboard Range Upper Keyboard Fade Width Upper TMT Velocity Control Switch Velocity Fade Width Lower Velocity Range Lower Velocity Range Upper Velocity Fade Width Upper TMT Control Switch
110 0, +6, +12, +C-1UPPER LOWERGOFF, ON, RANDOM, CYCLE 0127 1UPPER LOWEROFF, ON

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Pitch Group (P.67)
Tone Coarse Tune Tone Fine Tune Random Pitch Depth Pitch Key Follow
-48 +48 -50 +50 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 20, 30, 40, 50, 60, 70, 80, 90, 100, 200, 300, 400, 500, 600, 700, 800, 900, 1000, 1100, 1200 -200, -190, -180, -170, -160, -150, -140, -130, -120, -110, -100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80, +90, +100, +110, +120, +130, +140, +150, +160, +170, +180, +190, ++48 -480 -63 +63 -63 +63 -63 +63 -100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80, +90, +100
Bend Range Up Bend Range Down P-Env V-Sens P-Env T1 V-Sens P-Env T4 V-Sens P-Env Time KF
Pitch Bend Range Up Pitch Bend Range Down Pitch Envelope Velocity Sensitivity Pitch Envelope Time 1 Velocity Sensitivity Pitch Envelope Time 4 Velocity Sensitivity Pitch Envelope Time Key Follow

Pitch Env Group (P.68)

P-Env Depth P-Env Time14 P-Env Level04 Pitch Envelope Depth Pitch Envelope Time 14 Pitch Envelope Level 04

-12 +-63 +63

TVF Group (P.69)
Filter Type Cutoff Frequency Resonance Cutoff Key Follow
OFF, LPF BPF, HPF, PKG, LPF2, LPF0127 -200, -190, -180, -170, -160, -150, -140, -130, -120, -110, -100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80, +90, +100, +110, +120, +130, +140, +150, +160, +170, +180, +190, +200 FIXED, 17 -63 +63 -63 +63 FIXED, 17 -63 +63 -63 +63 -63 +63
Cutoff Frequency Key follow
Cutoff V-Curve Cutoff V-Sens Resonance V-Sens F-Env V-Curve F-Env V-Sens F-Env T1 V-Sens F-Env T4 V-Sens
Cutoff Frequency Velocity Curve Cutoff Velocity Sensitivity Resonance Velocity Sensitivity TVF Envelope Velocity Curve TVF Envelope Velocity Sensitivity TVF Envelope Time 1 Velocity Sensitivity TVF Envelope Time 4 Velocity Sensitivity

Shuffle #

21: ROTARY
The Rotary effect simulates the sound of the rotary speakers often used with the electric organs of the past. Since the movement of the high range and low range rotors can be set independently, the unique type of modulation characteristic of these speakers can be simulated quite closely. This effect is most suitable for electric organ Patches.

fig.MFX-21

Woofer Slow Speed Woofer Fast Speed Woofer Trans Up
0.0510.00 Hz 0.0510.00 Hz 0127

Woofer Trans Down

Woofer Level Tweeter Slow Speed Tweeter Fast Speed Tweeter Trans Up Tweeter Trans Down Tweeter Level Spread
0127 0.0510.00 Hz 0.0510.00 Hz 0127 010

Speed #

SLOW, FAST
Simultaneously switch the rotational speed of the low frequency rotor and high frequency rotor. SLOW: Slows down the rotation to the Slow Rate. FAST: Speeds up the rotation to the Fast Rate. Slow speed (SLOW) of the low frequency rotor Fast speed (FAST) of the low frequency rotor Low Gain High Gain Level # -15 +15 dB -15 +15 dB 0127
Sets the rotary speaker stereo image. The higher the value set, the wider the sound is spread out. Gain of the low range Gain of the high range Output Level
Woofer Slow Speed Woofer Fast Speed
0.0510.00 Hz 0.0510.00 Hz

Fantom-X678_r_e.book 277

23: CHORUS
This is a stereo chorus. A filter is provided so that you can adjust the timbre of the chorus sound.

fig.MFX-23

High Gain Balance #
-15 +15 dB D100:0W D0:100W 0127
Gain of the high range Volume balance between the direct sound (D) and the flanger sound (W) Output Level

Balance D

L in Chorus Chorus R in

Balance W Balance W

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

OFF, LPF, HPF

L in Step Flanger

Feedback Feedback

Cutoff Freq Pre Delay

2008000 Hz 0.0100.0 ms
Rate # Depth Phase Low Gain High Gain Balance #
0.0510.00 Hz, note deg -15 +15 dB -15 +15 dB D100:0W D0:100W 0127
Type of filter OFF: no filter is used LPF: cuts the frequency range above the Cutoff Freq HPF: cuts the frequency range below the Cutoff Freq Basic frequency of the filter Adjusts the delay time from the direct sound until the chorus sound is heard. Frequency of modulation Depth of modulation Spatial spread of the sound Gain of the low range Gain of the high range Volume balance between the direct sound (D) and the chorus sound (W) Output Level

Status 2nd byte 3rd byte BnH 05H vvH n = MIDI channel number: 0H - FH (ch.1 - 16) vv = Portamento Time: 00H - 7FH (0 - 127)
Status 2nd byte 3rd byte BnH 06H mmH BnH 26H llH n = MIDI channel number: 0H - FH (ch.1 - 16) mm, ll = the value of the parameter specified by RPN/NRPN mm = MSB, ll = LSB

Fantom-X678_r_e.book 305

Status 2nd byte 3rd byte BnH 07H vvH n = MIDI channel number: 0H - FH (ch.1 - 16) vv = Volume: 00H - 7FH (0 - 127) * In Performance mode, these messages are not transmitted when External Level parameter (PERFORMANCE/PART) is OFF.
Status 2nd byte 3rd byte BnH 52H vvH n = MIDI channel number: 0H - FH (ch.1 - 16) vv = Control value: 00H - 7FH (0 - 127)
2nd byte 3rd byte Status BnH 53H vvH n = MIDI channel number: 0H - FH (ch.1 - 16) vv = Control value: 00H - 7FH (0 - 127)
2nd byte 3rd byte Status BnH 0AH vvH n = MIDI channel number: 0H - FH (ch.1 - 16) vv = Panpot: 00H - 40H - 7FH (Left - Center - Right), * In Performance mode, these messages are not transmitted when External Pan parameter (PERFORMANCE/PART) is OFF.
Status 2nd byte 3rd byte BnH 54H kkH n = MIDI channel number: 0H - FH (ch.1 - 16) kk = source note number: 00H - 7FH (0 - 127)
Status 2nd byte 3rd byte BnH 0BH vvH n = MIDI channel number: 0H - FH (ch.1 - 16) vv = Expression: 00H - 7FH (0 - 127)
Status 2nd byte CnH ppH n = MIDI channel number: 0H - FH (ch.1 - 16) pp = Program number: 00H - 7FH (prog.1 - prog.128) * * These messages are transmitted when Patch, Rhythm Set or Performance is selected. But not transmitted when Transmit Program Change parameter (SYSTEM/MIDI) is OFF. In Performance mode, these messages are not transmitted when External PC Num parameter (PERFORMANCE/PART) is OFF.
2nd byte 3rd byte BnH 40H vvH n = MIDI channel number: 0H - FH (ch.1 - 16) vv = Control value: 00H - 7FH (0 - 127) 0-63 = OFF, 64-127 = ON * When Continuous Hold Pedal parameter (SYSTEM/PEDAL) is OFF, just only 00H (0FF) and 7FH (0N) can be send as the control value. Status
Status 2nd byte DnH vvH n = MIDI channel number: 0H - FH (ch.1 - 16) vv = Channel Pressure: 00H - 7FH (0 - 127)
2nd byte 3rd byte Status BnH 41H vvH n = MIDI channel number: 0H - FH (ch.1 - 16) vv = Control value: 00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON

Performance Common Reverb
++ | Offset | | | Address | Description | |+| | | 0000 aaaa | Reverb Type (0 - 5) | | | 0aaa aaaa | Reverb Level (0 - 127) | | | 0000 00aa | Reverb Output Assign (0 - 3) | | | | A, B, ---, --- | |++| |# | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 1 (12768 - 52768) | | | | -20000 - +20000 | |# | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 2 (12768 - 52768) | | | | -20000 - +20000 | |# 00 0B | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 3 (12768 - 52768) | | | | -20000 - +20000 | |# 00 0F | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 4 (12768 - 52768) | | | | -20000 - +20000 | |# | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 5 (12768 - 52768) | | | | -20000 - +20000 | |# | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 6 (12768 - 52768) | | | | -20000 - +20000 | |# 00 1B | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 7 (12768 - 52768) | | | | -20000 - +20000 | |# 00 1F | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 8 (12768 - 52768) | | | | -20000 - +20000 | |# | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 9 (12768 - 52768) | | | | -20000 - +20000 | |# | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 10 (12768 - 52768) | | | | -20000 - +20000 | |# 00 2B | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 11 (12768 - 52768) | | | | -20000 - +20000 | |# 00 2F | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 12 (12768 - 52768) | | | | -20000 - +20000 | |# | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 13 (12768 - 52768) | | | | -20000 - +20000 | |# | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 14 (12768 - 52768) | | | | -20000 - +20000 |

Performance Part

++ | Offset | | | Address | Description | |+| | | 0000 aaaa | Receive Channel (0 - 15) | | | | 1 - 16 | | | 0000 000a | Receive Switch (0 - 1) | | | | OFF, ON | | | | (reserve) <*> (1 - 0) | | | | | | | | (reserve) <*> (1 - 0) | | | | | |++| | | 0aaa aaaa | Patch Bank Select MSB (CC# 0) (0 - 127) | | | 0aaa aaaa | Patch Bank Select LSB (CC# 32) (0 - 127) | | | 0aaa aaaa | Patch Program Number (PC) (0 - 127) | |++| | | 0aaa aaaa | Part Level (CC# 7) (0 - 127) | | | 0aaa aaaa | Part Pan (CC# 10) (0 - 127) | | | | L64 - 63R | | | 0aaa aaaa | Part Coarse Tune (RPN# 2) (16 - 112) | | | | -48 - +48 | | 00 0A | 0aaa aaaa | Part Fine Tune (RPN# 1) (14 - 114) | | | | -50 - +50 | | 00 0B | 0000 00aa | Part Mono/Poly (MONO ON/POLY ON) (0 - 2) | | | | MONO, POLY, PATCH | | 00 0C | 0000 00aa | Part Legato Switch (CC# 68) (0 - 2) | | | | OFF, ON, PATCH | | 00 0D | 000a aaaa | Part Pitch Bend Range (RPN# 0) (0 - 25) | | | | 0 - 24, PATCH | | 00 0E | 0000 00aa | Part Portamento Switch (CC# 65) (0 - 2) | | | | OFF, ON, PATCH | |# 00 0F | 0000 aaaa | | | | 0000 bbbb | Part Portamento Time (CC# 5) (0 - 128) | | | | 0 - 127, PATCH | | | 0aaa aaaa | Part Cutoff Offset (CC# 74) (0 - 127) | | | | -64 - +63 | | | 0aaa aaaa | Part Resonance Offset (CC# 71) (0 - 127) | | | | -64 - +63 | | | 0aaa aaaa | Part Attack Time Offset (CC# 73) (0 - 127) | | | | -64 - +63 | | | 0aaa aaaa | Part Release Time Offset (CC# 72) (0 - 127) | | | | -64 - +63 | |++| | | 0000 0aaa | Part Octave Shift (61 - 67) | | | | -3 - +3 | | | 0aaa aaaa | Part Velocity Sens Offset (1 - 127) | | | | -63 - +63 | | | 0aaa aaaa | (reserve) <*> | | | 0aaa aaaa | (reserve) <*> | | | 0aaa aaaa | (reserve) <*> | | 00 1A | 0aaa aaaa | (reserve) <*> | | 00 1B | 0000 000a | Mute Switch (0 - 1) | | | | OFF, MUTE | |++| | 00 1C | 0aaa aaaa | Part Dry Send Level (0 - 127) | | 00 1D | 0aaa aaaa | Part Chorus Send Level (CC# 93) (0 - 127) | | 00 1E | 0aaa aaaa | Part Reverb Send Level (CC# 91) (0 - 127) | | 00 1F | 0000 aaaa | Part Output Assign (0 - 13) | | | | MFX, A, B, ---, ---, | | | | 1, 2, 3, 4, ---, ---, ---, ---, | | | | PATCH | | | 0000 00aa | Part Output MFX Select (0 - 2) | | | | MFX1, MFX2, MFX3 | |++| | | 0aaa aaaa | Part Decay Time Offset (CC# 75) (0 - 127) | | | | -64 - +63 |